The UK's export controls of objects of cultural interest are aimed to strike a balance between the need to protect the heritage, the rights of owners and the encouragement of a thriving art market. This is the sixth annual report on the operation of export controls on objects of cultural interest which covers the period 1 May 2009 to 30 April 2010. As well as the Reviewing Committee report, it includes descriptions of 22 individual export cases that were referred to the Committee by expert advisors.
The UK's export controls of objects of cultural interest are aimed to strike a balance between the need to protect the heritage, the rights of owners and the encouragement of a thriving art market. This is the eighth annual report on the operation of export controls on objects of cultural interest which covers the period 1 May 2011 to 30 April 2012. As well as the Reviewing Committee report, it includes descriptions of individual export cases that were referred to the Committee by expert advisors.
The UK's export controls of objects of cultural interest are aimed to strike a balance between the need to protect the heritage, the rights of owners and the encouragement of a thriving art market. This is the fourt annual report on the operation of export controls on objects of cultural interest which covers the period 1 May 2007 to 30 April 2008. As well as the Reviewing Committee report, it includes descriptions of 18 individual export cases.
In this fully revised and updated second edition of Art Law and the Business of Art, Martin Wilson, an art lawyer with more than 20 years’ experience in the field, provides a comprehensive and practical guide to the application of UK law to transactions and disputes in the art world. New to this Edition: • Thoroughly revised guidance on new anti-money laundering requirements • Updated discussion in the context of Brexit and the impact of the Covid-19 pandemic • New coverage of the emerging issues such as the treatment of NFTs and the increased use of internet auctions
While the question of the return of cultural objects is by no means a new one, it has become the subject of increasingly intense debate in recent years. This important book explores the removal and the return of cultural objects from occupied communities during the last two centuries and analyses the concurrent evolution of international cultural heritage law. The book focuses on the significant influence exerted by British, U.S. and Australian governments and museums on international law and museum policy in response to restitution claims. It shows that these claims, far from heralding the long-feared dissolution of museums and their collections, provide museums with a vital, new role in the process of self-determination and cultural identity. Compelling and thought-provoking throughout, this book is essential reading for archaeologists, international lawyers and all those involved in cultural resource management.
The international controversy over who "owns" antiquities has pitted museums against archaeologists and source countries where ancient artifacts are found. In his book Who Owns Antiquity?, James Cuno argued that antiquities are the cultural property of humankind, not of the countries that lay exclusive claim to them. Now in Whose Culture?, Cuno assembles preeminent museum directors, curators, and scholars to explain for themselves what's at stake in this struggle--and why the museums' critics couldn't be more wrong. Source countries and archaeologists favor tough cultural property laws restricting the export of antiquities, have fought for the return of artifacts from museums worldwide, and claim the acquisition of undocumented antiquities encourages looting of archaeological sites. In Whose Culture?, leading figures from universities and museums in the United States and Britain argue that modern nation-states have at best a dubious connection with the ancient cultures they claim to represent, and that archaeology has been misused by nationalistic identity politics. They explain why exhibition is essential to responsible acquisitions, why our shared art heritage trumps nationalist agendas, why restrictive cultural property laws put antiquities at risk from unstable governments--and more. Defending the principles of art as the legacy of all humankind and museums as instruments of inquiry and tolerance, Whose Culture? brings reasoned argument to an issue that for too long has been distorted by politics and emotionalism. In addition to the editor, the contributors are Kwame Anthony Appiah, Sir John Boardman, Michael F. Brown, Derek Gillman, Neil MacGregor, John Henry Merryman, Philippe de Montebello, David I. Owen, and James C. Y. Watt.
This Compendium gives an outline of the historical, philosophical and ethical aspects of the return of cultural objects (e.g. cultural objects displaced during war or in colonial contexts), cites past and present cases (Maya Temple Facade, Nigerian Bronzes, United States of America v. Schultz, Parthenon Marbles and many more) and analyses legal issues (bona fide, relevant UNESCO and UNIDROIT Conventions, Supreme Court Decisions, procedure for requests etc.). It is a landmark publication that bears testament to the ways in which peoples have lost their entire cultural heritage and analyses the issue of its return and restitution by providing a wide range of perspectives on this subject. Essential reading for students, specialists, scholars and decision-makers as well as those interested in these topics.
The UK's export controls of objects of cultural interest are aimed to strike a balance between the need to protect the heritage, the rights of owners and the encouragement of a thriving art market. This is the seventh annual report on the operation of export controls on objects of cultural interest which covers the period 1 May 2010 to 30 April 2011. As well as the Reviewing Committee report, it includes descriptions of individual export cases that were referred to the Committee by expert advisors.
