Art Crime
John E. Conklin
(Author)
Description
This is the only book by a criminologist to look at the full range of crime involving works of art: forgery, fraud, theft, smuggling, and vandalism. It is up to date, drawing on much material from the boom years of the art market in the 1980s and continuing up through the 1990s, and assimilating information from a variety of sources: art magazines, newspaper accounts, and the relatively small amount of scholarship on art crime by art historians and criminologists. In addition to considering the motives of thieves, the book looks at the way art theft is socially organized: the types of thefts that are committed, the ways thieves locate art to steal and how they gain access to it, their use of insiders and fronts, and the way they launder stolen art. The relationship between art theft and organized crime, especially drug traffickers, is investigated. After looking at explanations of art vandalism and the way vandals explain their behavior, the book concludes with a consideration of policies to curb art crime. The entire book is written in a highly entertaining way, packed with case studies of numerous crimes and stories of smuggling, grave-robbing, and skullduggery, that will appeal to a general audience as well as professionals and academics in criminology, sociology, and art history.
Product Details
Price
$132.00
Publisher
Praeger
Publish Date
March 30, 1994
Pages
320
Dimensions
6.42 X 9.38 X 0.93 inches | 1.23 pounds
Language
English
Type
Hardcover
EAN/UPC
9780275947712
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About the Author
JOHN E. CONKLIN is Professor of Sociology at Tufts University. He is the author of a successful textbook, Criminology (Fifth Edition will be published in 1995), as well as Sociology: An Introduction (1987, 1984), Illegal but Not Criminal: Business Crime in America (1977) The Impact of Crime (1975)
bbery and the Criminal Justice System (1972) and editor of The Crime Establishment: Organized Crime and American Society (1973).Reviews
"Criminologist Conklin's engaging and informative study of crime in the art world is the most thorough examination of this complex subject to appear in years. Art crime includes forgery, fraud, theft, smuggling, and vandalism of fine art, antiquities, and ethnographic objects, and more often than not, it goes unreported. Experts hate to admit to being fooled by forgeries; dealers and collectors often indulge in fraud to inflate value but control costs and many thefts are actually commissioned. Conklin describes examples of each type of art crime and, in the volume's most innovative sections, analyzes the social organization of the art world and the methods by which its denizens establish the value of art."-Booklist
..."Conklin spares no group or individual in this expose-museums, dealers, auction houses, corporate collectors, and even the artists themselves are scrutinized. His thorough research is supplemented by a lengthy bibliography. Professionals and general readers alike will find much of interest in this outstanding contribution to a realtively neglected subject."-Library Journal
?...Conklin spares no group or individual in this expose-museums, dealers, auction houses, corporate collectors, and even the artists themselves are scrutinized. His thorough research is supplemented by a lengthy bibliography. Professionals and general readers alike will find much of interest in this outstanding contribution to a realtively neglected subject.?-Library Journal
?Criminologist Conklin's engaging and informative study of crime in the art world is the most thorough examination of this complex subject to appear in years. Art crime includes forgery, fraud, theft, smuggling, and vandalism of fine art, antiquities, and ethnographic objects, and more often than not, it goes unreported. Experts hate to admit to being fooled by forgeries; dealers and collectors often indulge in fraud to inflate value but control costs and many thefts are actually commissioned. Conklin describes examples of each type of art crime and, in the volume's most innovative sections, analyzes the social organization of the art world and the methods by which its denizens establish the value of art.?-Booklist
.,."Conklin spares no group or individual in this expose-museums, dealers, auction houses, corporate collectors, and even the artists themselves are scrutinized. His thorough research is supplemented by a lengthy bibliography. Professionals and general readers alike will find much of interest in this outstanding contribution to a realtively neglected subject."-Library Journal
..."Conklin spares no group or individual in this expose-museums, dealers, auction houses, corporate collectors, and even the artists themselves are scrutinized. His thorough research is supplemented by a lengthy bibliography. Professionals and general readers alike will find much of interest in this outstanding contribution to a realtively neglected subject."-Library Journal
?...Conklin spares no group or individual in this expose-museums, dealers, auction houses, corporate collectors, and even the artists themselves are scrutinized. His thorough research is supplemented by a lengthy bibliography. Professionals and general readers alike will find much of interest in this outstanding contribution to a realtively neglected subject.?-Library Journal
?Criminologist Conklin's engaging and informative study of crime in the art world is the most thorough examination of this complex subject to appear in years. Art crime includes forgery, fraud, theft, smuggling, and vandalism of fine art, antiquities, and ethnographic objects, and more often than not, it goes unreported. Experts hate to admit to being fooled by forgeries; dealers and collectors often indulge in fraud to inflate value but control costs and many thefts are actually commissioned. Conklin describes examples of each type of art crime and, in the volume's most innovative sections, analyzes the social organization of the art world and the methods by which its denizens establish the value of art.?-Booklist
.,."Conklin spares no group or individual in this expose-museums, dealers, auction houses, corporate collectors, and even the artists themselves are scrutinized. His thorough research is supplemented by a lengthy bibliography. Professionals and general readers alike will find much of interest in this outstanding contribution to a realtively neglected subject."-Library Journal
