Worldwide Calendar

Threat and Trends: The Traffic and Illicit Trade of Cultural Property forTerrorist PurposesRoundtable Discussion (Virtual, MS Teams)

Read more here: https://www.un.org/securitycouncil/ctc/sites/www.un.org.securitycouncil.ctc/files/agenda_-_roundtable_on_traffic_and_illicit_trade_of_cultural_property_for_terrorist_purposes.pdf

A Symposium of Ideas and Strategies

The reconstruction of Ukraine – carried out not only after but also during a protracted, brutal war – must entail a process of the re-assertion of Ukrainian sovereignty over the country’s built environment as well as its economic, social and cultural fabric. The process of reconstruction should be led by Ukrainian actors and Ukrainian institutions; and it should be informed by a deep knowledge and experiential grounding in Ukrainian culture, society and heritage.

Although reconstruction must be a Ukrainian-led project, it ought also to be undergirded by non-invasive but far-reaching and sustainable international support in terms of funding, expertise and shared knowledge. In this respect, solidarity is a multi-directional process. Reconstruction can usefully be informed by sensitive, empathetic, ecumenical comparisons with other places and contexts which have undergone – or are still undergoing – processes of ruination and renewal.

“The Reconstruction of Ukraine: Ruination / Representation / Solidarity” devotes particular attention to cities, architecture, art, culture and psychological trauma – but the scope of the conversations it aims to start is broader. In due course, the discussions held during the symposium may coalesce into myriad projects, initiatives and experiments undertaken by government institutions, municipalities, educational and cultural bodies and other more interstitial actors. The ambition of this symposium is to establish a platform for dialogue, facilitating communication, collaboration and constructive argument between diverse actors and initiatives.

Register here: https://ucl.zoom.us/meeting/register/tJUkf--srzsrGNcR9TcK4AW9eWhlIFt16bnj

A Symposium of Ideas and Strategies

The reconstruction of Ukraine – carried out not only after but also during a protracted, brutal war – must entail a process of the re-assertion of Ukrainian sovereignty over the country’s built environment as well as its economic, social and cultural fabric. The process of reconstruction should be led by Ukrainian actors and Ukrainian institutions; and it should be informed by a deep knowledge and experiential grounding in Ukrainian culture, society and heritage.

Although reconstruction must be a Ukrainian-led project, it ought also to be undergirded by non-invasive but far-reaching and sustainable international support in terms of funding, expertise and shared knowledge. In this respect, solidarity is a multi-directional process. Reconstruction can usefully be informed by sensitive, empathetic, ecumenical comparisons with other places and contexts which have undergone – or are still undergoing – processes of ruination and renewal.

“The Reconstruction of Ukraine: Ruination / Representation / Solidarity” devotes particular attention to cities, architecture, art, culture and psychological trauma – but the scope of the conversations it aims to start is broader. In due course, the discussions held during the symposium may coalesce into myriad projects, initiatives and experiments undertaken by government institutions, municipalities, educational and cultural bodies and other more interstitial actors. The ambition of this symposium is to establish a platform for dialogue, facilitating communication, collaboration and constructive argument between diverse actors and initiatives.

Register here: https://ucl.zoom.us/meeting/register/tJUkf--srzsrGNcR9TcK4AW9eWhlIFt16bnj

A Symposium of Ideas and Strategies

The reconstruction of Ukraine – carried out not only after but also during a protracted, brutal war – must entail a process of the re-assertion of Ukrainian sovereignty over the country’s built environment as well as its economic, social and cultural fabric. The process of reconstruction should be led by Ukrainian actors and Ukrainian institutions; and it should be informed by a deep knowledge and experiential grounding in Ukrainian culture, society and heritage.

Although reconstruction must be a Ukrainian-led project, it ought also to be undergirded by non-invasive but far-reaching and sustainable international support in terms of funding, expertise and shared knowledge. In this respect, solidarity is a multi-directional process. Reconstruction can usefully be informed by sensitive, empathetic, ecumenical comparisons with other places and contexts which have undergone – or are still undergoing – processes of ruination and renewal.

“The Reconstruction of Ukraine: Ruination / Representation / Solidarity” devotes particular attention to cities, architecture, art, culture and psychological trauma – but the scope of the conversations it aims to start is broader. In due course, the discussions held during the symposium may coalesce into myriad projects, initiatives and experiments undertaken by government institutions, municipalities, educational and cultural bodies and other more interstitial actors. The ambition of this symposium is to establish a platform for dialogue, facilitating communication, collaboration and constructive argument between diverse actors and initiatives.

Register here: https://ucl.zoom.us/meeting/register/tJUkf--srzsrGNcR9TcK4AW9eWhlIFt16bnj

The art trade has always been viewed with great fascination, but also with scepticism and even suspicion. Although its worldwide turnover is relatively modest in comparison with most other markets for luxury goods, the art market’s mechanisms, its peak prices and its scandals, attract a seemingly disproportionate amount of public attention. This attention comes not only from the press and (social) media, but also from film and fiction, where extravagant art trade settings speak of passion and money while dealers are variously cast as educated, smart, eccentric or untrustworthy.

The art trade’s flirtations with the limelight and dealers’ careful self-fashioning of their image have a long history. For time immemorial, collecting art has been an essential part of public and private representation and the trade’s role in this system becomes increasingly evident today. Again and again, art market players have operated with glamorous gatherings and media-rich appearances at fairs, auctions and special events. Art dealers have also promoted their business by polishing their expertise, networks and appearance, thus underscoring the social functions of art. Generations of dealers, even across dynasties, have maintained their position in the international marketplace by socializing with celebrities, politicians, museum professionals and scholars. Indeed some of them, such as Pierre Jean Mariette, John Smith, or Frits Lugt, were distinguished scholars themselves.

Scientific expertise, connoisseurship and institutional clout thus sometimes appear as odd bedfellows of commercial acumen. Similarly, calls for transparency regularly clash with the players’ wish for discretion, while due diligence – also with regard to the origin of objects – sometimes assumes a secondary role when overshadowed by deft marketing strategies or even manipulative operations. Indeed, the often contradictory magnetic fields at work in this market may be fundamental to its high flying public profile. 

The TIAMSA Conference 2022, organized in cooperation with Technische Universität Berlin and the Liebermann Villa Berlin, aims to shed light on the hitherto rarely studied image of the art market, its players and their self-fashioning.

Read more here: https://www.artmarketstudies.org/tiamsa-conference-berlin-2022/

The art trade has always been viewed with great fascination, but also with scepticism and even suspicion. Although its worldwide turnover is relatively modest in comparison with most other markets for luxury goods, the art market’s mechanisms, its peak prices and its scandals, attract a seemingly disproportionate amount of public attention. This attention comes not only from the press and (social) media, but also from film and fiction, where extravagant art trade settings speak of passion and money while dealers are variously cast as educated, smart, eccentric or untrustworthy.

The art trade’s flirtations with the limelight and dealers’ careful self-fashioning of their image have a long history. For time immemorial, collecting art has been an essential part of public and private representation and the trade’s role in this system becomes increasingly evident today. Again and again, art market players have operated with glamorous gatherings and media-rich appearances at fairs, auctions and special events. Art dealers have also promoted their business by polishing their expertise, networks and appearance, thus underscoring the social functions of art. Generations of dealers, even across dynasties, have maintained their position in the international marketplace by socializing with celebrities, politicians, museum professionals and scholars. Indeed some of them, such as Pierre Jean Mariette, John Smith, or Frits Lugt, were distinguished scholars themselves.

Scientific expertise, connoisseurship and institutional clout thus sometimes appear as odd bedfellows of commercial acumen. Similarly, calls for transparency regularly clash with the players’ wish for discretion, while due diligence – also with regard to the origin of objects – sometimes assumes a secondary role when overshadowed by deft marketing strategies or even manipulative operations. Indeed, the often contradictory magnetic fields at work in this market may be fundamental to its high flying public profile. 

The TIAMSA Conference 2022, organized in cooperation with Technische Universität Berlin and the Liebermann Villa Berlin, aims to shed light on the hitherto rarely studied image of the art market, its players and their self-fashioning.

Read more here: https://www.artmarketstudies.org/tiamsa-conference-berlin-2022/

At this program a panel of experienced practitioners will cover some of the hot button legal issues affecting the art world today. This program is intended for those who practice art law, litigation and trust and estates law, as well as those with clients in the art industry, and business executives in the art industry.

Program Fee:
$119 for Members | $219 for Nonmembers
Small Law Firm: $69 for Members

Members who are Law Students, Recent Law Graduates, Newly Admitted Lawyers (admitted for the first time in any state or country 2020-2022), In-House/Corporate Counsel, Judges, and attorney members who practice within the Government, Academic or Not-for-Profit sectors attend this program for free.

Register here: https://www.nycbar.org/cle-offerings/webcast-hot-topics-in-art-law-2022/

A webinar presented by the IBA Art, Cultural Institutions and Heritage Law Committee

Russia’s invasion of Ukraine, which began on 24 February, precipitated the imposition of far-reaching economic and trade sanctions, led by the European Union, Switzerland, the United Kingdom and the United States against Russia and numerous individuals associated with its President. Some of those individuals are heavily invested in and are active participants in the international high end art market. These sanctions have presented challenges to the participants in that market, such as dealers, auction houses and specialty lenders. This one-hour webinar will focus on the law and best practices in navigating this space.

Register here: https://www.ibanet.org/conference-details/CONF2276

Join the BBA’s International Law Section for a cross-disciplinary conversation about the legal, archaeological, and institutional implications of looted artifacts, their ownership, and repatriation. Over the past few years two Supreme Court cases have involved issues implicating international law and allegedly stolen art works. Additionally, museums across the nation and world have been returning pieces from their collections to the artifact’s nation of origin. This program will be a conversation with one of the leading legal practitioners in cases involving allegedly looted art, an archaeologist, and the Curator for Provenance at the Museum of Fine Arts. The panelists will discuss recent cases involving allegedly looted artifacts, consequences for scholarship when artifacts are removed from their primary sites, and how museums examine the provenance of pieces in their collections.

Register here: https://bostonbar.force.com/LightningMemberPortal/s/lt-event?id=a1Y4W000003Df6xUAC

The Fake Symposium is a two-day exploration of how the law understands the space between what is real and what is fake.


The Fake Symposium explores the distinction between the real and the fake in a number of different contexts, and how well that understanding in the legal context maps on to societal expectations. While the law is often forced to make binary distinctions between what is real and what is fake, that distinction can be much more fluid in broader society.

Register here: https://www.eventbrite.com/e/the-fake-symposium-tickets-343200691507 

Opening Reception:

Thursday, September 22, 2022 from 5:00-7:00 pm ET
Program at 6:00 pm ET

Free admission; vaccines and masks required.

A remarkable window into Europe before World War II will be seen by the public for the first time in this photography exhibition, which reveals ordinary life on the brink of radical change. In the summer of 1934, seventeen-year-old Richard J. Scheuer embarked on a two-month journey through France, Italy, Yugoslavia, Hungary, Poland, and the Soviet Union. Informed by the avant-garde street photography of that era, his 35 mm camera captured compelling images — from the Jewish quarter of Warsaw and the Moscow State Yiddish Theater to the bazaars of Yugoslavia and the baths of Budapest. The negatives were developed and contacted but never developed into prints. These newly recovered treasures are being introduced, 88 years after they were created, as powerful witnesses to a now vanished world.

This exhibition is on view from August 22 - December 15, 2022.

Read more here: http://huc.edu/street-visions-europe-1934-opening-reception-registration

The Fake Symposium is a two-day exploration of how the law understands the space between what is real and what is fake.


The Fake Symposium explores the distinction between the real and the fake in a number of different contexts, and how well that understanding in the legal context maps on to societal expectations. While the law is often forced to make binary distinctions between what is real and what is fake, that distinction can be much more fluid in broader society.

Register here: https://www.eventbrite.com/e/the-fake-symposium-tickets-343200691507