So long as museums continue to spend money to acquire even well-provenanced antiquities, they will be signaling that antiquities are worth a lot of money whether well-provenanced or not. That in turn will drive continued circulation of recently-looted artifacts for less-fastidious collectors around the world. Museums should certainly make provenance info about objects acquired from dealers who have been arrested, they need to do much more than that if they want to make a real difference. To begin with, all provenance information about all artifacts that museums consider acquiring — not just about artifacts sold by arrested dealers, not just about artifacts acquired, but also artifacts looked at and refused because the provenance looked dodgy — should be made available for researchers and to the police. Beyond that, museums should shift themselves, and encourage collectors to shift, away from purchasing antiquities so as to reduce demand, and museums should think of ways in which they might generate financial support to help pay for more site guards. One way would be for museums to take out of storerooms and lease out artifacts that collectors would gladly pay to temporarily display (like the Palmyra sculpture the Boston MFA showed for the first time in decades to honor the decapitated Palmyra site director). Another way would be for museums to push collectors and dealers to join them to support the imposition of a tax on antiquities sales, with the revenues dedicated to funding better and more site protection and policing of the illicit trade.
When this worked fine, he could hardly contain his joy, and when he couldn't hear any activity noise outside, at last, he sighed in relief. This didn't last long tho. This damn driver started blasting some of the worst pop songs ever made on the radio... and singing along. Real loud. He could only suffer in silence as music that was terrible even by teenage girls standards drilled into his ears. As for the singing, he was so far off.
It was, but things changed later when I went to the Jos Plateau in Nigeria. I saw these incredible Nok terracotta heads that they bury in the graves for their ancestors. They were potentially million-dollar pieces and I was there to buy them. But then I met the people-the Jos Plateau is very cold at night so we sat around campfires-and they hardly had anything to eat, yet they sit up all night to protect their ancestor's culture from vultures who want to come and dig and steal and kill to get the terracottas. That touches your heart. You can't deal with those things. You don't want to have people dying for art. It was all just a game, but then I was on top of that hill and suddenly confronted with reality. If that doesn't change you, you aren't a human being.
My name is BRAD MONTAGUE. I will be speaking at the Solomon R. Guggenheim Museum in New York City this December. While there, I will be using the opportunity to put the spotlight on some of our nation's youngest artists, giving them the chance to say their work has been shown at one of the most celebrated art museums in the world. For too long, people have smuggled art out of museums. It's time to smuggle some hope in.
To be sure, not every work of art legitimately on the market has an extensive paper trail; however, every work of art that was recently looted will certainly lack documentation. Diligent buyers should be attuned to those gaps, particularly for high-value objects, and do their best to verify anecdotal information through independent research. Even if there is no specific record of a work of art, its ownership history may be supported by circumstantial evidence, such as the collecting habits of previous owners, the provenance of comparable objects, or the recollections of trusted experts in the field.