Ethics
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Survey reveals prevalence of Pace, Gagosian, David Zwirner, Marian Goodman and Hauser & Wirth in exhibition programming
Questions raised about the ethics of employment terms usually associated with discount stores and fast-food chains
Museum closes a cultural gulf
Uncertainty over whether the work—once owned by Goering—was looted has apparently left it unsaleable
Cancellation follows accusations that the object was looted, although no formal claim has been made
Some things are for sale. And some aren’t
In response to The New Museum's current exhibition
Private-collector museums
Director of the Rose Art Museum examines both sides of the argument
Treasures lost in the punitive sacking of Maqdala are subject to restitution claims
Billionaire collector was given a half share in a Charles Deas painting in exchange for funding a Thomas Eakins acquisition
Museums should beware of being used as marketing tools by collectors
A report which concluded that ancient bowls on loan from a Norwegian collector “must have been illegally excavated in Iraq” has not been made public
Visitors are confused and staff suggest that museum is neglecting its artistic mission
Is it time for reform? Murky dealings came to light in 2005 as more collectors began to enter the scene—and brought their cases to court
University College London has set up an inquiry to examine the origin of “looted” bowls on loan from a Norwegian collector
Unlike the heirs of Nazi victims, the descendants of collectors whose art was appropriated by the Bolsheviks are unlikely to have it returned
Saved from Afghanistan by top collector, the manuscripts pose an ethical problem
Museums must set the standard for collectors and dealers, says Manus Brinkman Secretary General of the International Council of Museums
Eugene Victor Thaw on the transformation of tribal art
In the last of our series which publishes talks given in London this summer, Professor Sir John Boardman, Lincoln Professor Emeritus of classical archaeology and art at Oxford, singles out three areas for concern.
An attempt to combat the damage being caused by forgeries and unauthorised castings
It is pointless to pretend that the commercial art world and the worlds of research do not interpenetrate each other. Here we look at the relationship, present and past, and ask ourselves, in what respect is the art historian any different from the lawyer who sells his opinion?