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Kamis, 17 Desember 2015

Museum Raids Cases: Rare Antiquities. Rare Convictions for Gallery Owners. Rare Prison Sentence.

In the annals of cultural property law, prosecutions targeting transnational antiquities trafficking networks are rare. Even more rare are felony convictions. Scarcer still are prison sentences.

So what happened this week to a pair of California gallery owners tied in with the "Museum Raids" cases is a momentous achievement, an example of careful and intelligent case development by the U.S. Attorney's Office for the Central District of California, resulting in felony convictions for antiquities traffickers rather than a "seize and send" photo-op that cultural property watchers are accustomed to witnessing.

Jonathan and Carolyn Markell, aged 70 and 68 and owners of Silk Roads Design Gallery, were sentenced on Monday for their role in an elaborate scheme that mixed international heritage trafficking with tax evasion.

Calling the crime "significant," United States District Judge Dean D. Pregerson said it was “important to send a message” to art collectors, gallery owners and museums that they should avoid collecting and trading looted antiquities.

The court handed down an 18 month prison term to Jonathan Markell on a felony count of conspiring to import goods using false statements in violation of 18 U.S.C. § 371 (conspiracy) and 18 U.S.C. § 542 (importing goods using false statements). His wife, Carolyn, received a sentence of probation on a felony charge of conspiracy to commit tax evasion pursuant to 18 U.S.C. § 371. Jonathan Markell also pleaded guilty to conspiracy to commit tax evasion.

“Mr. Markell’s greed placed his art gallery’s profits above the culture and heritage of the people of Thailand,” said United States Attorney Eileen M. Decker in a press release.

There were no complaints about the court's 1 1/2 year sentence, even though prosecutors sought a 2 ½ year prison term for Jonathan Markell because, in prosecutors' words, "it is clear that Jonathan Markell has no respect for the law—not this nation's laws, nor those of other nations."

In seeking a prison term, prosecutors, notably among them Assistant U.S. Attorney and Environmental Crimes Chief Joseph Johns, sought both specific deterrence and general deterrence.

The attorneys pointed out the obvious to the court, that "it is rare that law enforcement officials have the opportunity to catch a broker, bulk sellers, or gallery owner that drives the illicit market for archeological resources." That is why, they contended,
Defendant Jonathan Markell’s antiquities smuggling case presents a unique opportunity to send a message and afford adequate deterrence to the 'upper end' of the criminal black market for looted archeological resources, i.e., the brokers and gallery owners who sell their wares to the collectors. If we are able to diminish and disincentivize the market (or demand) for illegal antiquities, then we may have an equal effect on taking the monetary incentives out of the act of looting itself. It is the market, or demand, which drives the looters at the ground level to provide the supply of stolen antiquities to meet that demand. 

Jonathan Markell’s sentence of 18 months behind bars perhaps is the most ordered by a court in a transnational antiquities trafficking case since U.S. v. Schultz, a federal case from 2002 that saw Frederick Schultz, a high profile and successful Manhattan antiquities dealer, sentenced to serve 33 months in prison after a jury found the defendant guilty of the felony of receiving stolen Egyptian antiquities that had been transported in interstate and foreign commerce in violation of 18 U.S.C. § 371 (conspiracy) and 18 U.S.C. § 2315 (the National Stolen Property Act).

That case failed to serve as a warning to the Markells as the investigation into the husband and wife and their co-conspirators began the following year, in 2003 when a National Park Service (NPS) special agent began to uncover the trafficking network that had been smuggling archaeological material from Southeast Asia.

In January 2008, federal agents from several law enforcement agencies raided a variety of locations, including four museums in California. Police descended on the Los Angeles County Museum of Art, the Bowers Museum, the Pacific Asia Museum, and the Mingei Museum with search warrants to “seize in place” ancient objects identified as potential evidence. Officials simultaneously seized evidence from the Markell’s home as well as their art gallery.

The museum raids generated three published criminal cases:

  • United States v. Robert Olson and Marc Pettibone, et al., which charged a conspiracy to smuggle Southeast Asian artifacts, including from Thailand and Cambodia, into the United States beginning in 2004;
  • United States v. Robert Olson and Jonathan Markell, which charged a conspiracy to smuggle Southeast Asian artifacts, including Burmese antiquities obtained in Thailand beginning in 2003; and
  • United States v. Jonathan Markell and Carolynn Markell, which charged a conspiracy to commit tax fraud by making false statements when donating smuggled artifacts to museums in an effort to receive tax deductions.
[Sidebar: At least one media report by the Pasedena Patch suggests that legal action against unnamed museums resulted in deferred prosecution agreements. These agreements do not appear in the court system’s public files. It is possible that they are held privately by the U.S. Attorney's Office and not subject to public disclosure]

The Markells pleaded guilty to criminal charges on April 16 after signing a written agreement with federal prosecutors the previous month..

As part of the deal, both defendants conceded that they conspired to knowingly and intentionally defraud the United States for the purpose of impeding, impairing, obstructing, and defeating the lawful government functions of the Internal Revenue Service (IRS) in the ascertainment, computation, assessment, and collection of income taxes, by promoting and participating in a false charitable deduction scheme for the purpose of improperly claiming charitable deductions on federal income tax returns.

The Markells agreed to repatriate 337 artifacts by ocean-borne cargo to their countries of origin, specifically China, Thailand, Cambodia, and Burma; to pay the $25,000 estimated shipping cost; and to cooperate with the IRS to calculate back taxes and penalties from 2004 through 2007, estimated to be $39,891.

In a court pleading filed on December 3, attorneys for the government elaborated on the facts of the case:
In short, Jonathan and Carolyn Markell jointly owned and operated the business Markell Imports, Inc., doing business as the Silk Roads Design Gallery ("Silk Roads"). The Markells’ business model consisted of their purchase and importation of art, antiques, and archeological resources from Southeast Asia, and their resale of such merchandise through their Silk Roads art gallery in West Hollywood.

Part of their business model included the intentional use of false declarations and statements in United States Customs entry documents to “smuggle” or introduce the archeological resources “antiquities” into the United States.

The lawyers flagged a contention made by the Markells, one that is often echoed by ethically ambivalent antiquities dealers who complain that filling out customs forms is too burdensome for small business owners:
During [a police interview], Jonathan Markell stated that he and Carolyn Markell falsified the customs documents to disguise what they were importing because the United States Immigration and Customs Enforcement classification process is difficult if they actually identify a piece as an "antique." Carolyn Markell agreed with her husband's statement.

The Markells further justified their behavior by claiming that United States Customs forces people to lie on import declarations because of the delay in clearing Customs if they properly identify an object as an antique.

Prosecutors added that the Markells failed to fully disclose their criminal conduct to investigators. “For example, they did not admit that Jonathan Markell had conspired with [a] co-defendant to not only falsely describe Burmese and Khmer antiquities in United States Customs import documents ... but also to falsely declare the import value of those antiquities as 25% of their true purchase price.”

The attorneys said that neither defendant “admitted ... that they knew that it was illegal to export archeological resources/antiquities from the countries of China, Thailand, and Burma—which is most likely the reason that the antiquities were falsely described in United States Customs import documentation.”

Focusing on the pairs’ systematic plan to dodge federal taxes, prosecutors noted that the operation “was heavily dependent upon the ready availability of Southeast Asian antiquities obtained ... through the antiquities smuggling scheme .... The Southeast Asian antiquities smuggled into the United States ... were bundled and sold for approximately $1,500. The[] $1,500 ‘package’ typically included antiquities from Ban Chiang, Thailand, false sales invoices to reflect an earlier sales date, along with a fraudulently inflated $5,000 appraisal that contained a fraudulent expert's signature.”

Prosecutors called the defendants' conduct a “complete contempt for this Nation's rule of law," spotlighting "Carolyn Markell's discussion of the International Emergency Economic Powers Act ("IEEPA") Burmese sanctions with the undercover agent ('UC') in this case":
During that discussion, she told the UC that she had been extremely worried about the last shipment of antiquities that she and Jonathan Markell had brought into the United States from Thailand in September 2006—which had included 7 Burmese statues. She related to the UC that the President of the United States had prohibited entry of any Burmese items into the country, and that she had lost sleep worrying that their import shipment would be intercepted by United States Customs authorities. She told the UC that she did not care about being dishonest, but that she didn’t want to get caught.

Jonathan Markell, meanwhile, “brought up a Los Angeles Daily News article about an individual that had been prosecuted for a tax evasion scheme involving antiquities and a museum," according to prosecutors. "Jonathan Markell laughed about the article, and then asked the UC if he thought that he (Jonathan Markell) was going to jail (for the tax evasion scheme). Jonathan Markell told the UC that the person who had been caught must have done something pretty stupid, and that the government was not going to look at any donation under $10,000.”

The tax scheme relied on the couples’ assumptions that customs officials would overlook mislabeled illegal shipments and that museums and collectors would fail to conduct the due diligence necessary to verify the archaeological objects’ legitimate collecting histories.


Antiquities mostly from Thailand's Ban Chiang World Heritage site were used to fuel the fraud, according to recitals found in the plea agreement, which described how Jonathan Markell “solicited co-conspirators to buy a 'charitable donation package' that included one or more Ban Chiang antiquities to be donated to a charitable institution.” Then “Silk Roads Design Gallery prepared false appraisals for donations of these antiquities to charitable institutions, such as museums and universities using another person’s name.” Jonathan Markell thereafter “contacted charitable institutions to get them to accept his, defendant Carolyn Markell’s, and his co-conspirators donations.” Specifically, prosecutors alleged:
“On or about December 26, 2003, CAROLYN MARKELL sent an email to a museum representative regarding the provenance of donated items as being a purchase in 1984.
Defendant CAROLYN MARKELL determined that she and defendant JONATHAN MARKELL would purchase items to be donated from a certain co-conspirator. Between an unknown date and January 2008, although defendant JONATHAN MARKELL knew that the seller of a donated item could not appraise the item for tax purposes, he prepared appraisals that falsely inflated the value of donation items he sold as part of a "donation package" he sold to co-conspirators. … In or about April 2007, defendant JONATHAN MARKELL advised an unindicted co-conspirator to change the listed purchase date on a museum donation form because it needed to appear that the co-conspirator had held the item for years, namely, ten years, to take the inflated value as a tax deduction. On or about March 10, 2006, defendant CAROLYN MARKELL contacted a museum curator to discuss the museum's policies and requirements. On or about June 14, 2006, defendant JONATHAN MARKELL solicited a Thailand museum curator's electronic signature which he fraudulently inserted on appraisals of items to be donated that he had prepared. ... On or about March 27, 2007, defendant JONATHAN MARKELL electronically mailed a request to the museum curator in Thailand to sign forms to support co-conspirators' charitable donation tax deductions and to sign six to eight blank forms in blue, to support fraudulently future donations. On or about December 13, 2007, JONATHAN and CAROLYN MARKELL delivered donations to a museum on behalf of a client. Around December 2007, defendant JONATHAN MARKELL donated Ban Chiang antiquities to a museum on behalf of co-conspirators, charging them $3,450 for the items and appraisals to support an $11,425 charitable donation income tax deduction.

Meanwhile, from 2004 through 2007, the Markells regularly donated Ban Chiang artifacts to an unidentified museum(s) and took a charitable tax deduction, “knowing the items had been stolen from the country of Thailand.”

In their steady march toward convictions and incarceration, the U.S. Attorney's Office tapped into its experience with wildlife trafficking cases—an instructive parallel to antiquities trafficking cases. Prosecutors wrote in a sentencing pleading dated Dec 3, 2015:
There are two types of archeological resource looters: (1) the looter that digs up and collects artifacts as a hobby for his or her own personal collection; and (2) the looter that digs up artifacts for the purpose of selling them to brokers or gallery operators. As with the protection of threatened and endangered wildlife species, the key to protecting and conserving archeological resources is to eliminate markets for illicit/looted antiquities. Without the existence of brokers, middlemen, and gallery owners who are willing to knowingly and intentionally profit from sales of parts and products of threatened or endangered wildlife species or looted archeological resources, there is little monetary incentive for wildlife poachers or archeological resource looters to engage in their nefarious trades.

One might be tempted to think that the archeological resource looter squatting in the deep mud and steaming jungle highlands of Ban Chiang, Thailand is primarily to blame for the devastation of pristine archeological sites and the information lost thereby—just as one might be tempted to lay the bulk of the blame for the loss of the last Northern White Rhinoceros at the feet of the poacher who killed it; but that line of thinking is incorrect. It is individuals such as Jonathan Markell ... the importers, the buyers, and the gallery owners who purchase and acquire such archeological resources or wildlife products for profitable resale who are primarily to blame for the underlying devastation. For these are the individuals who create the markets that create the monetary incentives that drive the poachers and looters into the fields.

The government's lawyers thereby laid the groundwork to argue for a prison term, “to reflect that seriousness and to promote respect for the law and to provide just punishment for the offense."

Meanwhile, they made the important point that “[a]rcheological resources are non-renewable. The looting of archeological resources causes widespread destruction of archeological sites and results in the loss of archeological information which would be gleaned from a properly excavated site."

They informed the court as well about the enormous impact of cultural plundering on the Thai people. “Many villages throughout Southeast Asia have been deprived of the opportunity to grow an economy based on archeological tourism because their heritage and archeological resources have been devastated by looting activity to supply to the purveyors of 'stolen time,' such as defendant Jonathan Markell."

Prosecutors poignantly added, "Criminal conduct, like that committed by defendant Jonathan Markell in this case, serves to deprive individuals from other countries of their own distinctive histories and heritages—in essence stealing not just their antiquities, but their 'time and history."

Two witnesses reinforced these arguments when they testified this week at the sentencing hearing. One witness was the NPS agent who investigated the case, and the other was archaeologist Dr. Joyce White, director of the Ban Chiang Project housed at the University of Pennsylvania Museum.

Dr. White analyzed more than 10,000 artifacts, mostly from Thailand, which police obtained through Operation Antiquity, the code name used by NPS, U.S. Immigration and Customs Enforcement Homeland Security Investigations, and IRS Criminal Investigation for the Museum Raids investigation.

In a court Declaration, Dr. White made clear that antiquities exported from Thailand generally require a permit from the Thai Fine Arts Department. But, remarkably, she only saw one or two samples of antiquities where a permit actually had been obtained despite the thousands of samples examined.

Dr. White also noted that most of the artifacts were found intact, indicating that they had been illegally dug-up. “Intact artifacts are rare in archaeological sites and tend to come from human burials,” which would require “large scale excavations.”

The prison term and felony convictions imposed by Judge Pregerson this week are hoped to decrease the incentive to industrially excavate overseas archaeological sites overseas and to deter smuggling of contraband cultural property into the American marketplace.

More details about the cases can be found on Jason Felch's Chasing Aphrodite blog and at Trafficking Culture.

Photo credits: William Schenold and Kiwiodyse

Text copyrighted 2015 by Cultural Heritage Lawyer, a blog commenting on matters of cultural property law, art law, cultural heritage policy, antiquities trafficking, and museum risk management. Blog url: culturalheritagelawyer.blogspot.com. Any unauthorized reproduction or retransmission of any blog post without the express written consent of CHL is prohibited. CHL is a service of Red Arch Cultural Heritage Law & Policy Research, Inc.

Kamis, 13 Agustus 2015

The Night Before the Theft at the Isabella Stewart Gardner Museum

The Concert
Who went to the Isabella Stewart Gardner Museum the night before the notorious theft of over a dozen artworks?

Carmen Ortiz, United States Attorney for the District of Massachusetts, and the FBI released a video last week seeking an answer to this question. “With the public’s help, we may be able to develop new information that could lead to the recovery of these invaluable works of art,” Ortiz announced.

The Storm on the Sea of Galilee
Twenty-five years ago, thieves in Boston stole Vermeer’s The Concert and Rembrandt’s The Storm on the Sea of Galilee among several other pieces. The case remains unsolved a quarter century later.

The poor quality security tape (displayed below) shows a car parked at the rear entrance of the museum. The FBI says that “[t]he car matches the general description of a vehicle that was reported to have been parked outside the Museum moments prior to the theft on March 18, 1990.”

According to agency officials, “The video also shows an unidentified man exiting the automobile and then being allowed inside the Museum, against Museum policy, by a security guard. That event occurred at 12:49 p.m. on March 17, 1990, almost exactly 24 hours before the thieves entered the museum through the same door.

Anyone who has information about the theft or the events captured on the security video should call the FBI at 617-742-5533 or the Isabella Gardner Museum at 617-278-5114.


Text copyrighted 2015 by Cultural Heritage Lawyer. Blog url: culturalheritagelawyer.blogspot.com. Any unauthorized reproduction or retransmission of this post without the express written consent of CHL is prohibited. CHL is a project of Red Arch Cultural Heritage Law & Policy Research, Inc.

Kamis, 30 Juli 2015

Steering Clear of ISIS Loot: Don't Buy, Apply Strict Due Diligence

Ancient artifact collectors share a passion for history, culture, and aesthetics. The best collectors embrace their role as stewards of heritage by dutifully caring for cultural material through conservation, storage, display, and study. But as fighting in Syria and Iraq intensifies, principled collectors are asking how to avoid purchasing "blood antiquities."

Like archaeologists, heritage preservationists, and the concerned public, collectors have seen the disconcerting satellite images of looters' pits that confirm severe damage to the archaeological record, and they have listened to assessments by law enforcement officials pointing out that ISIS/ISIL/Da’esh engages in the looting and sale of antiquities. They are also cognizant of the U.N. Security Council's unanimous decision in February to adopt Resolution 2199, which plainly expresses that terrorists "are generating income from engaging ... in the looting and smuggling of cultural heritage items ... in Iraq and Syria...." And today they learn that the U.S. Senate Foreign Relations Committee will take up S.1887, legislation that is similar to H.R. 1493, which authorizes emergency protections for endangered Syrian cultural property.

To steer clear of collecting potential ISIS loot, Richard Stengel, Under Secretary of State for Public Diplomacy and Public Affairs, recently tweeted this judicious guidance, “Don't sell; don't buy. That's one solution." Collectors would be well advised to heed this recommendation and avoid purchasing cultural heritage objects that appear to have surfaced from war-torn Syria or Iraq.

Yet a number of undaunted collectors will continue to shop the nubilous marketplace, optimistic that they will discover authentic and legal artifacts that, hopefully, do not contribute to terrorist funding or money laundering. For them, caveat emptor should remain the guidepost and strict due diligence the rule, particularly since mounting evidence offers abundant reasonable suspicion that would compel an ethical collector of ordinary caution to demand clear answers from a dealer about the exact origins, export, import, transshipment, and chain of possession of art, artifacts, or antiquities believed to have originated from the Middle East.

The justifiable suspicion that heritage trafficking funds terrorism received added confirmation in May when U.S. Special Operations Forces seized 700 cultural objects during a raid on an ISIS compound in the al-Amr region of eastern Syria. That area borders Iraq's Anbar and Nineveh provinces. The Department of Defense (DoD) implicated the owner of the collection in ISIS combat operations and asserted that the man, known only as Abu Sayaff, "helped direct the terrorist organization's illicit oil, gas, and financial operations as well."

The captured trove reportedly included bronze coins with Greek, Latin, and Arabic inscriptions (top); silver dirhams (right); copper bracelets (bottom left); gold dinars; cylinder seals; and more. As is typical with the black market trade, the genuine articles appear to have been mixed together with reproductions.

U.S. Ambassador to Iraq, Stuart Jones, offered the opinion that the raid revealed more than the ordinary measure of evidence. He contended, during a ceremony repatriating the objects, “These artifacts are indisputable evidence that Da’esh—beyond its terrorism, brutality, and destruction—is also a criminal gang that is looting antiquities from museums and historical sites and selling them on the black market."

Given the totality of data uncovered over the last several years linking trafficked heritage with terrorism, war, and money laundering, the largest community of collectors—museums—have taken steps to warn the public about the proliferation of the black trade. The International Council of Museums (ICOM) in September 2013 published a Red List spotlighting Syrian cultural objects at risk of plunder, and just last month the organization distributed a refreshed Red List covering Iraqi artifacts. The Red Lists help readers identify the kinds of artifacts looted from archaeological sites, stolen from museums, or smuggled across borders so that the distribution and sale of these precious heritage objects can be stopped.

The Red Lists signal extreme caution, and collectors of all stripes would gain peace of mind by provisionally abstaining from the purchase of objects that are believed to have originated from Syria or Iraq. Curbing consumer demand at the present time would have the added benefit of sending a message to suppliers that even the slightest hint of conflict-related commodities will not be tolerated in the legitimate stream of commerce.

Collectors determined to remain in the market, meanwhile, should employ a strict due diligence strategy to sharply limit the chances of acquiring possible contraband or facilitating money laundering. One suggested due diligence guideline—authored by individual collectors and presented to the pro-collecting Ancientartifacts forum in 2009—is titled A Code of Ethics for Collectors of AncientArtifacts. It remains a useful resource today, admonishing collectors to:
  • protect archaeological heritage and uphold the law
  • check sources,
  • collect sensitively,
  • recognize the collector’s role as custodian,
  • keep artifacts in one piece and consider the significance of groups of objects,
  • promote further study, and
  • dispose of artifacts responsibly.
To achieve these goals, the ethics code highlights common sense due diligence and acquisitions advice, including:
  • "Ask the vendor for all relevant paperwork relating to provenance, export etc."
  • "Take extra care if collecting particular classes of object which have been subjected to wide-scale recent looting.”
  • "Verify a vendor’s reputation independently before buying. Assure yourself that they are using due diligence in their trading practices, and do not support those who knowingly sell fakes as authentic or offer items of questionable provenance."
  • "Do not dismember any item, or acquire a fragment which you believe to have been separated from a larger object except through natural means."
  •  "Consider the implications of buying an item from an associated assemblage and the impact this could have on study."
  • "Liaise, where possible, with the academic and broader communities about your artifacts."
Collecting can play a constructive role in the stewardship of legally acquired and suitably documented artifacts. But in today's conflict-ridden environments in Syria and Iraq, guarding against criminal trafficking and the facilitation of terrorist financing is a heightened concern, which should prompt collectors to effectuate appropriate safeguards. "Don't buy" is the best protective measure, while strict due diligence remains a secondary, yet imperfect, line of defense for those willing to assume the risks in the traditionally opaque marketplace.

Photo credit: U.S. Department of State

Text copyrighted 2015 by Cultural Heritage Lawyer. Blog url: culturalheritagelawyer.blogspot.com. Any unauthorized reproduction or retransmission of this post without the express written consent of CHL is prohibited. CHL is a project of Red Arch Cultural Heritage Law & Policy Research, Inc.

Selasa, 09 Juni 2015

House Adopts The Foreign Cultural Exchange Jurisdictional Immunity Clarification Act

The Foreign Cultural Exchange Jurisdictional Immunity Clarification Act passed the House of Representatives late this afternoon. H.R. 889, which received broad bipartisan support by legislators in Congress, now goes to the Senate.

The committee report accompanying the legislation explained that "a provision in the Foreign Sovereign Immunities Act (FSIA) discourages foreign governments from lending government-owned artwork and objects of cultural significance to U.S. museums and educational institutions for temporary exhibition or display. Foreign governments are discouraged from such lending by the possibility that it will open them up to litigation in U.S. courts for which they would  otherwise be immune. This legislation fixes this problem by making a narrowly tailored change to FSIA."

The House adopted similar versions of the bill in the past, most recently in May 2014, but the bills failed to become law.

The CHL blog penned an argument in favor of this legislation in 2012.

The video below, courtesy of C-Span and clipped by CHL, shows today's floor debate.

 

Text copyrighted 2015 by Cultural Heritage Lawyer. Blog url: culturalheritagelawyer.blogspot.com. Any unauthorized reproduction or retransmission of this post without the express written consent of CHL is prohibited. CHL is a project of Red Arch Cultural Heritage Law & Policy Research, Inc.

Kamis, 22 Januari 2015

Opposition to MoU's: A Change in Policy for the Association of Art Museum Directors?

Museums are vital to the protection of cultural heritage. They preserve art and artifacts for the benefit of present and future generations, and they inspire visitors, students, and scholars to appreciate and safeguard history.

Most museums are tax exempt charitable corporations, holding the public's trust as stewards of human civilization. They are expected to lawfully and ethically acquire artifacts. They also are counted on to promote policies that preserve cultural objects.

So it is with interest that the Association of Art Museum Directors (AAMD) last Tuesday opposed the renewal of a Memorandum of Understanding (MoU) meant to retain American import barriers on endangered heritage objects from Nicaragua. The group's objection follows a sequence of opposition to MoU's begun in 2014. Does this mark a new policy direction for the organization?

The AAMD is made up of important stakeholders, representing the directors of some of the largest and most distinguished cultural institutions in North America. The group often recites that “it deplores the illicit and unscientific excavation of archaeological materials and ancient art from archaeological sites and the destruction or defacing of ancient monuments” and that it “is committed to the responsible acquisition of archaeological materials and ancient art.” From this point of departure, the AAMD traditionally has supported—albeit softly—cultural property protection agreements authorized by the Cultural Property Implementation Act (CPIA). Lately, however, even this mild support has given way to clear opposition to bilateral agreements, which serve to protect archaeological and ethnological objects in danger of destruction.

By way of background, the Cultural Property Advisory Committee (CPAC) reviews petitions submitted by foreign nations that request American help to safeguard endangered cultural material. The help given takes the form of U.S. import restrictions on archaeological and ethnological objects in jeopardy of looting. The process used to enact these import barriers is defined by the CPIA, the federal statute that gives effect to the 1970 UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property.

The CPIA requires CPAC members to assess whether a requesting government has satisfied four determinations. The full committee then offers a recommendation to the President about whether he should enact import barriers to protect cultural heritage in jeopardy. If import controls are approved by the White House, a Memorandum of Understanding is signed between the U.S. and the petitioning government. The MoU is often referred to as a bilateral agreement.

When Bulgaria requested American restrictions on cultural goods in 2011, the AAMD told CPAC in a written statement that the "AAMD supports the request for a Memorandum of Understanding from the Republic of Bulgaria with … concerns …..” The organization’s concerns seemed to have swallowed its articulated support, but the AAMD, nevertheless, expressly backed the adoption of the MoU. When CPAC considered a renewed bilateral agreement with Guatemala in 2012, the AAMD once again articulated its “concerns,” but it still offered support for the agreement. The AAMD offered similar backing for the Mali renewal in 2012 (“Subject to the concerns set forth above, the AAMD supports the request of Mali for an extension of the 2007 MOU”). Moreover, the proposed MoU with Honduras in 2013 garnered the AAMD’s endorsement, along with the usual tempering language, “Subject to the concerns raised below….”

Cambodia’s request for a renewed bilateral agreement in 2013 notably attracted the organization's clearest affirmation for an MoU (“For the reasons set forth above, the AAMD supports the renewal of the MOU”). The AAMD, meanwhile, did not offer an express objection to the enactment of an MoU with China, even though its position might be characterized as nuanced.

Then, nine months ago, the AAMD struck an entirely different chord, capped by last week's written comment directly opposing the renewal of a bilateral agreement with Nicaragua.

The AAMD’s statement on the renewal of the MoU with Nicaragua voiced unequivocal disapproval. “The AAMD respectfully recommends that the Cultural Property Advisory Committee … decline Nicaragua’s request…." For the first time, the organization included a paragraph captioned, “All Four Required CPIA Determinations Cannot Be Made for Nicaragua,” although the AAMD actually argued that only two determinations could not be satisfied. Regardless, the group expressed clear opposition to the adoption of an MoU.

The AAMD characterized Nicaragua's request as a plea for an “extraordinary type of protection” that could only be granted if the requesting nation itself proved "significant improvement in the protection of cultural property." The AAMD disquietingly added, “Any time that a country requests and is granted import restrictions without strict compliance with the requirements of the CPIA, the entire program contemplated by the CPIA is placed in jeopardy.”

The objection to a renewed U.S.-Nicaragua agreement followed demurrals aimed at petitions filed by El Salvador and Egypt last year.

The AAMD withheld its support for El Salvador’s renewal request this past September, gingerly writing, “The AAMD encourages the Cultural Property Advisory Committee … to carefully review El Salvador’s compliance …  In addition, the AAMD questions whether renewal of the MOU would meet the test of  19 U.S.C. § 2602(a)(1)(C)(i),” one of the CPIA’s four determinations. “Looting does not appear to have been significantly curtailed even after more than 27 years of United States import restrictions,” the organization added, and it asked “whether a new and different approach to an MOU is necessary.”

With respect to Egypt, the AAMD staunchly advised CPAC in May that it “not recommend any memorandum of understanding … between the government of the United States and the government of the Arab Republic of Egypt … or emergency restrictions at this time.” The AAMD questioned the foreign state's request, pointedly quizzing “Is Egypt Meeting the CPIA Determinants?” and answering the query in the negative, simultaneously downplaying archaeologists' observations of site looting in that country. “At this time, Egypt fails to satisfy at least two of the four determinants,” the AAMD flatly contended.

Given its opposition to bilateral agreements between the U.S. and Nicaragua, El Salvador, and Egypt, will the AAMD oppose future requests for American assistance under the CPIA? If this is the group's new policy, will all 237 members back it?

A number of art museums have been traveling a different road. While countless books and news articles have chronicled how museum collections formed, in part, from plundered archaeological, ethnological, and paleontological material, more than a few major institutions have turned away from--or are starting to turn away from--this legacy of loot.

In fact, the past few years have witnessed a greater awareness among art museum administrators of heritage trafficking. In 2013, for example, the Metropolitan Museum of Art repatriated two Khmer sculptures discovered to have been stolen from Cambodia. The Museum of Fine Arts, Boston (MFA) meanwhile, developed a close cultural exchange partnership with Italy after taking fresh steps to resist the accession of contraband antiquities from that country. The MFA even hired a curator for provenance to bring real integrity to its collecting practices. The Cleveland Museum of Art, the Minneapolis Institute of Art, and the Philadelphia Museum of Art joined the MFA, and they are now among the institutions that employ full-time provenance researchers who perform due diligence investigations to find out the true collecting histories of pieces. Dallas Museum of Art director Maxwell Anderson, moreover, spearheaded the effort to deaccession and repatriate artifacts believed to have been looted and smuggled. He earned praise for injecting principles of fairness and transparency to the discussion on heritage preservation as chair of the AAMD's Task Force on Archaeological Materials and Ancient Art.

Whether the AAMD continues to oppose bilateral agreements or chooses a different direction, only time will tell.

Photo credit: Mike Thorn

Text copyrighted 2015 by Cultural Heritage Lawyer. Blog url: culturalheritagelawyer.blogspot.com. Any unauthorized reproduction or retransmission of this post without the express written consent of CHL is prohibited. CHL is a project of Red Arch Cultural Heritage Law& Policy Research, Inc.

Kamis, 18 Desember 2014

Arts and Artifacts Indemnity Program for Museum Exhibitions: New Budget Law Sets Higher Limits

The Arts and Artifacts Indemnity Program received a significant boost from lawmakers on Capitol Hill this week, and museums are sure to take note.

Tucked within the 1600 pages of the $1.1 trillion budget bill signed into law on Tuesday is a section that raises the indemnity limits for America's largest art insurance program.

Administered by the National Endowment for the Arts, the Arts and Artifacts Indemnity Program protects temporary museum exhibitions against loss or damage and saves nonprofit cultural institutions $30 million dollars a year in costs they otherwise would have spent on expensive commercial liability policies.

That estimate is given by Ford Bell, president of the American Alliance of Museums, who told senators in May that only $100,000 has ever been paid from the federal treasury over the last four decades of the art insurance program's existence.

Congress originally passed the indemnity law in 1975 to cover foreign art on loan to American museums. The statute was expanded in 2007 to cover domestic artworks as well. The law's text is codified at 20 U.S.C. Chapter 26A and 45 C.F.R. Part 1160.

The newly enacted Consolidated and Further Continuing Appropriations Act of 2015 increases the aggregate of loss or damage to art or artifacts from $10 billion to $15 billion for international exhibitions and from $5 billion to $7.5 billion for domestic exhibitions. Coverage for a single international exhibition, meanwhile, goes from $1.2 billion to $1.8 billion. The indemnity limit for a single domestic exhibition rises from $750 million to $1 billion.

The new indemnity limits reflect the higher prices that have been paid in recent years for objects sold on the fine arts and antiquities marketplaces.

Photo credit: Anna Hunter

Text copyrighted 2014 by Cultural Heritage Lawyer. Blog url: culturalheritagelawyer.blogspot.com. Any unauthorized reproduction or retransmission of this post without the express written consent of CHL is prohibited. CHL is a service of Red Arch Cultural Heritage Law & Policy Research, Inc.

Kamis, 31 Juli 2014

Assyria to Iberia Exhibition Highlights Legal and Public Policy Issues Surrounding Foreign Lending

The ancient Assyrian Empire and the Phoenician city-states fascinate museum-goers. But when visitors view Assyria to Iberia at the Dawn of the Classical Age in New York this September, few will be aware of the legal and public policy issues surrounding the Metropolitan Museum of Art’s exhibition. Two are worth highlighting.

On the legal front, the museum secured immunity from judicial seizure of the objects on temporary loan.

The Met billsthe show as a landmark exhibition," which will present "some 260 works of art on loan" that have been “brought together from some four dozen museums in 13 countries.” That's why this immunity is important: it protects the artifacts from potential legal entanglements when they are inside America’s borders.

The U.S. State Department published its decision to grant immunity on July 10.

Congress passed a statute in 1965 called IFSA, the Immunity from Seizure Under Judicial Process of Cultural Objects Imported for Temporary Exhibition or Display 22 USC § 2459. Lawmakers wrote the statute to promote imports of fine art, making foreign art lenders feel confident that their cultural works would not be taken away as a result of any U.S. court action.

The statute protects objects of cultural significance intended for temporary, nonprofit exhibition. The law also prevents a civil litigant from seizing temporarily imported fine art that might satisfy a judgment in a lawsuit.

(For a discussion of the current controversy surrounding the IFSA statute and a congressional attempt to resolve the problem, see earlier CHL posts here and here.)

The immunity given by IFSA is not automatic, which is why the Met petitioned the State Department. That is the federal agency responsible for reviewing immunity requests. The State Department granted the Met’s request because the agency found--as required by the statute--that (1) the objects included in Assyria to Iberia qualify as objects of cultural significance, (2) they were imported pursuant to loan agreements with foreign owners or custodians, and (3) will be displayed by a museum in the national interest.

The immunity covers the specific artifacts on loan to the Met; it does not give the institution itself immunity from possible lawsuits.

The kind of foreign lending encouraged by IFSA and by exhibitions like Assyria to Iberia support the wider policy goals associated with cultural exchanges of artifacts. Foreign lending of heritage objects enlightens minds and hearts. Foreign lending also offers a possible solution to the problem of transnational antiquities trafficking by increasing exchanges between reputable cultural and archaeological institutions, thereby decreasing American museum accessions of undocumented artifacts from the often opaqueart and antiquities market.

On the public policy front, Assyria to Iberia serves to support smaller cultural heritage centers like Almuñecar, Spain. Euro Weekly News reported that the Met asked the cultural heritage department for its Apofis vase and two onyx marble vases that were discovered from nearby archaeological sites. Olga Ruano, Councilor for Culture of the town was quoted as saying “Our cultural heritage attracts prestigious institutions, so it is our duty to protect, preserve and promote it.”

If you visit Assyria to Iberia at the Dawn of the Classical Age later this year, keep the law and public policy issues in mind, which form the backdrop.

Photo: Alex Bruda

By Rick St. Hilaire Text copyrighted 2010-2014 by Ricardo A. St. Hilaire, Attorney & Counselor at Law, PLLC. Blog url: culturalheritagelawyer.blogspot.com. Any unauthorized reproduction or retransmission of this post without the express written consent of CHL is prohibited.

Minggu, 25 Mei 2014

Museums Honor America's Soldiers with Free Admission

Cultural institutions throughout the country will offer free admission to active duty, National Guard, and Reserve soldiers, sailors, airmen, and marines from Memorial Day through Labor Day. These "Blue Star" museums and science centers will once again, as in past years, open their doors to the brave men and women who serve in America's armed forces.

Participants include some of the nations top institutions like the Museum of Fine Arts, Boston; the American Museum of Natural History in New York; the Art Institute of Chicago; and the Los Angeles County Museum of ArtFind a complete listing of all participating cultural institutions here.

Photo credit: Sheila VooDoo

By Rick St. Hilaire Text copyrighted 2010-2014 by Ricardo A. St. Hilaire, Attorney & Counselor at Law, PLLC. Blog url: culturalheritagelawyer.blogspot.com. Any unauthorized reproduction or retransmission of this post is prohibited. CONTACT INFORMATION: www.culturalheritagelawyer.com

Jumat, 23 Mei 2014

Ivory Ban Relaxed A Little - Museums Should Take Note

The federal government in February issued a ban on on the commercial sale of African elephant ivory. The administrative action came about quickly and was soon met by several complaints, including from museums that could no longer import objects made of ivory. See here for background.

USFWS Director Daniel Ashe
Last week, U.S. Fish and Wildlife Service (USFWS) Director Daniel Ashe responded to these complaints by issuing revised rules. Director's Order 210, Amendment 1 and revisions to the regulations under the Convention on International Trade in Endangered Species of Wild Fauna and Flora now now offer some relief to museums, musicians, heirs, and some others.

Under the revisions, museums are advised that carved African elephant ivory—not raw ivory—may be imported for a show so long as the ivory was properly acquired before February 26, 1976. That is the date of the African elephant's entry on Appendix I of CITES, the treaty’s most protective category of endangered species. To qualify, there must also be no commercial transfer of the ivory after February 25, 2014. A valid CITES traveling exhibition certificate must be issued as well.

USFWS explained on its web site, "This is a common sense revision that ... will allow for the import of museum specimens and certain other items not intended for sale."

Last week's change also addressed issues surrounding antiques. "On May 15, 2014, we revised Director’s Order 210 to allow the sale of certain 100-year-old items that were either created in the United States or imported prior to September 22, 1982—the date that antique ports were designated. Prior to this decision to allow enforcement discretion, items imported before September 22, 1982, would not be able to be sold." The USFWS went on to say that, "This is a common sense revision to allow for the sale of items that are 100 years old or older but could not have been imported through a designated antique port." Antique ports are specific U.S. ports where antiques made from endangered animals are imported.

Photo credit: USFWS

By Rick St. Hilaire Text copyrighted 2010-2014 by Ricardo A. St. Hilaire, Attorney & Counselor at Law, PLLC. Blog url: culturalheritagelawyer.blogspot.com. Any unauthorized reproduction or retransmission of this post is prohibited. CONTACT INFORMATION: www.culturalheritagelawyer.com