Warfare of Art & Law Podcast

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Show notes:
0:00 – Caterina Moruzzi on knowing the needs that standards should respond to

1:30 results of the “Authenticity Unmasked” exhibition, part of the CREATEC project sponsored by UK’s BRAID (Bridging Responsible AI Divides) and UK Research and Innovation Programme
4:00 “Authenticity Unmasked” exhibition with 3 artists responding to how AI is changing authenticity: Georgia Gardner, Kinnari Saraiya, dmstfctn
8:00 interdisciplinary aim of BRAID

9:20 “Embracing the Complexities of Authenticity” project
13:45 standards should consider the level of diversity and detail creators want included with their work-ex: creator’s intent for why they used certain tools
16:30 distributing credit and authorship
17:35 types of authenticity discussed in the Content Authenticities article
19:20 ex: Beethoven
22:40 questions raised by the use of AI to build on works by deceased artists like the Beethoven X: AI project
25:30 Matt Dryhurst and Molly Herdon’s project of training AI model on choirs recorded across the UK
27:25 change to “originality” definition
32:00 US copyright approach and A Single Piece of American Cheese
34:40 blockchain use as seen through ORAgen
39:00 pillars of provenance standard – metadata, watermarking and fingerprint
41:00 concerns of creatives from economic harm to loss of identity
44:00 jurisdictional approaches to generative AI
46:50 EU AI Act’s mandatory transparency requirements to establish content provenance under code of practice on marking and labeling AI outputs
48:45 input of creators on policy like through C2PA community
52:45 defining justice for the creative sector: equity of agency and accountability/responsibility
55:40 mark CM hopes to make in her work-to find a proactive approach
59:00 collaborative book project of CM to rethink what the material aspects of creativity mean
1:01:00 Stefania Salles Bruins’ questions to CM
1:03:25 CM: AI versus artistic workshops of artists from Rembrandt to Koons
1:07:00 CM: opt out v opt out issues as seen with AI functionality on phones
1:10:00 Emily Gould's comments
1:13:00 AI agents-possible danger of anthropomorphizing AI agents
1:16:00 authenticity
1:17:00 case study related to responsibility-reporter in war zone who doesn’t want certain metadata disclosed as seen with Georgia Gardner’s exploration of an author’s process when they don’t want all info disclosed
1:19:20 face value of ‘responsibility’ in regard to liability and the ability to receive feedback on your work from the environment such as critics even if you don’t disclose your identity
1:21:30 what creativity is, what a work of art is
1:25:20 SSB: Tolstoy’s definition of great art as requiring universality, sincerity and specificity

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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Please visit LEVA, 6th Edition's site to learn more.

Show Notes:

0:00 Prof. Stephen Urice describes Law, Ethics, and the Visual Arts

1:30 Urice's background

3:25 Hon. Simon Frankel's background

6:00 SU: evolution of Law, Ethics, and the Visual Arts (LEVA)

9:00 SF: changes in LEVA, 6th Ed.

11:40 SF: 6th Ed.’s accessibility and increased framing

12:25 SU: 6th Ed.’s shift in perspective to a more centrist presentation

14:00 SF: 6th Ed.’s usefulness for a broad audience

15:20 SU: examples of stories in 6th Ed, e.g., Naruto v. Slater, (9th Cir. 2018)

16:00 SU: Brancusi v. US, 54 Treas. Dec. 428 (U.S. Customs Court 1928)

17:25 SF: variety of materials in LEVA, e.g., articles, statutes, transcripts, novels

18:20 SF: Examples of cases about the authenticity of works and the disconnect between legal judgments and art world valuations: Greenberg Gallery v. Bauman, 817 F. Supp. 167 (D.D.C. 1993), aff’d without opinion, 36 F.3d 127 (D.C. Cir. 1994) (Calder sculpture held to be authentic by the trial judge versus expert Klaus Perls’ rejection of the work)

20:30 SF: Herstand & Co. v. Gallery Gertrude Stein Inc., 211 A.D.2d 77 (N.Y. App. Div. 1995) (remand on authenticity of Balthus drawing despite Balthus' repudiation of the work)

22:40 SU: colorful settings and range of legal issues arising in art-related cases

24:45 ethical issues arising in art-related disputes, e.g., restitution claims

26:35 SF: Museum Studies Scholar Marie Malaro, the law makes us only bearable, not honorable.

27:00 Holocaust Expropriated Art Recovery Act of 2016; HEAR Act of 2025

31:50 LEVA website and its future resources

34:10 SU: AI-generated discussions about issues in LEVA, 6th Ed.

36:00 SU: 6th Ed. updates

37:05 SF: generative AI issues in pending suits

40:00 LEVA, 7th Ed.

41:30 Feedback from readers of 6th Ed.

42:15 Tax issues covered in 6th Ed.

45:50 SF: definition of justice

47:50 SU: ethical concerns in defining justice to aim for honor

50:00 SF: mark he hopes to be making

50:55 SU: mark he hopes to be making with LEVA

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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Show Notes:

1:35 Patrick McGranaghan’s background

2:45 McGranaghan’s work with Pierre Valentin

3:05 focus on collision of culture and infrastructure

4:45 “evidential fog” around AI in the arts

6:00 abstract nature of these AI issues

7:00 his writing on these issues to navigate these issues

8:30 EU’s AI framework “recognizes the structural nature of the problem” – can’t be minor updates to old copyright debates, “AI creates problems of scale, opacity and jurisdictional arbitrage that traditional legal categories do not solve very elegantly.”

10:00 incentive for jurisdiction shopping

11:40 Getty v. Stability AI in the UK

14:05 EU AI Act’s extraterritorial obligations

15:00 EU AI Act, Article 53: general purpose models brought into EU must comply with EU copyright law, including opt out reservations; and detailed summary of training data

17:55 UK’s approach is more exposed to loopholes

19:25 opt in versus opt out systems

21:35 Kadrey v. Meta

22:55 the burden placed on creators by the opt out system

25:45 sporadic licensing deals and unclear remuneration standard

27:30 interoperability

28:40 impact of robots.txt

31:15 Alan Robertshaw re: impact of AI on the practice of law

34:50 AI defamation cases

36:20 McGranaghan - need for lawyers regardless of AI

37:25 Robertshaw - legal professions’ varied approaches to AI

38:55 AI and astronomy

40:30 moral conflict with not compensating artists

43:00 justices/injustices related to AI

46:45 market harm created by AI

49:25 definition of justice

53:05 protections that artists can use, e.g., robots.txt, metadata, units based protection, Glaze and Nightshade

58:00 mark Patrick hopes to make around AI and art

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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Cover photo of Rick Allen - copyright Cindy Burnham, Lucky Shot Productions

Show Note:

0:00 Nautilus Productions' Co-Founder Rick Allen gives the history of Allen v. McCrory - suit against NC over Allen's footage of the Queen Anne's Revenge Shipwreck

1:20 SCOTUS’ 9-0 decision in Allen v. Cooper that the Copyright Remedy Clarification Act of 1990 (CRCA) was unconstitutional

2:00 NC’s technical arguments against Allen’s claims

2:55 court's use of pendant jurisdiction to wipe out 5 years of Allen’s case

3:45 petition for rehearing en banc denied

6:45 states’ use of sovereign immunity against creators

8:50 Jeff Sedlik’s suit over use of his photo of Miles Davis as a tattoo

9:30 Michael J. Bynum’s suit over Texas A&M University’s unauthorized use of Bynum’s 12th Man book (complaint here; dismissal of copyright infringement claims against A&M employee discussed here)

11:00 Allen’s recommendations to artists to protect their work online

13:35 Emily Gould’s discussion of LAION case

17:00 Bartz v. Anthropic - 23 June 2025 Order on Fair Use in N.D. Cal.

19:50 Allen on opt out policy

20:20 Visual Artists Copyright Reform Act (VACRA)

21:00 Gould on survey by DACS (the Design and Artist’s Copyright Society)

23:00 response to UK government’s consultations

24:00 UK House of Lord’s hearings

24:30 Allen on artists not understanding impact of generative AI

26:00 Gould on UK judgment from trial in Getty v. Stability

28:50 Gould on judgment in GEMA v. Open AI

31:55 Lauren Stein on ChatGPT and law school's encouragement to use AI

33:00 Getty v. Stability in UK – Getty’s drop of direct infringement claim and appeal of ruling on secondary infringement claim

35:50 UK’s Section 9(3) - copyright protection for original work created by a machine

39:20 Stein on copyrightability and Japan’s approach to sufficient human authorship

41:40 Gould on Beijing Internet Court's judgment in Li v. Liu

42:05 Allen’s position on AI

44:00 Gould on authenticity and human contribution

47:35 Ed Newton-Rex

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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Photo of Zoë Buckman by Abbey Drucker

show notes:

1:10 background as a multi-media visual artist

7:00 Buckman’s dialogue with agency

9:25 her use of embroidery

10:40 filmmaking

11:00 Show Me Your Bruises, Then

14:25 exhibition at the Perez Museum

18:50 power of art

22:00 Artist Tracey Ehmann

23:45 exploration of personal issues in her work

26:15 her work on Jewish personhood

34:30 erasure and gaslighting of Jewish artists

37:00 show at Mindy Solomon Gallery

41:00 Jewish people’s complicated relationship with the home

42:45 her definition of justice / injustice

45:40 how her work addresses her view of justice / injustice

49:30 use of vintage textiles

51:45 coffee table book

52:45 2027 NY show

53:30 collaboration with Actress Cush Jumbo

54:50 the legacy Buckman hopes to make with her work

56:15 multiple truths she addresses in her work

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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To learn more, please visit Ronnie Stephens' site and view his TEDx Talk

1:50 background of Ronnie’s “legacy journey” as a member of the Quapaw and Cherokee Tribes

3:30 1897 allotment of 240 acres to Stephens' great-grandfather

4:30 Quapaw Tribe’s relocation from Arkansas to Oklahoma

6:30 McGirt v. Oklahoma, 140 S. Ct. 2452 (2020)

9:00 issues identified by Tribal Leaders

10:50 Dawes Commission and Burke Act

17:00 management of allotted land

19:25 Emily Gould – question about allotted land

24:45 Keeping Traditions Alive exhibition

26:20 Killers of the Flower Moon rewritten with input from Osage Nation

27:55 Echo film involved input from Choctaw Nation

30:00 Alan Robertshaw–Prey-film with Native American heroine

31:55 Dark Winds series

33:30 policy shifts needed

38:30 NAGPRA and its amendments

43:45 education needed for cultural sensitivity

46:00 BBC Documentary: Rich Hall’s Inventing the Indian

49:20 Lauren Gowler–question about historic US federal laws

55:00 definition of justice

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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Photographer credit: Simon Strong

Here is more information about Alana Kushnir and Aurelian Lawyers & Advisers.

Show Notes:

1:45 update since Alana’s 2021 interview at Ep. 43

3:45 rebranding to Aurelian Lawyers & Advisers

5:00 LinkedIn posts by Alana and Guest Work Agency

8:00 antisemitism in the arts

13:00 resignation from Australian Centre for Contemporary Art’s Board

13:35 Australian news article led to her public cancellation

15:55 Serpentine Gallery's removal of her after 5 years as the lead on its research programme, The Legal Lab

20:00 steps forward to address hypocrisy in the arts sector

20:55 service on Jewish Museum of Australia’s board

21:40 her curation of Chutzpah: Spirit. Recollection. Self.

23:20 Georgian Artist Nina Sanadze's “Call to Peace” Series

27:40 Sanadze’s use of flowers from Bondi Massacre in future sculpture

30:30 Israeli-German Artist Elinor Sahm’s "Ha'layla"

31:30 Simm’s family archive used to show a Jerusalemite-Sepheradic “Hafla” (traditional celebration and gathering)

33:35 Alana's aim to bring back the depth of Jewish culture and history

37:25 Alana’s dream project to highlight the Jewish community's contribution to Australia's culture, especially Jewish women

39:30 education to bring together Jewish and non-Jewish communities

42:50 current relevance of the Holocaust

45:00 Jewish community from former USSR at the Bondi massacre

46:50 moral courage as a form of justice

48:00 legacy to create culture not fear, to emphasize integrity and loyalty

49:15 her work with Arts Patron and Hospitality Icon Rinaldo Di Stasio

50:05 Di Stasio’s commission of Artist Sean Gladwell for a moving image work in flagship restaurant, Di Stasio Città

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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Show notes:

1:30 background

3:30 My English Persian Kitchen

5:15 Sheherazade, narrator of One Thousand and One Nights

5:45 My English Persian Kitchen author Atoosa Sepehr’s efforts to address misconceptions about Iranians

7:30 Reading Lolita in Tehran

9:45 choice of roles that challenge the stereotype about Iranians

10:10 Apple TV series Tehran

12:00 defenders of human rights

14:25 response to Iran’s formal and psychological censorship of creative community

16:45 Artist Soheila Sokhanvari

18:30 Women Life Freedom movement

21:00 global response to human rights’ violations in Iran

23:00 the meaning of justice in terms of accountability

24:20 future projects

27:25 legacy / mark of her work

28:55 creative process and connection with other creatives

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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multidisciplinary artist/visual journalist/filmmaker/education worker Bayeté Ross Smith

Show Notes:

2:00 Bayeté Ross Smith’s background, work and collaboration

7:00 relevance of colonialism in transnational issues

9:50 collective brain trust/collective culture

14:30 employing technology with storytelling

20:30 creatives’ protection of their metadata

24:40 “art” and “data” as information

27:50 “human authorship” and copyright

34:25 bias proliferation with AI

39:40 power of art and media to raise awareness

44:50 “restorative justice” to mitigate and deter harm so individuals can flourish

54:00 current and future projects, including Got the Power Boomboxes: Sugar Cane and Cotton, Hip Hop 50 Boombox, video game project and collaboration with legal community

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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Please visit Steven Gambardella's site here to learn more.

Show Notes:

1:15 background in the arts

4:00 Dutch philosopher Spinoza’s parallels with Hellenistic philosophies

5:20 Gambardella’s Become As You Are

7:30 “Stoic Kitsch” blog post

9:00 individual agency and collective action

11:00 crisis of agency

11:20 emergence of stoicism

14:00 four-fold root of virtue

20:10 four facets of autonomy, perspective, objectivity and control and their relation to the four virtues of wisdom, moderation, justice and courage/fearlessness

21:25 Steven's blog

21:45 Stoic view of justice relates to ignorance

26:00 moralism

27:00 Seneca, tutor and advisor to Roman emperor Nero

32:00 applying ancient Stoic ideas in current day

35:35 Stoicism and Philosophy Reading Group

38:30 summary of Stoicism: Virtue is the only good; and you have full control over the domain of your soul/your “inner citadel”

40:20 Stoicism at a crossroads

43:45 his hope to contribute to a revolution of the soul that encourages a view of the world that is more holistic and spiritual

45:40 Question from Susanne van der Meer about the paradox in Stoicism about the responsibility of agency versus a Stoic view of incarceration

55:00 Stoic view of fear and desire

1:00:00 Comments from Emily Gould

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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IP attorney Massimo Sterpi

Massimo Sterpi photo by Eolo Perfido

Show Notes:

1:30 Sterpi’s work with emerging tech

2:30 shift in use of emerging tech/arts issues

3:55 Brazilian artist Eduardo Kac's transgenic work

4:30 blockchain / NFT as a testing area

5:10 generative AI and copyright

6:20 copyrighted works as training data

12:25 11 Nov 2025 judgment by Munich Regional Court in GEMA v. OpenAI (Case No. 42 O 14139/24)

14:20 fair use in the US

17:05 copyright of outputs

23:55 "A Single Piece of American Cheese"

26:00 Gema decision’s impact on OpenAI’s business model

29:00 UK decision in Getty v. Stability AI

32:30 harmonisation

34:20 collective licensing as a solution for AI training

36:20 view of justice/injustice with emerging tech in the arts

38:40 cultural impact of emerging tech

42:00 Christie’s auction of "Portrait of Edmond de Belamy"

43:40 2024 Venice Biennale - The Conference on Art and AI’s “The Neo-Synthetic: A Dialogue on Art, A.I., and Emergent Aesthetics”

44:30 expanding area regarding the roles involved in outputs

46:40 authenticity becoming enigmatic

47:00 attempts to create digital scarcity

47:55 different standards of creativity

48:30 neighboring rights for AI

50:00 Italy’s protection of “simple photographs” versus “photographic works”

50:40 UK’s Section 9(3) copyright of outputs fictionally attributed to human involved

52:40 Agentic AI

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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Link here to learn more about Marina Heintze.

Show Notes:

1:00 Heintze’s background in the arts

2:30 sculptures of Heintze's father

3:30 Heintze’s use of materials

5:30 current events addressed in Heintze’s work

6:20 Politics series – gerrymandering

7:25 Bullet proof vests – assassinations and deviseness

7:45 Holocaust addressed in her work like “Gentian Violet Violence”

8:30 "Yitler” and “Dog Whistle” pieces

9:50 Heintze’s family research that led her to work with bone planters

11:20 archival research used in her work

13:35 "The eyes are the windows to the neshama/soul"

15:20 Lure series regarding nefarious organizations

19:50 how/whether her works address justice/injustice

21:50 work related to B2 bombers

22:50 Tunnel Talk / Vision series

27:25 feedback on Tunnel Talk / Vision series

31:40 Banksy image removed from Royal Courts of Justice

34:15 Holocaust denial and free speech

36:40 Alan Robertshaw – importance of work on the Holocaust

38:45 David Irving v Penguin Books and Deborah Lipstadt – 1996 UK Judgment

42:20 facts of genocide/terrorist acts

48:10 camouflage IP

50:30 design of Arab nation flags

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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Photographer credit for Anja Neubauer: self-portrait created with an AI tool.

Show Notes:

2:30 Prof. Tim McFarlin’s focus on copyright and authorship

3:30 Dr. Caterina Moruzzi’s philosophical/design perspective / focus on authenticity

5:00 Dr. Anja Neubauer's focus on global AI/copyright framework

5:50 Artist Lisa Lebofsky’s perspective on AI as a nomadic painter

8:45 “Authenticity Unmasked”–looking at the artistic process not the product

9:55 “Authenticity Unmasked” insight-centrality of human perspective

12:00 Neubauer–redefinition of terms like originality in light of emerging tech

13:30 Getty v. Stability finding outputs are not copies so not infringements

14:55 McFarland–genAI’s scale and redefining understanding of terms

17:05 US state and federal laws

19:00 need for unified global protection

19:50 Alan Robershaw – UK Getty decision’s technical focus on the process

21:40 Defining originality

22:10 Getty opinion at 601 v. AI models are memorizing/making copies

24:00 Robertshaw - one step away from judicial definition of consciousness

24:40 McFarland – scale is the concern

25:35 Lebofsky – how prior claims of infringement fit into AI/appropriation of artists’ works

26:20 McFarland – ‘substantially similar’ takings are prima facie infringement subject to fair use defense

27:10 consideration of outputs flooding the market harm

29:25 Lebofsky – use of AI through tools like AI Charm Lab app

31:00 Lebofsky’s view of threats to her style and her language

32:45 human requirement for ‘authorship’ and consumer trends

35:55 Moruzzi – human effort to value the process

37:15 Process visible in generative AI circa 2015 v. current genAI’s less visibility and thus less authenticity

38:30 Anthroprocentric – human need for authorship

40:20 Robershaw - Monkey-selfie case; animal versus machine personhood

43:15 McFarland – Arkansas statute on AI

44:40 Gould – UK Section 9(3) - limited copyright for output in person who organized the output

45:00 Neubauer – issue of term “equipment” for tools

46:50 Gould – current copyright legislation is not fit for purpose

48:35 Distinction between camera use and AI model training

49:05 Copyright Criminals documentary regarding music sampling

50:00 Sampling case involving Kraftwerk

51:35 Moruzzi – response to consultations

53:00 McFarland – extent of law v. parallel tracks to copyright or other alternatives to preserve and protect human creativity

54:00 Stefania Salles Bruins–solutions outside the law

54:40 Copyright not fit for purpose

55:20 Neubauer - Shift in definition of artwork

55:45 Lebofsky – how to establish boundaries

57:25 Lebofsky’s work

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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Show Notes:

1:45 introduction of The Surviving Project

5:45 three parts of Through Their Eyes Exhibition

7:00 Wings of Hope messages

9:00 stories from the delegation

10:15 exhibition mission

11:30 future cities for the exhibition: Chicago, Atlanta, LA, NYC, Toronto

12:40 how the exhibition addresses theme of drawing strength from what’s lost

15:00 defining justice – the way of getting back is continuing on

16:30 legacy of the exhibition

18:00 Through Their Eyes Exhibition

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

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Oluwatobi Aluko photo by Praise Samuel

Show Notes:

2:50 Tobi Aluko–Nigerian copyright

5:30 Nigeria’s national AI strategy and creative sector

7:25 Emily Gould – query on tech sector’s strength in Nigeria

9:40 debate over UK’s copyright provision for machine-generated work

11:40 Johan Brandstedt - Sweden’s approach to copyright

13:40 Czech Republic case on AI and copyrightability

16:40 Aluko – prompting versus creating art that involves effort/process

19:00 US copyright for A Single Piece of American Cheese

20:30 Prof. Ahmed Elgammal - background of AI use in the arts

23:45 19th C. French case on copyright of photographs that show originality

24:45 US refusal to copyright AI outputs

26:35 Bartz v. Anthropic and Kadrey v. Meta

30:45 AICAN project

32:55 GAN-based art movement celebrated prior to prompting

33:55 “Text-to-Image Generators Have Altered the Digital Art Landscape—But Killed Creativity. Here’s Why an Era of A.I. Art Is Over”

34:25 artists survey on value from AI

37:15 backlash of Christies’ auction of Generative AI works

41:50 Elgammal – effort versus intentionality e.g., DuChamp/ready-made art

42:30 intentionality and agency missing with prompting and random output

51:40 AI's cultural impact

1:04:30 Beethoven X project

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

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Show Notes:
1:30 background
2:45 shift to add activist element to her art
4:00 response to 7 October 2023 during residency at LMCC
5:30 ‘artivism’
5:45 workshop at Israeli American Council event
6:45 Rosh Hashanah gift for families of hostages
9:00 how her work facilitates justice
12:30 defining justice through recognition and healing
13:20 work as a curator to connect voices
13:50 “Artists on Antisemitism” exhibition
15:00 co-curated with director of Jewish Art Salon
15:40 LA-based artist Marina Heinze included in exhibition

15:45 Joan Roth
17:30 Ronit’s “David” kisses painting included in exhibition
19:40 Chai meaning alive
19:50 use of technology in her work as a bridge for global participation
21:40 heat-activated work that shows happiness levels like mood rings
23:25 Stefania Salles Bruins: connection between art and justice making whole
26:00 work by Marina Heinze in Artists on Antisemitism exhibition
27:10 other exhibitions she has curated
27:50 work in the antisemitism exhibition
28:40 fellowship in Germany in collaboration with German Academic Exchange Service (DAAD) - art's importance in memory and justice
29:00 urgency of keeping the Holocaust alive in the conversation today
29:45 murder of Ukrainian refugee Iryna Zarutska
30:00 to hold and carry memory forward to inspire vigilance and resilence
30:40 artists as witnesses of our time and responsibility to be an activist
32:00 “Wandering Jew” project for 2026 Jerusalem Biennale
34:00 Drawdy’s definition of justice
34:50 Drawdy’s focus on stories to highlight
35:20 Alan Robertshaw’s comments
36:00 art speaking for itself
36:50 “Written in Water” and “Project Forgiveness” - 2018 NY Spring/Break

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Cover photograph credit: Jessica Minor

Link to PowerPoint presentation referenced in episode is available here.

Show Notes:

1:20 intro and background

2:40 Slide 4 - Overview of Part I: 6 & ½ tips & tricks: 1 – perspective & point of view; 2 – Light; 2-1/2 – shadow; 3 – value / contrast; 4 – temperature; 5 – depth and illusion of 3-D; 6 – line

5:00 Slide 5: Point 7 - Brushstrokes

6:35 thickness of paint

7:00 blending with dry brush

8:00 Slide 6: Point 8 - Layering

9:40 ‘fat over lean’ rule

11:15 scumble – layer of opaque white

11:30 glaze – transparent layer over an underpainting

12:40 Slide 7: Point 9 - Paint as a Language

15:50 Slide 8: Point 10 - The Figure

19:45 Slide 9: Point 11 – The Palette

32:40 glazing

33:50 Slide 10: Point 12 – Studio Practice

42:50 figurative group show with artist from Hip Bone Art Studio

43:45 process of applying to shows

45:00 narrative/figurative and surrealist approach to still life work

46:05 artist statements

48:45 sharing WIP and final works

51:20 connection to the cranial optic nerve – thinking with our eyes when painting

1:00:00 painting from imagination with focus on ‘technique in service of art’

1:02:10 how to deal with writers’ block and painters’ block

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Cover photo by Rhonda Dumas, Pieface Photography

Show notes:

2:00 Museum of Southern Jewish Experience beginning

2012 MSJE moved to Jackson MS and became part of Institute of Southern Jewish Life

3:30 4th year in New Orleans

4:50 MSJE’s mission

5:45 Chapman Family Research Center

6:00 archival vault – over 375 collections and over 4,000 artifacts

7:20 genealogy workshops

10:00 artifacts from southern Jewish general stores, e.g., 1890s saloon’s whiskey jug

12:30 collection digitization

13:35 Jewish orphans’ home exhibition

14:30 MSJE’s film

15:20 A Better Life for Their Children exhibition

18:00 Greetings From Main Street exhibition

22:00 French Jews from Alsace-Lorraine

23:00 Central European Jews

23:55 Galveston Plan – Rabbi Henry Cohen

26:00 New Americans exhibition at St. Charles Parish Library

26:30 love story of Joseph Sperling and Anni Frind

36:00 New American Clubs

38:00 relevance of Holocaust survivors’ stories

39:45 rapid response collecting

41:00 view of justice

42:00 lynching of Leo Frank and southern Jewish mayors

44:00 social justice

44:50 Howard Turner – rapid response collecting

45:00 Emily Gould – slave trader memorials, e.g., Colston Statue in Bristol

48:00 Confederate statues built often by the Daughters of the Confederacy

50:45 future exhibition by MSJE on current war

52:00 Turner: school visits at MSJE

53:45 MSJE hours

54:35 Shalom Y’all video, etc. on MSJE site

56:00 visit to MSJE

56:55 interactive map on St. Charles streetcar line

57:30 New Americans - upcoming MSJE exhibition

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To learn more, please visit Dr. Hartung's site.
2:30 Jonathan Petropoulos' Faustian Bargain: The Art World in Nazi Germany
2:50 Hartung’s 2005 book, Art Theft in War and Persecution
3:25 representation in 2014 of Cornelius Gurlitt regarding the Gurlitt Trove
5:20 Gurlitt exemplifies issues with Germany’s soft law towards art restitution
6:50 twelve works from Gurlitt Trove confirmed as looted
7:15 works from Gurlitt Trove with historical gaps in provenance
8:50 Germany’s task force – 5 million Euros
10:20 degenerate art in Gurlitt Trove
11:10 works on loan from private collections seized as degenerate
11:40 Paul Klee’s “Swamp Legend” from Sophie Küppers
13:30 Kandinsky’s “The Colorful Life”–Irma Klein / Lewenstein Family
17:10 Germany’s shift from advisory commission to an arbitration tribunal
22:30 restitution of “The Colorful Life"
23:40 "Blick in Ebene" by Paul Adolf Seehaus to Koppel heirs
24:10 Gibb's "Aeneas and his Family Fleeing Burning Troy" to Hartveld heirs
24:35 Sir Justice Moses, chair of UK’s Spoliation Advisory Panel
26:00 restitution-Waldmüller’s “Young Girl with Her Family” looted from Teresa Belthower; acquired by Nazi photographer Heinrich Hoffmann
28:00 looted art scandal at Bavarian State Painting Collections
30:50 suit over Friedrich von Amerling’s “Girl with a Straw Hat”
37:05 Emily Gould–restitution by Bavaria versus other German states
39:55 no formal restitution schemes in Spain and Belgium
41:25 whistleblower from Bavarian State Painting Collections
42:50 Markus Stötzel, attorney for Flechtheim heirs
44:00 Picasso’s “Madame Soler” taken from Paul von Mendelssohn-Bartholdy; Bavaria refused to accept its body’s restitution recommendation
47:20 Hartung’s view of justice
48:00 Germany’s arbitration system-public versus private holders of work
50:40 new framework’s guidelines-presumptions and burden
53:55 new framework’s guidelines-dealers and work on commission
55:50 Hartung’s hope to contribute to higher justice and remembrance
57:20 Stolpersteine
1:01:55 Aluko, Stein & Gould

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To learn more about Silvia Wistuba and her work, please visit here and here.

Cover Image: Wistuba's adaptation of work by artist Julie Wolfthorn for the cover of Jugend magazine (1898).

Show Notes

0:00 Silvia Wistuba on equality of artists

1:15 Wistuba’s background

2:30 Gabriele Münter

4:30 ‘Malweiber’ meaning

6:00 timeframe of ‘Malweiber’ labeling – 1871-1918

8:30 research process

12:00 regional approach to research

15:00 twelve female artists focused on in research

16:30 finding that art is not gendered

18:15 Charlotte Corinth

21:30 Dora Hitz

22:40 Maria Slavona

24:25 Augusta von Zitzewitz

25:20 Erma Bossi

26:25 Elisabeth Epstein

27:23 Maria Franck-Marc

30:30 Gabriele Münter

32:25 Elisabeth Erdmann-Macke

34:25 Ida Gerhardi

36:30 Fifi Kreutzer

37:55 Olga Openheimer

40:30 range of resources

43:30 Blue Rider Group

45:30 Gabriele Münter’s donation to Lenbachhaus (Munich)

49:00 Museum Art of the Lost Generation

51:30 current relevance

53:30 need for discourse on art’s social context

55:08 social justice for artists of the past

55:20 defining justice as respect shown to all

56:25 feedback

58:10 challenging the sexist paradigm that art is gendered

59:40 plans to convert thesis into book

1:00:15 derogatory nature of term ‘Malweiber’

1:01:45 cover image inspired by Julie Wolfthorn’s image

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Show notes:

0:00 Dr. Fiona Greenland discussing collabarative work with Curia co-founder Dr. Michelle Fabiana

2:00 Dr. Michelle Fabiani's background

3:40 Dr. Greenland’s background

5:40 collaboration between Greenland and Fabiani

7:10 overview of Curia Lab

9:40 Informatics, the science of information

11:30 Syrian project - how robust and reliable data on scope of Syrian looting was with a review of remote sensing imagery

15:10 participants in Syrian project

17:20 Syrian project – evidence on whether there is a connection between Syrian civilian fatalities/casualties and cultural heritage looting

22:45 prelude hypothesis

27:50 war in Ukraine and its effects on Ukrainian culture

32:00 how the data is used to inform accountability

34:30 Greenland’s work with Conflict Observatory Ukraine

36:00 Ukrainians’ current restitution, reparations and accountability efforts

37:50 user guides for each area

42:30 Fabiani’s PhD project on Egyptian archeological looting

44:00 current project that builds on PhD project

46:00 impact of technology on their approach, including disinformation

50:00 complications created by AI, including generative AI

54:00 perspective of skepticism required

56:30 online risks and need for mitigation

58:15 how their work speaks to justice

58:30 Miranda Fricker’s book Epistemic Injustice: Power and the Ethics of Knowing

1:02:30 questions of justice for whom

1:05:30 Lauren Stein: question on the role of universities in Curia Lab

1:07:50 hope for their work to establish frameworks of cooperation and collaboration that cherish equal access to knowledge/information that would then lead to equal access to accountability

1:09:10 hope for their work to facilitate a shift to a multi-disciplinary approach

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SHOW NOTES:

0:00 artist & attorney Gina McKlveen

1:05 artist & retired judge Jerry Alonzo - the impact of depression

3:00 documentary American Symphony

3:50 Suleika Jaouad - release she experienced by painting about cancer

6:00 Alonzo’s “Out of Balance”

6:40 “Civic Sacrement"

8:20 woodwork during Alonzo’s time as a judge

9:00 “The Jury Box”

10:45 “The Judgment”

11:45 “Justice is God’s Plumb Line”

12:30 Environmental works like “Monstronse”

13:15 “Justice?”

14:15 “Passage”

14:40 “Faltering”

16:00 “Arc”

16:25 asylum work inspired “Matthew 25”

20:30 importance of leaning into the pain

21:35 Emily Gould’s comments

23:30 American Symphony - leaning into anxiety through art

26:25 McKlveen’s response to Alonzo’s work

26:45 “Upturned House” by Phyllida Barlow

27:20 “Inflated Balloons”

27:50 Carnegie International

28:40 McKlveen’s work leaning into grief and loss

29:35 “Fisherman on the Roof”

37:45 “Mermaid Mama”

39:25 “Stay Wild”

40:15 “Heather’s Mama”

42:00 McKlveen’s grandparents

44:50 portraiture versus still life works

47:00 other artists who created still life paintings as portraits, e.g., Van Gogh

48:30 Alonzo’s response to McKlveen

49:05 Gould’s response to McKlveen

49:45 Oluwatobi Aluko’s response

51:00 McKlveen’s planned portrait of grandmother with post box like Mona Lisa

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

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To learn more, please visit Father Harmon's site.

Show notes:

1:15 Harmon’s background and work as priest since 2008

2:10 teaching fine arts and being a pastoral resource at Loyola University

3:00 his work in the arts

8:20 history of art in Jesuit community

12:00 Daniel Segers, Jesuit Priest and artist

12:30 Harmon’s process as a painter in light of being a ‘work of service’

16:00 Harmon’s painting from pilgrimage through Spain

17:30 students’ responses

19:15 his attendance at New York Academy of Art

23:30 Jerry Alonzo: how to communicate through your art

26:45 Pope Benedict XVI’s Encyclical Letter Caritas in Veritate

28:20 definition of ‘sacred art’

30:30 seeking social justice through art

32:00 his work in Brownsville, TX connected to his art

33:00 his series of Catholic objects

35:30 his balance of time

37:25 Alan Robertshaw’s comments about all art being sacred

42:10 Tolkien and Flannery O’Connor on religious imagination

44:00 incorporating Catholic objects into his work

46:50 Emily Gould - spiritual impact of artwork/architecture/nature

49:15 Jarnick Vitters - importance of the physical objects to Harmon’s faith

51:00 Alan Robertshaw - subjective importance of objects

53:30 Yelena Khajekian - art as a sacred endeavor

54:40 Nnebundo Obi - interest in hearing about priest’s pursuit of other vocations

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

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Show notes:

3:00 David Newhoff - question of authorship

7:15 Peter Wasilko

9:00 Andres Guadamuz - blog post on AI copyright authorship

10:30 China’s focus on “intellectual achievement”

12:20 Section 9(3) of its Copyright, Designs and Patents Act 1988

13:00 Emily Gould - whether copyright is fit for purpose

13:30 UK joint evidence session on the future of AI and copyright law

17:15 Newhoff - use of an artist’s style

18:40 Wasilko - an artist’s training of a model with its own work

20:15 artist's post-stroke gen-AI recording from model training on his work

21:00 Salles Bruins' question on definition of intellect

25:40 - Ankit Sahni - China’s protection

28:30 Sahni - India’s position on creativity falls in the middle

29:00 Ankit Sahni - RAGHAV output “Suryast”

33:45 Ankit Sahni - protection of AI-assisted works by China’s courts

35:00 Wasilko - hypothetical of photographing sunsets on VR headsets

36:50 Ankit Sahni - USCO’s case by case basis

37:50 Newhoff - what is actually protectable against infringement

39:30 Sarony decision: looking at human choices used to create photos

41:00 Newhoff - ‘authorship by adoption’ is a “bridge too far”

42:15 Salles Bruins - question about training in Wasilko’s hypothetical

43:10 Wasilko - “bridge too far”-requiring license to “learn” from works

48:00 Stanford’s CodeX Group - talk on product JudgeAI

50:30 Andres - human creativity exists irrespective of copyright

52:00 Salles Bruins - copyright is a tool to enable artists to profit

53:30 Kritika Sahni - defining intellect dependent on AI context

54:50 Ankit Sahni - sui generis system of registration

58:45 Gould - applying a right like copyright to output "tough" to get right

1:02:00 Guadamuz - Ukraine’s sui generis right for AI works

1:03:45 Jason Jean - defining intellect

1:08:50 Newhoff - unconvinced that it’s a “sui generis question”

1:09:30 Wasilko - whether inputting human work makes model “assistive”

1:13:00 question of global copyright approach

1:17:15 what is the end game?

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

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To learn more, please visit Anja Neubauer's site.

Show Notes:

1:30 background in the law and tech

4:45 overview of global framework “AI and Authorship Redefined: Towards a Global Copyright Framework for Commerce and Human Originality - Exploring Ownership, Infringement, Moral Rights, and Human Originality”

12:35 question of authorship

19:35 moral rights

26:30 viability of global copyright

28:20 issues of injustice raised by AI

34:30 German study about developers’ infringement

38:00 public’s choice to lock up data

39:00 The Congress

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

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To learn more, please visit Amineddoleh & Associates LLC and view Leila Amineddoleh performing Chopin Polonaise, Op. 26, No. 1 and Liszt Liebestraum No. 3.

Show Notes:

1:00 Amineddoleh’s background and work in music and law

4:00 Patty Gerstenblith

7:00 building Amineddoleh & Assoc.

8:45 Amineddoleh's work with Greece

10:00 perspective as musician aids in work as attorney to other artists

11:00 Amineddoleh's experience with plagiarism

14:20 Amineddoleh’s practice

15:45 Foreign Sovereign Immunities Act

19:50 artists’ perspectives in hiring an attorney

22:50 Jerry Alonzo: what brings artists to seek out Amineddoleh

26:00 return of golden coffin of Nedjemankh

31:45 use of AI

36:30 AI-assisted Beatles song

37:45 analogy of photography to AI outputs

38:20 Japanese photographer Hiroshi Sugimoto

39:45 suit over copyright of monkey selfie

41:45 Thaler v. USCO

44:30 Rupali Gujral: negotiating on a client’s behalf

48:30 Stefania Salles Bruins: history of art collecting

52:30 Bruins: Amineddoleh's balancing of legal and musical practices

54:00 Amineddoleh’s perspective on sharing her music and performing

56:30 Liszt’s Hungarian Rhapsody No. 2 played by Bugs Bunny

57:20 Amineddoleh’s performance of Chopin Polonaise, Op. 26, No. 1 and Liszt Liebestraum No. 3

59:00 under-appreciated composer Brahms

1:01:20 injustices in art law

1:04:30 Amineddoleh’s definition of justice - access

1:06:00 John Cage’s 4’33”

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To learn more, please visit Frances Liddell's site.

Show Notes:
0:00 Frances Liddell on justice and technology
1:30 Liddell’s background
2:50 CryptoKitties
3:50 NFTs
5:20 ORAgen
& DECaDE research centre
7:20 C2PA
8:15 tokenized rights
9:45 ORA use cases
10:30 themes from ORA interviews
12:15 YouTube as a supportive platform v. TikTok
13:00 smart contracts and licensing
15:00 perspectives on attribution
16:30 Emily Gould question on attribution
24:50 animation sector with stronger preference for attribution not open source
26:45 interviews revealed uncertainty on data scraping
29:50 lack of awareness about the environmental impact of blockchain
31:50 repatriation and blockchain and her work as associate research fellow with
Art & Antiquities Blockchain Consortium
34:50 Balot NFT - Balot sculpture in Virginia Museum of Fine Arts
37:30 ORA project status
38:15 ORAgen Fables
39:00 recommendations for creatives: to review C2PA & Content Credentials
41:00 Gould: responses during interviews about copyright concerns
45:30 location of individuals interviewed
47:20 impact of tech on issues of injustice - benefits/concerns surrounding decentralization
50:40 current work with ORA
51:30 Oluwatobi Aluko

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Show Notes:
1:00 Anki Sanhi
1:45 Sahni’s background and work
5:00 Eric Raymond’s The Cathedral and the Bazaar - essay on open source development
6:40 association with the arts
7:45 trademark enforcement work
10:00 infringement case between client working in fashion space sued by global brand
12:30 origin of the Raghav project
16:45 process to use Raghav
18:30 Van Gogh’s Starry Night
21:00 Raghav = Robust Artificially Intelligent Graphics and Arts Visualizer
21:45 Indian copyright application for “Suryast”
25:40 Section 2(d) of Indian Copyright Act, definition of author
34:30 Canadian copyright application for “Suryast”
35:35 Notice of Application filed in Canadian Federal Court by Samuelson-Glushko Canadian Internet Policy and Public Interest Clinic (CIPPIC) against Sahni over “Suryast”
37:10 US copyright application for “Suryast”
37:35 Sahni’s US Counsel, Alex Garens, Esq. with Day Pitney
38:00 USCO decision on “Suryast”
43:30 India’s definition of ‘author’ - no qualifications
46:50 Parliamentary Standing Committee recommended creation of new right for AI works per Sahni’s recommendation
47:05 February 2024 - Union Minister of State Commerce in India’s Parliament submitted that there is no need for creation of a new right and current legislation offers sufficient protection
48:45 ambiguity in Canada law on AI
49:40 USCO’s Request for Comments
52:00 Sahni’s position of need for amendment of US law to address AI
53:50 Optimus
54:50 Definition of justice
56:30 global harmonized principles on AI
57:30 injustice of humans unknowingly competing against AI due to historic suppression of AI use
59:00 Sahni’s intent to contribute to the change in law to address AI
1:00:00 consultation with Ryan Abbott, Esq.
1:00:50 Future projects
1:02:20 shaping issues where art and law intersect
1:03:30 cultural impact of the debate over human authorship, AI and art
1:04:30 comparison of photography to AI

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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Cover Image: Artist's MFA Studio - Tribeca Ball.
To learn more, please visit Stefania Salles Bruins' site.

Show Notes:
1:15 art school’s training to visually think
2:00 Bruins’ work as attorney
2:30 overview of grad program at New York Academy of Art
5:00 medium: use of linseed oil and paint without medium
5:30 tools: importance of brushes
6:15 support: Bruins’ preference for aluminum
7:15 Vincent Desiderio’s Cockaigne
8:00 Lesson 1 Perspective
8:45 Point of View
9:30 Lesson 2 Light
10:50 Lesson 2.5 Shadow
11:30 Rembrandt’s The Nightwatch
12:00 Lesson 3 Value
12:55 Lesson 4 Temperature
13:05 Courbet’s The Madman or The Desperate Man
13:50 Steven Assael - king of temperature shifts
14:20 Lesson 5 Depth
15:00 Value is King, Temperature is Queen and Color is a Fool
15:30 Lesson 6 Lines
15:40 shapes within da Vinci’s Mona Lisa
17:00 Adam Miller - narrative large oil paintings
17:20 Carl Dobsky
17:30 NYAA Big Stories exhibit artist talk
18:00 transitions within grad school and post-grad
19:40 learning to be your own voice of reason - parallel with work as general counsel
20:55 Old Masters Rembrandt and Vermeer
21:55 Alan Robertshaw: Vermeer’s use of optics
23:00 SSB: application of illusions in cinema and inspiration from movies more than paintings
24:00 Kubrick's Barry Lyndon
24:50 use of grids and projectors
27:15 use of technical and human assistants
28:45 critiques
30:00 art historical references to read the work
31:20 Nnebundo Obi: time commitments within art grad school
32:50 Escoda brushes
33:00 use of aluminum
34:45 advice for individuals who want to begin painting
35:30 always clean your brushes!

see also:

JP Roy's IG post re light

checkerboard illusion

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

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To learn more, please visit the World Culture Project and read about D. Paul Schafer's most recent book, The Great Cultural Awakening

Show Notes:

0:00 Schafer quotes Gurte: “live in the whole , the good and the beautiful”

2:15 background

7:50 Ontario Arts Council

8:15 Arts Administration and Cultural Policy graduate program at York University

8:45 freelancer-UNESCO, Canadian Dep’t of External Affairs

9:25 publications predicated on argument that it’s time to shift from Economic Age to Cultural Age

9:50 creation of the World Culture Project

16:40 Culture: Beacon of the Future (1998)

18:10 AI impact

18:45 Geoffrey Hinton’s concerns over AI

20:50 Revolution or Renaissance: Making the Transition from an Economic Age to a Cultural Age (2008)

24:25 The World as Culture: Cultivation of the Soul to the Cosmic Whole (2022)

30:05 The Great Cultural Awakening: Key to an Equitable, Sustainable and Harmonious Age (2024)

42:30 future leaders should have backgrounds in the arts and culture sector

46:50 Feedback received about The Great Cultural Awakening

48:00 excerpt from The Great Cultural Awakening’s chapter titled Tale of Two Ages that references Charles Dickens’ Tale of Two Cities

53:00 the power of art to address social injustice

1:00:00 definition of justice

1:02:20 Cultural Historian Johan Huizinga, author of The Waning of the Middle Ages

1:04:20 legacy

1:06:40 future projects

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

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Send us a Text Message.

Show notes:

1:20 background and work in IP law and technology

2:20 blog article, “What can internet history teach us?”

3:25 IP issues emerging in the age of AI

5:10 inevitability of AI

6:40 global regulation of AI

8:25 Emily Gould - which body would handle global regulation of AI

11:00 Council of Europe’s adoption of first AI international treaty

11:50 Gould - UK proposal to expand text and data mining exception to cover commercial uses

14:55 transparency issues

18:40 Gould - response - need for legislation

20:20 authorship question

21:40 THJ Systems v. Sheridan (THJ Systems Ltd. v. Sheridan [2023] EWCA Civ 1354, [2024] E.C.D.R. 4, CA, 20 November 2023) is of great interest because it confirms the test for originality in copyright law in the UK after Brexit.

22:55 Li v. Liu, Case Number: (2023) Jing 0491 Min Chu No. 11279, Beijing Internet Court, 27 November 2023

25:00 NFTs

25:30 Thaler v. Perlmutter and USCO, USCA Case #23-5233

29:30 continued utility of copyright

32:40 AI copyright suits in the US

36:30 cultural impact of AI models’ accelerated training capabilities

38:20 view of whether there is a future for careers in art

42:50 tools like spawning.ai for artists’ protections

43:00 opt ins versus opt outs

43:50 technological protections like Glaze and Nightshade

45:15 difficulty of implementing opt ins

47:45 injustices in the AI age and definition of justice

50:33 mark that Andres hopes to make with his work

53:40 Stefania Salles-Bruins - IP protection for AI software and outputs

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

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To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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Send us a Text Message.

To learn more about Tetiana Cheprasova, please visit her page at Agency of Artists in Exile.

Special thanks to Valentina Kostornichenko for acting as interpreter in this episode.

Show Notes:

0:00 Tetiana Cheprasova's view of the war in Ukraine & interpreter Valentina Kostornichenko

1:30 Cheprasova's background and work in painting, photography, sculptures and graphic design

4:50 Giovanni Ercolani’s book The Maidan Museum Preserving the Spirit of Maidan. Art, Identity and the Revolution of Dignity that features Cheprasova’s paintings inspired by Caravaggio

8:00 from Cheprasova's Depassement portfolio - paintings of hands, including wounded hands signifying stigmata

10:30 Mariupol woman who inspired Cheprasova

20:40 ‘Stop Emotions’ series of 9 paintings

25:00 Cityscapes of Mariupol

29:30 sculpture that’s part of new work to depict destruction in Ukraine

34:00 Parisian architecture

35:00 consequences of war

38:00 power of art to address social injustices and the impact of war

41:00 Cheprasova's view of justice

45:40 Cheprasova’s work as art therapist

49:20 Cheprasova’s hope for viewers of her work

53:00 Giovanni Ercolani’s questions to Cheprasova

56:00 if only one person is impacted by your work, it’s worth doing

56:50 Artists as witnesses of their time

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

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To learn more, please visit Angie Elita Newell's site for All I See Is Violence.

Show Notes:

1:20 Newel’s background

4:00 impetus to address historic inaccuracies

4:50 women warriors

5:30 research process

7:20 perspectives decided on for All I See Is Violence

8:45 interconnectedness of all

10:15 timelines within All I See Is Violence

11:50 reading from All I See Is Violence

16:50 archival research

18:45 surreal stories from elders

20:40 feedback

21:40 Custer

22:40 power of art to address social issues

23:00 Picasso’s Guernica

25:00 reparations

25:50 the Very Little Truth and No Reconciliation Committee

27:00 reservations / prison camps

28:30 publishing process and manipulation of the truth by the big 5 publishers

32:30 Indigenous Poet Joy Harjo

33:30 American Indian movement in the 1970s

35:50 concept of justice related to awareness

38:40 next book tells story of Apache leader Geronimo and female warrior Lozen

43:50 research on Lozen

45:00 Mexican slave trade of indigenous people

45:45 questions from Anjali Rao

47:00 to build dual timelines, Newell asks questions about what’s the point and building on that overarching point

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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Music by Toulme.

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Cover Photo by Nils Paellmann

0:00 Restitution Study Group (RSG) Executive Director Deadria Farmer-Paellmann

1:30 overview of suit and issues raised

4:30 Prof. Tobias Skowronek’s findings on the metals contained in the manillas

7:00 Dismissal of suit against Smithsonian based on mootness

7:55 court order that Plaintiffs conceded points and waived arguments

8:45 ruling in OK reparations case for the 1921 Tulsa Race Massacre

10:30 Nigerian declaration by outgoing President Buhari

12:00 critical argument that transfer was ultra vires

13:00 Administrative Procedure Act - failure to hold public hearing on ‘ethical transfers’ creates First Amendment issue

15:00 opinion on Nigeria’s position

17:00 DNA research as to descendants from Esan People from Benin Kingdom

19:00 Benin Kingdom’s enslavement of their females

20:15 Manchester Museum’s 2023 repatriation to Australia’s Aboriginal Anindilyakwa community of Groote Eylandt

21:00 change in narratives offered by Frankfurt’s Museum of World Cultures and Berlin’s Humboldt Museum
22:45 ancestral dedications at institutions holding Benin Bronzes

23:30 Benin Kingdom Museum in Harlem, NY

25:15 underreporting on lawsuit

26:00 shock about value of Benin Bronzes - a classic Wakanda story at end of first Black Panther film

28:20 potential for justice in US lower federal courts and in SCOTUS

31:00 narrative attached to the Benin Bronzes

33:30 Illinois State Rep. Carol Ammons - Joint chairwoman of Illinois Legislative Black Caucus meeting with Chicago's Field Museum

34:30 NY Legislator involved in work of RSG

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Music by Toulme.

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To learn more, please visit Fast Familiar's site.

Show Notes:

0:00 Briscoe discussing justice

1:20 Briscoe’s background in theatre and co-founding Fast Familiar

3:15 2015 project ‘Invisible Treasure’ about systems of power

4:40 2018 began work with computational artist Joe McAlister

5:20 technological solutions for use in projects

6:30 The Justice Syndicate

8:40 The Acquisitions Panel

9:40 collaborations

10:25 The Evidence Chamber - forensic science work with University of Dundee

13:00 use of comic strip with forensic information in The Evidence Chamber

15:40 Curse of the Burial Daggers

18:00 Smoking Gun - collaboration with Data Stories

23:00 outcomes in jury shows and influence of current events

25:25 machine learning with data gathered through projects

26:45 process

28:40 Future for Fast Familiar

30:30 justice defined

32:20 feedback

35:35 arts to address social issues

38:20 2024 projects

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

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To learn more, please visit Laura Morelli's site.

Show Notes:

0:00 Laura Morelli discussing the WWII era art looting

1:15 genesis of writing about the looting of Florentine art collections in The Last Masterpiece

2:45 German Jewish artist Rudolph Levy as guest of German Art History Institute

4:30 Stolperstein for Levy

5:00 perspectives in WWII Italy: museum officials, German expatriates and Allies

8:30 German Eva Brunner and American Josephine Evans - characters in The Last Masterpiece

9:30 decisions on where to begin and end The Last Masterpiece

13:30 decision to use fictional characters versus historical figures in book

14:40 German Art History Institute Director Prof. Friedrich Kriegbaum

16:00 Kriegbaum’s participation in Hitler’s 1938 tour of Florence

18:25 Brunner’s back story

20:10 German photographer Hilde Lotz-Bauer who worked for Prof. Kriegbaum photographing Allied damage to historical monuments in Florence

24:15 Evans based on Women’s Army Corp (WACs)

28:25 women who worked with and supported the Monuments Men

29:00 justice in terms of the individual actions and decisions that enabled the survival of art looted during WWII

31:30 books by Robert Edsel and Ilaria Dagnini Brey

32:15 survival bias

33:30 van Dyck painting

33:40 Uffizi Director Eike Schmidt’s work for Germany to return looted Dutch painting

35:00 impact of propaganda during WWII

38:10 Michelangelo’s Secret Room with 16th C drawings

42:20 2024 release of book related to hiding places in Tuscan countryside in 1943-44

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

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To learn more, please visit Barbara Hinske's website.

Cover photo of Barbara Hinske, 2020 Jean Laninga Creative.

Show Notes:

0:00 Guiding Emily Series to effect change for good in the sighted community

1:15 background in engineering and the law

2:00 whodunit books by Barbara’s father

2:25 double vision by auto accident led to Rosemont series

3:55 her approach to writing while still working as an attorney

7:00 work with a writing coach

8:15 writing coach Linden Gross

8:45 Author Conference on Clubhouse

10:30 Rosemont Series

13:50 Guiding Emily Series

14:45 Guiding Emily movie on Hallmark in April 2024

15:00 genesis of Guiding Emily at Foundation for Blind Children

22:50 discrimination against the visually impaired community

24:45 unemployment rate of the visually impaired community

26:00 panel to address employability of individuals from visually impaired community

30:05 viewers@hallmarkmedia.com

35:20 exclusion of unsighted parents

37:30 guide dog graduation ceremony

40:20 Guiding Emily presentation

41:40 power of art to shift and address social issues

42:00 The Christmas Club

44:00 pregnant unsighted individual’s experience

45:30 Canadian child at Foundation for Blind Children

46:55 definition of justice

49:15 The Write Approach podcast

51:20 Hinske’s strong older female protagonists

53:50 Final Circuit

57:30 self-published in e-book and print; traditionally published in audio

58:00 Hinske’s legacy to uplift, encourage and empower

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

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Many thanks to M.C. Sungaila who sparked the idea for "Manifestation of Freedom".

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

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Show Notes:
0:00 M.C. Sungaila discussing history / preservation of space exploration
1:50 Sungaila’s Portia Project Podcast interview with Space Law Expert Michelle Hanlon
2:45 Sungaila’s experience with University of Mississippi School of Law’s Air and Space Program
5:30 unclear language related to space law
8:00 mining on the moon
9:40 lessons from Holocaust-era restitution cases like Cassirer v. Thyssen-Bornemisza Collection Foundation
12:30 For All Moonkind
13:30 International Symposium on Cultural Heritage in War and Peace: Tangible and Intangible Cultural Heritage through Past, Present and Future
16:45 Sungaila’s proposed framework to create space cultural heritage commission
22:45 The Artemis Accords
24:50 Italian Opera added to UNESCO intangible cultural heritage list
25:15 treaty requiring registration of space objects
25:35 For All Moonkind’s moon registry
26:10 One Small Step To Protect Human Heritage in Space Act
27:40 Sungaila’s projection
29:30 Dubai space court
31:25 urgency of space cultural heritage preservation
32:40 definition of justice
35:40 9th Cir's 9 Jan 2024 opinion in Cassirer and the question of ethics and law
39:45 Mismatch between domestic law and international obligations
42:10 Institute on Space Law and Ethics
44:00 issues related to satellites, drones, air taxis

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

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Cover image by Nosrat Tarighi of Sanjay Sethi at an AFI event entitled Revolutions and Movements

To learn more, please visit the sites for Artistic Freedom Initiative and Sethi & Mazaheri, LLC.

Show Notes:

2:00 overview of Sethi’s background and work as Founding Partner of Sethi & Mazaheri, LLC and Co-Executive Director of Artistic Freedom Initiative (AFI)
3:45 genesis and mission of AFI
5:00 AFI’s services
8:00 AFI’s residency program
9:00 AFI’s Artists for Social Change
9:45 challenges to helping artists
13:00 AFI’s creation of a sponsorship model
13:30 AFI’s program in Germany
15:00 determination of artists in imminent danger
16:20 assistance for female artists
18:20 university placements for female artists
18:40 the New School’s fellowships for Afghan artists at risk
19:00 Germany’s program for artists at risk
21:00 Journals of Exile at the Berliner Ensemble
22:10 programs through AFI’s Artists For Social Change
23:45 Brazilian Singer Songwriter Bia Ferreira
25:20 AFI’s Afghan Artists Protection Project & Iranian Artists Support Project
27:00 challenges of single intent visas like student visas and O-1 visas
28:30 denial of entry based on immigration intent for Afghan versus Iranian artists
30:00 applications from Myanmar, Egypt, Nicaragua, India and particular Kashmir
31:00 impact of prior and upcoming elections
31:30 Poland shifted back to center left with loss of Law and Justice (PiS) party
31:50 Slovakia’s election of Robert Fico with agenda similar to Hungary’s Viktor Orbán
32:00 Slovenia’s election of liberal Robert Golob
32:10 Brazil’s election of leftist former president, defeating Pres. Jair Bolsonaro
32:15 Indian PM Narendra Modi’s Hindu Nationalist Party projected to win
32:30 elections in Italy and the Netherlands
32:45 new and different threats to cultural sectors globally
33:00 AfI’s Artistic Freedom Monitor - initial reports on Poland and Hungary
36:00 regimes replaced museum/cultural institution heads with right wing politicians
36:00 Curation of shows under those regimes would conform to nationalist ideals
37:25 defunding anti-regime institutions or anti-Catholic in Poland
37:50 intimidation of non-conforming artists
38:10 Poland’s use of blasphemy law to criminally charge non-conforming artists
38:00 chilling effect of such subversive mechanisms
39:15 AFI’s position that arts decisions should be merits-based and non-ideological
39:30 response to Artistic Freedom Monitor’s reports
40:00 erroneous belief that arts are inconsequential in public & political dialogue
41:35 elevation of AFI’s advocacy efforts to an international forum
44:00 collaboration to lobby for artistic and creative freedom
45:00 impact of artificial intelligence
47:50 legacy of his work
49:50 how his notion of justice has evolved

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Music by Toulme.

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Show Notes:
2:00 Dr. Joanna Sliwa’s background
4:20 Dr. Elizabeth White’s background
5:20 Majdanek concentration camp
8:00 1989 - White received the manuscript of Dr. Janina Mehlberg’s unpublished memoir from Dr. Arthur Funk
10:30 Dr. Janina Mehlberg’s humanitarian work in Polish concentration camp during WWII
12:20 Mehlberg’s alias as Countess Suchodolska
13:30 2018 - Dr. Joanna Sliwa began work with Dr. White to research Mehlberg's memoir
15:00 reading from The Counterfeit Countess
20:00 balance of co-authoring The Counterfeit Countess
22:20 research process
24:00 surprises from the research
27:45 Countess Karolina Lanckorońska
30:30 Saturnina Malm
33:30 Dr. Stefania Perzanowska
35:00 view of women’s roles during war and instances of persecution
38:00 empathic approach of Mehlberg as a model for today
42:00 propoganda
46:00 individual ways to address hate
49:00 justice
51:45 legacy
54:30 Sliwa’s focus on marginalized groups, including future volume on experiences of older jews before, during and after the Holocaust

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Music by Toulme.

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Show Notes:

1:00 overview of thesis topic
3:00 2018 music video at the Louvre by Beyoncé and Jay Z
3:55 Advertising campaign by Louis Vuitton that featured Joan Mitchell paintings
6:00 2020 Uffizi promotional campaign to promote Botticelli exhibition
7:25 Uffizi’s TikTok account posting with Dua Lipa
8:10 criticism of Uffizi campaigns
9:20 Approaches by EU and UK
11:20 Influencer marketing
14:35 EU Directive
30:10 Italian approach
33:00 liability under Italian case law and consumer code
35:30 historical events that caused Gallo’s choice on research and thesis
37:00 Emily Gould
38:20 Alan Robertshaw
43:15 risks and contractual issue with fees
46:20 Gould
47:45 Gallo on InstaGram disclosure

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Music by Toulme.

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To learn more, please have a look at Dr. Ercolani's book, The Maidan Museum: Preserving the Spirit of Maidan.
Show Notes:
1:00 Ercolani’s background
3:50 Ercolani’s focus of Ukraine
6:40 research and writing The Maidan Museum: Preserving the Spirit of Maidan
11:40 new Maidan language created that includes symbols
14:45 portraits by Marina Sochenko
16:50 Yulia Ovcharenko
17:45 Tatyana Cheprasova
18:20 Cheprasova’s use of Caravaggio
19:00 Oleksandr Ivanovych Melnyk’s “I Can See Your Deeds”
19:45 Melnyk’s “I Can See Your Deeds”
20:25 French anthropologist Marc Augé - ‘anthropology of encounter’
21:15 Marina Sochenko’s art as documentation
21:55 Artistic Hundreds group
22:15 Artist Ivan Semesyuk with Artistic Hundreds
26:15 Kandinsky quote that artists are receivers and beneficiaries
28:15 Maidan art and a new world order
33:45 NATO
36:45 Maidan revolution and the current war
41:00 memory of identify and identity war
42:05 author Andrey Kurkov’s move to Ukraine to have the identity of Ukrainians
43:25 significant of preserving art and cultural heritage in times of conflict
47:00 his legacy
49:50 his definition of justice
51:15 the constitution of Melfi by Emperor Frederick II
53:15 link between Russian-Ukraine War and Maidan Revolution
58:45 next projects focused on conflict in society
1:00:30 anthropological identity work tied to art and cultural heritage
1:02:30 artist seen as enemy

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Music by Toulme.

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Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

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Cover Photo of David Newhoff by Sean Mekas

To learn more, please visit Mr. Newhoff's site as well as his blog, The Illusion of More.

Show Notes:

1:45 Newhoff’s background

4:15 impetus to write Who Invented Oscar Wilde?: The Photograph at the Center of Modern American Copyright?

6:15 SCOTUS’s Warhol decision

10:00 Sarony’s input compared with and AI users’ input

14:00 Newhoff’s comments to USCO’s NOI and Request for Comments

17:20 compulsory licensing scheme

18:50 RightsClick

25:45 USCO’s focus on how a work was created (by AI or human) versus leaving that to courts

25:55 feedback on his comments to USCO

32:00 AI copyright lawsuits in the US

36:25 liability for AI training data

40:45 Emily Gould: whether training involves making copies, EU exception for copies

43:00 whether US copyright is still fit for purpose in light of issues raised by AI

44:20 work “in the style of”

48:40 Deborah Roberts vs Lynthia Edwards - suit over collage works

52:30 Alan Robertshaw: threshold of infringing work versus transformative work

54:50 why use AI to create artwork

56:45 NFT hype

57:35 the legacy Newhoff hopes to be creating

58:50 Newhoff’s view of justice

1:01:00 status of Allen v. Cooper and Allen’s pending constitutional takings claim

1:04:00 camouflage patents

1:05:20 change from allowing IP claims against states to decision that Congress does not have that authority and 11th Amendment’s restriction of individuals bringing suit against states controlled

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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Music by Toulme.

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Cover Image: Self-Portrait, oil on canvas by Jacob Mącznik.

To learn more, please visit the website for Jacob Mącznik, the Lost Art Database page for Mącznik's Still Life with Fish, The Austrian Encounter and the trailer to The Ghosts of the Third Reich.

Show Notes:

0:00 Dr. Samson Munn discussing Van Ham art auctionhouse

1:45 Munn’s background

2:50 history of Holocaust-related dialogue with Dan Bar-On

4:00 Children of the Third Reich

4:20 Austrian dialogue group

4:35 Ghosts of the Third Reich

6:00 second group, The Encounter

7:45 Dan Bar-On’s book Fear and Hope

12:00 examples from dialogue groups

17:15 Munn’s initial motivation to start dialogue group - emotional responsibility

24:40 Munn’s dialogue work in Northern Ireland

27:25 dialogue work with descendants of displaced indigenous peoples

28:50 preparation for dialogue group facilitators

32:20 screening individuals for dialogue groups

33:45 Israeli, Polish and German citizenship

44:30 Jacob Mącznik’s work

1:00:00 Van Ham auctionhouse

1:06:00 Parisian archive research

1:11:00 Munn’s research of other artists from the Paris School

1:12:30 female artists from the Paris School

1:14:30 Mącznik catalogue raisonne

1:17:00 legacy that Munn is working to create

1:19:30 justice

1:22:30 Israeli PM Netanyahu

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Music by Toulme.

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Show Notes:

0:00 Yelena Khajekian

1:30 Warhol v Goldsmith decision by SCOTUS

3:00 USCO NOI’s Question 8

4:00 Google LLC v. Oracle America, Inc., 593 U.S. ___ (2021)

4:20 liability question

4:45 Emily Gould - fair use

6:30 Alan Robertshaw - Warhol court’s focus on use of the work

7:50 Khajekian - artists’ perspective on Warhol decision

9:00 Campbell v. Acuff-Rose Music, Inc., 510 U.S. 569 (1994)

10:20 confusion of fair use analysis and court’s aesthetic analysis

12:00 USCO NOI’s Question about fair use

13:00 Robertshaw - UK’s fair dealing analysis

15:50 Gould - big players like Getty

17:45 text and data mining exception

20:10 Drawdy - private contracting as a solution

21:00 Robertshaw - Getty

22:15 Khajekian - conceptual art

25:55 Warhol’s 2 Cir decision

26:50 Gould & Khajekian - Richard Prince decision held not fair use

27:20 Khajekian - equity issue

28:40 Gould - UK courts’ emphasis on purpose, e.g., Stormtrooper helmet case

30:30 Drawdy - amount and substantiality of use

31:10 Gould - Australian case about Men at Work’s use of folk song Kookaburra in its pop song Down Under

32:20 Robershaw - dispute over Vanilla Ice’s Ice Ice Baby

33:00 Ed Sheeran

34:15 Getty case pending in UK

35:00 Khajekian - international versus US issues

37:30 Robershaw - test that contemplates level of effort or end result regarding AI output

40:30 Gould - risks involved with AI

40:50 EU’s application-based approach

41:10 AI for medical applications

41:55 detecting forgeries will still require humans, e.g., conflicting AI results regarding Raphael

42:50 implicit bias in AI

43:15 dogs detecting forgeries

43:40 chickens detecting shapes

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

To view rewards for supporting the podcast, please visit Warfare's Patreon page.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

Thanks so much for listening!

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Cover art: Martha Szabo, Rooftops in Snow 11, oil on linen, 24 x 35 in., circa 1964

To learn more, please visit the sites for Martha Szabo and MSeum.

Show Notes:

0:00 Art historian Kathleen Hulser

1:30 Journalist Julia Szabo’s motivation to work on Martha Szabo’s body of work

4:30 MSeum to be built in the Catskills

5:00 National Association of Women in Construction

7:50 Justice for unknown female artists

11:15 Museum’s mission related to blind and low-vision visitors

13:45 Sculpture Robin Antar’s limestone sculpture of Szabo’s “Red Sunset”

15:20 Legacy to be created with MSeum includes redefining storage

16:45 Visible storage space

18:30 Julia Szabo’s parents

19:45 ‘Mother Artist’ field of scholarship

20:00 Author Hettie Judah

21:20 Reception for Martha Szabo’s exhibition Up On the Roof

22:10 Artist Christina Massey

23:20 Museum’s director Kathleen Hulser

24:30 “Up On the Roof” exhibition curated by Hulser

26:00 “Incorrigibles” trans media project

27:45 MSeum’s creation and mission

34:15 Hulser’s scope a MuSeum

36:45 Martha Szabo’s background and how it impacted her work

43:15 Feedback about Martha Szabo’s solo exhibition Up On The Roof: Liberation, Transformation, Celebration

49:35 MSeum and exhibitions like “Up On The Roof” role in bringing some historical justice for female creatives

52:10 David Richard Gallery

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

To view rewards for supporting the podcast, please visit Warfare's Patreon page.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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Cover art by Donald "C-Note" Hooker: top image "Cell Time" (2019); bottom image "During the Flood" (2017)

To learn more, please visit the sites for Donald "C-Note" Hooker and Art for Redemption.

Show Notes:
0:00 Anna D. Smith discussing C-Note Hooker’s artwork entitled “During the Flood”
1:20 Smith’s background
3:15 Smith’s work as a court advocate
4:00 Smith’s adoption of son, Emmanuel
4:45 Smith’s contact with artist Donald “C-Note” Hooker
5:55 Art for Redemption coffee book
6:10 C-Note’s work related to social justice
6:45 “During the Flood” aka “Count Time”
7:50 California prison built on flood-prone areas
8:45 compensation for incarcerated workers
11:00 Smith’s efforts to sell C-Note’s artwork
11:45 billboards “Incarceration Nation” and “Look Up Hope and Beauty”
12:20 “Colored Girl Warhol”
13:20 Billboard events to raise awareness about issues for the individuals in the system, the homeless, parolees
14:10 “Incarceration Nation”
14:50 misconceptions about individuals in the system
16:45 defining justice and amendment of the 13th Amendment
19:00 power of imagery to impact social awareness about issues with the system
20:30 legacy and need for connections
21:00 Martin Luther King’s inspiration to love one’s enemies
24:00 incarcerated individual who entered contest about rehabilitation
27:00 view of justice for Smith began with her father’s work as teacher of economics to those incarcerated
30:30 Vanity Fair article
32:00 importance of the arts in the system

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

To view rewards for supporting the podcast, please visit Warfare's Patreon page.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com.

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To learn more and support Vacant to Visual artists, please visit the CityKey website.

To reach out and learn more about Ernest Chrappah's work, please visit his website.

Show notes:

0:00 Ernest Chrappah
1:10 Chrappah’s background
4:00 Washington DC’s Vacant to Visual program
9:00 artists included in the Vacant to Visual program
9:50 Nia Keturah Calhoun
11:15 “Ro” Stephenson
12:00 Vacant to Visual NFTs
13:40 feedback from Vacant to Visual program
16:20 Vacant to Visual program as a model for other cities
18:20 his view on how art can be used to create a more just society
20:45 his defintiion of justice
23:15 future work
25:30 AI policy
28:30 Vacant To Visual Site and Vacant to Visual NFT purchase cite

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

To view rewards for supporting the podcast, please visit Warfare's Patreon page.

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To learn more, please visit the website for the #lastseen project.

SHOW NOTES:

0:00 Katharina Menschick on the response to #lastseen project

3:00 Menschick – research associate in Arolsen Archives’ historical research department dealing with digital memory projects, digital archival projects and archival theory

3:20 Dr. Christoph Kreutzmüller – historian with Arolsen Archives and House of the Wannsee Conference in Berlin

3:45 mission of the #lastseen initiative

5:00 missing deportation photographs

6:00 deportation photographs found by American GI and returned during Nuremberg trials

7:00 request for deportation photographs

7:20 types of deportation photographs

8:30 Eisenach deportation – Magda Katz

9:00 U.S. Holocaust Memorial Museum research – donor identified uncle in photograph

11:15 deportation from Dr. Kreutzmüller’s hometown

12:30 questions about why photographers took the deportation photos

13:00 spectatorship / audience of the photographs

14:20 importance of photographs as a historical source

14:45 virtual interactive educational resource

16:45 German high school pupils’ assistance in developing educational resource

18:10 difficulty of discussing bystanders

19:30 photographs invite reflection

22:00 historical transparency by telling what they don’t know

25:00 giving context to photographs

28:30 gaze of those photographed

29:15 propaganda film in Warsaw Ghetto

30:20 legacy of their work

32:15 definition of justice – striving for fairness

33:00 real restoration cannot be achieved

34:00 doing justice to the photographs and to those in the photographs

34:45 restitution through archives

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

Music by Toulme.

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SHOW NOTES:
0:00 Alan Robertshaw
1:00 Emily Gould - overview of AI historical development
2:30 first phase - 1950s Alan Turing - machines do what they are told
3:10 second phase - machine learning creating models using data and develop methods to make decisions / predictions based on that data
3:50 third phase - deep learning usually using neural networks to mimic the human brain
4:50 GANs - part of third phase that involve generator and discriminator algorithms
5:55 Obvious’ Portrait of Edmond de Belamy
6:40 Robbie Barrett’s code used by Obvious
8:40 unpredictability in the deep learning phase - answers and process to reach those answers is unknown
9:25 different tests applied to determine if a machine is intelligent
9:55 Turing test - machine is intelligent if you can’t tell the difference between responses by a human and a machine
10:10 Lovelace test - machine is intelligent if you can’t explain machine’s answer
11:20 ‘Alpha Go’ algorithm
13:30 uses of AI
14:20 huge training data sets
15:50 major risks with AI include copyright
17:10 privacy and data protection
17:20 transparency - deep fake
17:40 bias amplification
18:15 MIT researcher Joy Buolamwini’s work with facial analysis software
19:45 UK’s pro-innovation approach to AI
21:45 text and data mining (TDM) exception only for non-commercial use - proposal to expand to commercial use
24:25 Nov 2022 government decided not to expand TDM exception to commercial use
24:55 UK Pro-innovation Regulation of Technologies Review
26:45 A pro-innovation approach to AI regulation policy paper - no legislation in the short term, no move to central regulatory body for AI
29:30 AI described in UK white paper as including autonomy and adaptivity
32:25 Global Summit on AI Safety
32:45 EU AI Act with risk—based approach - June 2023 signed off by Parliament; final conclusions expected late 2023; operational circa 2026
36:35 US - AI suits pending
37:00 Robbie Barrett
38:00 opt in versus opt out policy
39:20 Senate testimony regarding UK’s AI advances
40:15 US Task Force on AI Policy proposed; Privacy Consumer Protection Framework
40:45 Getty v. Stability AI suits in US and UK
41:25 2024 elections and AI
44:00 Alan Robertshaw’s case with Getty
47:05 Gould: AI voice scam
48:00 Robertshaw: AI uses
50:20 AI medical screening
53:00 consciousness
56:00 Artist Sofia Crespo’s work with natural history
56:30 Lines and Bones by artist Iskra Velitchkova
56:50 Dawn Chorus Alexandra Daisy Ginsberg
57:30 projection for how artists in the UK will address AI issues

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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To learn more, please visit the sites for Sojourn Theatre, One Nation/One Project, and the Undoing Time: Art and Histories of Incarceration exhibition.

Show Notes:

3:45 Rohd’s background

4:50 'Hope is Vital' project in DC area

7:00 Sojourn Theatre

10:10 2003 disruption in Oregon legislature

11:50 'Witness Our Schools' project - role of public education today

14:30 impact of bringing voices in and building relationships for a different kind of dialogue

15:15 criteria for success of arts-based work around civic issues

16:10 One Nation / One Project rooted in post-Great Depression Federal Theater project

22:15 local community involvement centered on building relationships

25:30 approach to critics of social-based arts programs

28:10 Center for Performance and Civil Practice (CPCP) - collective of 9

33:45 Undoing Time: Art and Histories of Incarceration exhibition with Arizona State University Art Museum Director Miki Garcia (Episode 79)

37:45 choreography / dramaturgy for Undoing Time

40:20 questions posed in Undoing Time

42:10 future project for the cards created from Undoing Time

44:45 aspect of justice included in the question he focuses on: who are we responsible for?

47:30 influence of teachers that led Rohd to his current work

49:50 legacy

51:30 Co-Lab for Civic Imagination in Montana

53:50 ‘Communities of Care’ model

54:15 Definition of Civic Imagination - like functional democracy

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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To learn more, please visit the websites for Jeremy Richter, J.W. Judge, Scarlet Oak Press and The Write Approach podcast.

Show Notes:

1:00 Commercial litigation practice with Gordon Rees

4:00 Sustainable marketing and branding with writing law blog

5:00 Speaking and presenting at conferences on legal topics

5:20 Writing legal non-fiction on case management, client development

6:20 2018 ABA published book Building A Better Law Practice, 2019 Self published 2nd and third books Stop Putting Out Fires and Level Up Your Law Practice: The Ultimate Guide to Being a Successful Lawyer

7:40 August 2020 first novel Vulcan Rising

8:20 Research for family story from father’s side of family

8:50 Grandfather’s father murdered his estranged wife and himself in 1940

10:45 Research for second novel Seeking Sanctuary in The Zauberi Chronicles set in Germany’s Black Forest

14:30 Lawyerpreneur podcast ran from March 2020 to August 2022

16:50 The Write Approach podcast

18:45 Co-host Barbara Hinske
20:00 The Write Approach podcast episode 6: Dovetailing Creative Ideas and Smart Business Decisions with Kevin Tumlinson and reference to AI

20:45 AI changes

21:50 Chat GPT - rewrite of book blurb

22:40 Chat GPT-3 and Chat GPT-4

23:00 AI’s impact on jobs

24:00 AI for book cover ideas

24:25 Casual Business with Fairies

25:00 5th novel - Castaway meets a murder mystery

26:10 Publishing imprint Scarlet Oak Press

26:50 Do You Draw Pictures by Becki C. Lee (Author), Walter Jaczkowski (Illustrator)

27:35 Should We Shake On It by Becki C. Lee (Author), Walter Jaczkowski (Illustrator)

27:50 Mommy Needs a Minute by Claire E. Parsons & Naomi L. Hudson

29:00 Traditional publishing

31:00 The Write Approach podcast episode 33: From Spicy Romance to Chart-Topping Suspense with Alessandra Torre

31:25 Evolution of his business goals and intent for future work

32:50 Pursuit of multiple careers

34:25 Definition of justice

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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Cover art After World War III, 2020, oil on board, 60 cm x 80 cm, by Farook Mohammed

To learn more, please visit the website for the Afro-Arabian Empire.

Show Notes:

00:45 Pan-African mission of his artwork that combines the diversity of Africa

2:30 artwork to promote brotherhood and unity for Africa and the world

8:00 artwork tells stories that include a focus on identity and gender

10:00 childhood

12:25 social constructs

15:30 power of art

16:00 legacy he want to leave

18:00 under-population of the world

18:40 sustainable development

19:00 examples of his work

22:30 women

23:10 Man’s Endeavor

25:00 life outside the earth

26:30 use of AI

30:30 regulations on use of technology

32:15 transparency about use of AI to create art

33:00 Chat GPT

34:40 open market

36:20 used Midjourney for ideas

38:20 use of AI for bad reasons

39:15 drone technology

40:20 Elon Musk

40:50 After World War III

44:30 claims against S African media houses

47:30 Afro Arabian Empire

47:55 group exhibition planned for Mantis Boutique

48:30 Continental Pan-Africa Art Exhibition

49:45 view of justice

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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To learn more: 18 April 2023 UK Parliament's Digital, Culture, Media and Sport Committee regarding NFTs and the blockchain, Emily Gould's correspondence following the hearing on several issues touched on by the Committee; and NFT-related posts on the IAL Blog.

Show Notes:
1:15 Beeple sold ”Everydays — The First 5000 Days” for $69 million
2:45 The Art Basel and UBS Global Art Market Report
3:00 current global art market valued at 67.8 billion
3:15 current art-related NFTs valued at $1.5 billion
3:50 collectibles-related NFTs valued at 11.8 billion
5:00 Parliamentary committee
5:50 NFT life cycle
6:40 NFT defined
10:50 Distributed Ledger Technology
12:20 Ethereum
14:20 Web 1-3
15:50 Metaverse
16:50 holograms
17:35 stakeholders
22:50 resale royalty right
24:00 NFTs taken off chain will break royalty under smart contract
27:15 Flipkick - NFT authentication service
27:25 Artclear - NFT authentication service
28:00 blockchain and provenance
30:40 fractional ownership
31:40 DAOs
32:40 fractional.art
32:55 Artsect Gallery
34:50 Copyright infringement
37:00 licensing
37:40 Injective Protocol purchased/burnt Banksy's Morons (White)
38:50 Daystorm posted NFT of Basquiat for sale along with IP rights
39:30 TM infringement - MetaBirkin NFTs
40:30 commercial risks
41:00 NFT platform liability and disclaimers
42:00 EU copyright directive
42:25 Soleymani v. Nifty Gateway
44:10 UK consumer rights act protection for Soleymani
44:30 illicit activity - theft of NFTs or unauthorized minting of NFTs
44:45 ex-OpenSea employee convicted of fraud/money laundering
45:15 Osbourne v Opensea & Tulip Trading Limited v Bitcoin
45:30 property status of NFTs
46:00 money laundering
46:25 financial risks
48:00 tax & estate planning
48:15 environmental concerns
50:00 Whitworth Gallery’s Ancient of Days
51:10 Vacant-To-Visual Program
52:40 Hirst’s Currency project
54:05 Alan Robertshaw
54:30 Currency project results slightly favored physical works over NFT
55:45 Hirst’s The Beautiful Paintings project
56:35 international body
57:20 Robershaw
58:40 conflict between smart contracts and natural term licensing
1:00:30 Robertshaw
1:01:10 transaction time
1:02:20 "trustless" system actually requires trust

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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To learn more, please visit the websites for the Max Stern Restitution Project, the HEAR Act, the Second Circuit's decision in Zuckerman v. The Metropolitan Museum of Art and the Zurückgeben Foundation.

Show Notes:
1:30 Max Stern Art Restitution Project
2:30 Dr. Max Stern
5:00 Stern’s restitution efforts
8:00 Cancellation of The Max Stern Düsseldorf to Montreal Art Exhibition
9:50 Sales under duress
10:15 Auctions at cut-rate prices as an encouragement to the German people
13:15 Rug in the office of Angela Merkel
14:20 Russian exhibition of looted German objects
16:00 German Lost Art Foundation
17:00 Mosse Art Research Initiative - partly funded by German Lost Art Foundation
18:10 Thieves able to give good title under German law
20:40 Hilde Schramm - German politician for Alliance 90/The Greens, daughter of German architect/Nazi Party official Albert Speer
21:20 The Zurückgeben Foundation - organization started by Schramm
21:45 City of Linberg, Germany honored Jewish family whose objects were looted
22:45 family donated looted objects back
23:20 Holocaust Expropriation Art Recovery (HEAR) Act
24:40 Second Circuit decision in Zuckerman v. The Metropolitan Museum of Art
25:00 Doctrine of Laches
27:40 New focus of research on difficulty of being honest about genocide restitution
28:30 Theft of works from Ukrainian museums
33:20 Dehumanization as part of genocide
34:00 Denial of wrongs committed in genocide
35:00 Russia’s prior theft of Ukrainian cultural heritage
35:20 World’s tolerance / denial of genocide
36:20 Need for empathy
36:30 What is a bystander
36:50 Spain’s policy as an allegedly neutral party during WWII
38:00 Concept of justice
38:45 Andrew Smith - The Met’s reasoning
40:45 British Museum’s policy that Elgin Marbles are part of UK heritage
42:40 HEAR Act’s legislative intent ignored by the Court
43:45 Picasso’s The Actor was a gift to the Met
44:20 Vienna case of looted Kokoschka painting restituted in 2015 by Belvedere Museum
46:30 Alan Robertshaw - neutral area that serviced U boats
47:20 Alan Robertshaw - 1995 abolishment of UK’s market overt - English legal concept from mediaeval times that allowed subsequent ownership of stolen goods

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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Cover image by Stephen Tromans: Climate Innocence, 1957, oil on board, 20x24 inches

To view Stephen Tromans' work, please visit Mr. Tromans' website and Instagram as well as Ely Cathedral's feature of his Golgotha series, the Cambridge Drawing Society's discussion of his work and the Gallery Holt.

Show Notes:
1:30 Troman’s choice to go into law, specifically environmental law
2:45 Lord Denning
3:30 Troman’s work as a painter
4:30 Diploma in oil painting
5:00 Influenced by Turner, Caravaggio, Goya
5:30 Scotland’s Joan Eardley
5:40 Royal Academician Fred Cuming
6:30 mixed media and collage
6:50 Hong Kong urbanscapes
9:20 Golgotha series
12:00 Ely Cathedral
15:00 feedback from Golgotha series
15:45 Ukrainian children and their toys as a focus in Golgotha series
18:00 future cathedral venues for Golgotha series
18:45 current work
20:20 environmentally-related art
22:00 Climate Innocence, 1957 - acceptance of pollution
23:00 Troman’s process
24:00 art’s function to speak to social issues
26:00 compliments between legal and creative work
28:50 legacy
31:30 definition of justice
34:15 how Troman’s artwork speaks to justice
35:15 the power of Picasso’s Guernica

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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To learn more, please visit the sites for International Child Art Foundation, World Children's Festival and the International Child Arts Olympiad (with coming plans for the Paris 2024 Olympics ).

Show Notes:
2:30 children’s creativity

3:30 empathy needed due to moral neutrality of creativity

4:30 adverse childhood experiences

5:20 transgenerational transmission of trauma and hatred

6:00 the International Child Art Foundation’s Arts Olympiad and World’s Children Festival

8:40 creative-empaths

9:30 Arts Olympiad winners at National Mall in Washington, DC for World’s Children Festival

11:50 overview of Ishaq’s background and work at World Bank

13:10 why adult’s imagination dries up

13:30 the fourth grade slump

15:40 2013 book “The Creativity Revolution: Reinvent Your Creative Self to Shape the Future and Prosper”

17:30 1 of 5 types of creators: Native

17:50 2 of 5 types of creators: Nomad

18:20 3 of 5 types of creators: Savant

18:55 4 of 5 types of creators: Empathic

19:15 5 of 5 types of creators: Spiritual

20:20 Book mixes history, economics and neuroscience

22:30 collaborated with National Institute of Health on its ABCD Study

24:00 MRI studies show 7-12 year olds are age group most prone to empathy

26:20 Healings Art Program began after Asian tsunami

29:10 Peace Through Art Program began after 9/11 attacks

31:10 ICAF’s collaboration on treasure hunt book “Xavier Marx and the Missing Masterpieces”

32:10 UN General Assembly’s efforts to revive human security campaign

35:40 ICAF has had approximately 5 million children participated in Arts Olympiad to date

38:30 American Academy of Arts and Sciences’s 2021 report on the attributes, values and skills that come from arts education, including social and emotional development, school engagement and civic and social participation

39:15 children from certain countries can’t participate, e.g., North Korea

40:40 participants from African countries

41:10 blind musical group from Zimbabwe

41:30 indigenous from New Zealand playing the a traditional dance of that country's Māori people, the haka

42:40 ICAF;s current work and structured lesson plans

43:45 fall semester 2023 for next program

44:30 summer 2024 for next festival

46:30 scholarships

47:00 participants from Romania

48:30 social function of art

50:10 9/11 began his thought about moral neutrality of creativity

53:00 upcoming festival project for partipants to create children’s earth flag for NASA’s first human mission to Mars

54:15 UN’s human securities artworks

56:30 new mothers as supporters

57:00 ChildArt Magazine

58:00 magazine’s theme on the power of words, mindfulness, Metaverse, animal Art

59:20 Legacy

1:00:00 pre-WWII, Olympics gave awards for the arts

1:00:50 Paris 2024 Olympics and LA 2028 Olympics

1:01:45 definition of justice

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Please visit the following links to learn more:
Queen Mary’s LLM in Art, Business and Law and the Institute of Art and Law.

Show Notes:

1:00 Stephanie Drawdy - introduction

1:20 Emily Gould - overview of the Institute of Art and Law (IAL)

5:20 Gould’s background

7:35 careers in art law practice

9:35 Janan Foster - background and experience with Art, Business and Law LLM

11:35 Chiara Gallo - background and experience with Art, Business and Law LLM

15:40 Jane (Chang Yue) Liu - experience with Siena program and internship with IAL

18:40 Chelsea Conyers - experience with Siena program and internship with IAL

20:35 Gina McKlveen - experience as an artist, law student and now lawyer

27:40 Gould on IAL blog

28:40 Alan Robertshaw

29:10 McKlveen’s beginning interest in art and law

30:15 Jerry Alonzo’s experience in the law and arts

34:10 Charles Sabba’s experience in the military, law enforcement and the arts

43:05 Nnebundo Obi

44:45 Charles Sabba

45:40 Emily Gould re: interdisciplinary nature of art law cases

46:35 Alan Robertshaw’s law practice

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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The following are the featured episode excerpts from Warfare of Art and Law:

Episode 38: Glance at Culture - Defiant Requiem: Maestro Murry Sidlin on Terezín Concentration Camp, Verdi's Requiem, the Arts & Social Justice

Episode 27: Nazi Plundered Art: Nathan Diament On the Legacy of Artist J.D. Kirszenbaum (1900-1954)

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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To learn more, please visit the website for Ukraine's War Museum.

Cover photo by Viktor Byshev of the Church of the Nativity of the Holy Virgin in Peremoha that Russians attacked and damaged. Left in the photo is Dr. Yurii Savchuk and right is the clergyman from the Church, Oleksandr Yarmolchyk.

Show Notes:

1:30 National Museum of the History of Ukraine in the Second World War
2:00 War Museum’s exhibition on 24 February 2022
2:20 “Forever Free Ukraine” curated by Director General Dr. Yurii Savchuk
4:00 War Museum’s removal of exhibitions on 24 February 2022
5:20 “Forever Free Ukraine” exhibition now in Lithuania
6:00 Ukrainian museum workers are mostly women
6:25 Swedish photographer of Polish descent Andrzej Markiewicz volunteered to document areas that were de-occupied
7:00 33 field trips
8:00 Latvia, Estonia and Lithuania
9:10 New York exhibition “Ukraine. Crucifix. Tribunal”
9:15 Latvia exhibition “Ukraine. Crucifix. 360”
9:35 message from exhibition “there always should come light”
10:00 Dr. Yurii Savchuk
11:00 Designer/Artist Anton Logov
11:45 symbols from the Soviet Union
12:20 military helmets - star and “Lenin”
12:50 insurgent army 1960s
13:15 boots symbol
13:50 star symbol
20:15 motivators for Russians to annihilate Ukrainian cultural heritage
20:20 18th Century Ukrainian philosopher Hryhorii (Gregory) Skovoroda Museum
21:15 Russians targeting gold
21:30 Kyiv Pechersk Lavra, an 11th-century Orthodox cave monastery complex
22:15 Ukrainian established circa 11th C
23:15 Maria Prymachenko-The Ivankiv Historical and Local History Museum
24:25 Ukraine Museum Crisis Center
24:25 Ukraine Museum Crisis Center while working for the State Agency of Arts and Artistic Education focusing on developing artistic education
25:00 Luhansk Museum of Local Lore Director Olesya Milovanova
31:15: collaboration
32:15 dealings with Russian museums
35:50 “Children…” memorial
36:50 “Tree of Life”
37:20 Ukrainian Museum of Canada
38:00 symbol of doors
38:45 “United for Justice” exhibition
39:20 New York exhibition
39:45 door in exhibition is from basement in Yahidne
42:00 Crucifixion exhibition includes basement bomb shelter
45:00 “United for Justice” exhibition
45:30 justice
47:40 working trip to Holland in March 2023
49:15 Russian civilians are the invaders
49:30 Hermitage director who justifies what’s going on should at least be punished by opinions of his colleagues
49:45 Russia in ICOM and UN
50:20 “If Russian Empire collapses - maybe that would be some kind of justice”
51:00 artefact from Kherson after it was de-occupied on November 11
51:30 flag
52:50 feedback of civilians about exhibition
54:45 feedback of soldiers about exhibition
55:40 commemoration days twice per month
56:50 mission
57:45 message to those outside Ukraine

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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Cover Image by Diane Allford

To learn more, please visit the sites for Randall Horton and Radical Reversal.

Show Notes:

00:00 Dr. Randall Horton’s work in poetry

02:00 Dr. Horton’s work as poet/writer, professor of English at University of New Haven, system-impacted

03:10 Chicago State’s MFA program

03:20 Definition of Place by Horton

03:30 PhD in Poetry and Poetics from SUNY Albany

04:20 poetry avant-garde band Heros of Gang Leaders

05:00 Creative Capital proposal to put creative space in the carceral state

07:00 Suffolk County House of Corrections in Boston, Massachusetts

07:30 Radical Reversal

08:30 pilot program in Burmingham, AL - Jefferson County Youth Detention Center

8:55 Minnesota Prison Writers Workshop with Jennifer Bowen-Hicks

9:00 Boston’s Writers Without Margins with Cheryl Buchanan

10:15 Jefferson County Youth Detention Center Director Monique Greer

17:20 workshops in Jefferson County Youth Detention Center

18:50 Little K - what if you don’t know no beautiful
21:00 Little E

22:10 Ain’t No Love In the Streets

26:20 art as a guide

28:00 partnering with Greer to continue pilot program

31:30 Radical Reversal’s space to stay in place going forward

32:30 Minnesota Department of Correction’s unit to have four recording booths

34:00 Radical Reading Series

34:30 Artist Masego

36:50 follow up work with individuals in the facility

37:00 poem entitled Imagine

41:00 collaboration with facility staff

42:00 The Road Less Traveled

46:30 poem entitled To Live and Die in Burmingham, Alabama published in London

49:00 inspired by Nietzsche’s 1887 On the Genealogy of Morality

49:40 going after humanity and a moral compass

51:00 legacy created with his work and Radical Reversal

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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To learn more and view their work, please visit the sites for Stefania Salles Bruins, Nnebundo Obi and Geoffrey Stein.

0:00 Artist and attorney Geoff Stein describing his collage work

2:00 Artist and attorney Stefania Salles Bruins describes genesis of theme for “Portraits As Still Lives” group show

3:45 Stephanie Drawdy on her work for the group show

5:00 Stein on his perspective on the head as a subject

6:00 Stein on his work in collage

9:30 Salles Bruins on symbolism in her work

11:40 Stein on letting work speak for itself

12:25 Stein on how his work during Iraq war was seen as painting of hostage

13:40 Salles Bruins’ experience with instructors at New York Academy of Art

14:30 Salomé with Head of John the Baptist inspiration for Salles Bruins

16:00 Salles Bruins’ self-portrait mimics Girl With Pearl Earring

18:00 projecting and gridding

19:30 Artist and Negel Research Associate Nnebundo Obi on her portrait of her mother

20:30 “Seeing Through My Third Eye” by Obi

22:30 Portrait of Obi’s father

26:00 Peter Drake’s use of slow dry medium to work in acrylic

27:25 “Take the Stinger Out Please” self-portrait copper etching by Obi

29:40 companion copper etching by Obi

30:00 Stein on his collage portrait of Liz Cheney

33:10 Stein’s website features stop action video of the Cheney portrait in process

33:40 portrait of VP Harris

34:00 portrait of Pres Biden

35:00 use of photographs

39:00 details in the Cheney portrait

39:30 Milton Glaser’s work

40:00 Stein’s preference for work that flips between plasticity and graphic flatness

40:30 Obi’s experience with collage

41:50 Stein’s thought of collage as pieces of paint

42:30 sanding of collage

43:30 use of water on Xerox paper

44:00 portrait of Obama

45:00 photograph of newspaper headline of “Voters reject Cheney” from local paper used in Photoshop for use in Cheney portrait

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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Cover art - The Scream, fingerprint ink on police print card done in thumb print, 2" x 1-1/4", 2004 copyright Charles Vincent Sabba

The following are links for Charles Sabba's artwork, blog and articles with La Voce di New York.

Show Notes

0:00 Sabba’s great-grandfather

3:45 retired police captain

4:15 duCret School of Art in Plainfield, NJ

4:50 1986 - Austrialian Cultural Terrorists stole Weeping Woman by Picasso

6:20 NYPD Art Theft Investigator

3:40 US Navy

7:30 Naples, Italy

8:35 federal corrections’ witness protection unit

11:20 School of Visual Arts

11:40 Betty Thompkins

11:44 Andrew Gensel

11:45 Anton van Dalen and his show at the PPOW Gallery

12:25 Fred DePalma

13:00 influence of his police work on his art

14:30 documentary Defending the Peninsula

18:00 the era of power and money over cultural patrimony

18:40 Napoleon’s looting of Italy

20:30 Monuments Men

21:55 1800s Papal Edict governing exportation of works from Italy

22:30 1947 article 9 of Italy’s Constitution

23:50 collection of Gardner Museum

24:35 Vermeer’s The Concert purchased by Gardner

26:00 Getty Trust - fight over Euphronios Krater with the Met

27:45 Manhattan DA’s office April 2022 seizure

28:30 Lysippos di Fano Bronze

34:30 agreement to table discussion about return of Lysippos pending Italian court ruling

36:45 assertion that the Lysippos is Greek not Italian

39:30 status of request for return of Lysippos

39:50 History Channel television series Histories Greatest Heists with Pierce Brosnan

41:00 paint chips sent to Boston Herald related to Gardner Heist

44:00 1997 - William Youngworth negotiated with Gardner Museum for return of stolen works via prosecutors

45:45 Chicago-based Expert Walter McCrone determined paint chips were from Rembrandt.

48:35 1998 - Vermeer expert

49:10 2003 - Dr. Hubert von Sonnenburg, Chairman of Paintings Conservation at The Met, found chips were consistent with the Vermeer

50:00 Dr. Jennifer Mass’ opinion about the Sonnenberg’s opinion on the paint chips

52:30 Sabba’s painting practice reflects his interest in art crime - fingerprint paintings

53:50 Sabba’s portraits of individuals involved in art crime

55:25 Art critic Jerry Saltz

56:30 Y Gallery

58:15 artists that speak to social issues, e.g., prison reform

1:01:25 Sophie Calle: Last Seen

1:02:05 climate activists’ attacks on soft targets

1:06:40 Justice defined

1:09:20 Legacy

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

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The following are the featured episode excerpts from Warfare of Art and Law:

Episode 34: Professor Ziva Amishai-MaiselsEpisode 48: Columbia Law School's Inaugural Artist-In-Residence Bayeté Ross Smith
Episode 102: Retired Police Captain and Artist Charles Vincent Sabba, Jr.
Episode upcoming: Dr. Christoph Kreutzmüller from the #lastseen project

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

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To learn more, please visit the website for Dr. Suzanne Evans.

Show Notes:

0:00 Suzanne Evans’ hope for the legacy she is creating to tell and compel more women’s stories

1:35 Evans’ degree in philopshy lead to teaching English in China

2:30 Evans’ writing themes are women in Canada and women in war and religion

2:40 Canadian International Development Agency to organize educational briefings for Canadians going to work overseas

4:00 PhD in religious studies

4:40 martyrdom

5:20 Palestinian mother/martyr

6:00 Mothers of Heroes, Mothers of Martyrs: WWI and the Politics of Grief

7:00 Silver Cross mother and its development

8:00 how soldiers of war were presented in the media

8:20 post-doctoral fellowship at the Canadian War Museum to study stories of Canadian women and war

9:40 diary of WWI masseuse

10:00 study of physio-therapist in WWI and WWII

11:40 occupational therapy, including basketweaving, for wounded WWI veterans

12:30 Changi quilts made in Singapore’s Changi jail overtaken by Japanese

13:15 Ethel Mulvany’s Starving Prisoners of War Cookbook

14:45 research for The Taste of Longing: Ethel Mulvany and Her Starving Prisoners of War Cookbook

22:20 couple housed by Mulvany

24:15 Museum on Manitoulin Island

27:45 Mulvany’s suffering from bipolar disorder

28:45 how women’s stories from the war have been downgraded

32:00 recommended reading: Freddy Bloom’s Dear Philip: A Diary of Captivity, Changi, 1942-45

32:35 Mary Thomas’ In the Shadow of the Rising Sun

32:35 P.C. B. Newington’s Good Food

33:45 record-keeping from the WWII era

36:00 treatment of Mulvany for her mental illness

37:00 electric shock therapy without sedatives

37:20 insulin therapy treatment in India

38:15 War Claims Commission’s medical records for Mulvany

40:00 virtual feasts for book launch during pandemic

43:15 use of propaganda in WWI and WWII

45:40 upcoming cookbook project

46:10 Five Roses Enriched Floor Cookbook

49:00 Evans’ definition of justice

50:00 Walter Allward's statue of justice

52:45 Per Allward: "Through truth and justice, war might cease and peace would descend over the earth."

53:20 Persons case in 1928 - Canada’s Supreme Court denied women could be deemed “persons”; overturned by Judicial Privy Counsel

54:25 “justice is shifting in our time…I don’t want my justice to be blindfolded; I want her to be far sighted so that she can see change and adapt.”

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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Cover photo of Rick Allen - copyright Cindy Burnham, Lucky Shot Productions

Show Notes:

September 2022 2ND Saturday Discussion:

1:04 Background of Blackbeard and Queen Anne’s Revenge

4:00 Intersal handed shipwreck over to NC; kept media rights, replica rights

4:45 Allen’s shooting underwater footage to document recovery of shipwreck

5:50 Allen agreed to license his footage and give Intersal 25% gross profits from that

6:25 2013 - changes with new NC administration - NC had been using footage commercially

7:25 NC hired other production companies in violation of Intersal’s media rights

7:45 Intersal filed complaint in NC’s Office of Administrative Hearings

7:55 Allen revoked NC’s rights to use Allen’s footage

8:00 Oct 2013 settlement w/ NC, Intersal and Allen

9:10 NC violations of settlement

935 2015 Blackbeard’s Law

10:15 Dec 2015 - Allen's suit against NC

10:45 Copyright Remedy Clarification Act

12:10 9-0 ruling by SCOTUS that CRCA was unconstitutional

13:50 Motion for Reconsideration

14:25 takings clause argument

15:25 NC appealed district court’s grant of MFR to the 4th Circuit

16:00 summary of timeline

18:00 Jan Felman’s question

20:20 Indiana suit sited Allen v. Cooper

20:50 Michael Bynum’s suit against Texas A&M over copyright infringement

23:35 Andrew Smith’s question

25:15 pattern by the state required - 16 cases cited by Allen of states violating copyrights

26:00 US copyright office verified 160 cases initiated against states for copyright violations

28:10 Emily Gould’s question

31:30 Summary of points from Q&A

32:45 financial impact of a museum created for shipwreck on the NC community

36:20 Andrew Smith’s FU questions

38:30 Gina McKlveen’s question

43:23 Enid Lutswana’s question

January 2023 Conversation:

47:00 Update on Allen v. Cooper

47:51 January 2023 stay lifted; denied NC’s petition requesting court to reconsider granting motion for reconsideration; and granted request to file amended complaint

49:00 NC’s Blackbeard Law alleged to be bill of attainder

51:00 Texas A&M case

51:45 bills filed re: libraries to be charged fees by book publishers

52:25 Jim Olive lost suit against Univ of Houston over its misuse of photograph

52:10 Indiana case over software

54:15 TX Supreme Court in Olive ignored SCOTUS decision in Allen that held copyrights are property

55:30 Allen’s view of the precedent he’s creating

58:25 NC’s failure to reach out to settle suit

59:45 whether Allen’s view of justice has been jaded

01:01:30 chilling effect from NC’s position

01:03:50 definition of justice

01:06:00 the legacy he hopes to create

01:08:00 Allen’s legal team

01:11:00 status of shipwreck project

01:11:30 Intersal’s pending breach of contract suit against NC

01:12:15 loss of artifacts and context at wreck site due to time delay

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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The following are the featured episode excerpts from Warfare of Art and Law:

Episode 37: Glance at Culture - Defiant Requiem: Maestro Murry Sidlin on Terezín Concentration Camp, Verdi's Requiem, the Arts & Social Justice

Episode 26: Nazi Plundered Art: Nathan Diament On the Legacy of Artist J.D. Kirszenbaum (1900-1954)

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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Cover Photograph: Mr. Sparks: A Quest for Truth & Reconciliation, Copyright Nnebundo Obi 2022.

Nnebundo Obi's presentation is available here. To learn more about Nagel Institute's Engaging African Realities project, please visit the following link.

Show Notes:
0:00 South African revolutionary Robert Sobukwe

3:20 Nagel Institute Research Associate - Engaging African Realities Project

Presentation from annual conference in Capetown

4:05 Slide 2 - former S. African President Nelson Mandela’s cell at Robben Island

4:20 history of Robben Island, see slide 2

5:30 escapee from Robben Island David Stuurman

6:10 First female political prisoner on Robben Island, Krotoa or Eva

7:10 1961, Robben Island used as prison for non-white political activists exclusively

8:30 one letter and one visit per year for inmates at Robben Island

9:25 Hard labour in the limestone quarry

10:00 tour of Robben Island per Mr. Sparks, former inmate and current tour guide at Robben Island - slide 4

12:40 Puzamandla: The “energy giving drink”, a hidden poison

14:00 Mr. Sparks gives testimony about his suffering at Robben Island to free himself

14:50 Kirstenbosch National Botanical Garden - see slide 5

15:00 Lion’s Head, Tabletop Mountain Range - see slide 6

15:30 1800s creation of Van Riebeeck’s Hedge to mark Dutch property, shown at slide 6

16:10 Boulder’s Penguin Colony

16:25 history of apartheid - see slide 8

17:20 - 1979 “total strategy” 12 point plan to crush opposition to apartheid

18:20 1996 Truth and Reconciliation Commission (TRC) established by Nelson Mandela

18:45 hearings for restorative justice

19:20 1977 founding of MEDU Art Ensemble

20:30 female anti-pass protestors - see slide 10

22:30 1956 women’s march - see slide 11

23:00 Judy Sideman, member of MEDU Art Ensemble from 1980—1985 - see slide 11

24:20 MEDU Art Ensemble history - see slide 12

27:00 MEDU Art Ensemble posters - see slides 9, 12, 13

29:00 MEDU Art Ensemble targeted by the South African defense force

30:15 the power of testimony and collaboration and importance of mobilizing and gathering strength from community

30:45 University of Capetown

31:00 - 2015 ‘RHODES MUST FALL’ movement to remove the statue of British Imperialist Cecil Rhodes at the University of Cape Town - see slide 14

34:20 impact of removing statues like those of Cecil Rhodes

38:00 impact of MEDU Art Ensemble on end of apartheid

39:00 Terrorism Act

39:45 MEDU's community outreach

41:45 Cohesion and single-minded vision of MEDU

42:30 Nnebundo’s way of engaging with social justice issues

44:20 definition of justice

49:00 Netflix docu-series How To Become a Tyrant

51:00 Jan Felman’s comments

51:40 Stefania Salles-Bruins’ comments

53:25 Jarnick Vitters’ comments

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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Please visit the following to view the Benin Bronzes and to learn more about the Restitution Study Group.

Show Notes:

00:00 manillas used to trade for slaves as documented by Alan Ryder in Benin and the Europeans

02:50 mission and work of Restitution Study Group to fight for slavery justice

03:20 RSG’s focus on corporations, private estates and governments that were complicit in slavery

03:45 RSG’s suits against insurance companies for slavery policies

06:00 RSG’s suits against banks like J.P. Morgan Chase

0:630 RSG’s suits included consumer fraud and human rights arguments

07:30 DNA testing used by RSG

08:30 DNA results and TransAtlantic Slave Trade Database used to trace ancestry

08:50 RSG’s action filed for genocide compensation efforts

09:35 the Proxmire Act, Genocide Convention Implementation Act of 1987

12:30 RSG’s suit against the Smithsonian Institution over the Benin Bronzes

14:40 1896 massacre of British soldiers

15:30 Kingdom of Benin’s practice of sacrifice

16:15 RSG’s demand for a share of the Benin Bronzes

17:20 RSG’s meeting with Kingdom of Benin’s princess

19:20 Charleston, SC

19:30 Jamaica

21:00 The Benin Monarchy: An Anthology by Oba Ewuare II Foundation (2018)

21:55 Paula Girshik

22:25 Harz Mountains

23:50 Smithsonian Institution’s National Museum of African Art's Ngaire Blankenberg "confusion" on Kingdom of Benin's involvement in slave trade

24:45 per Dr. Paul Lovejoy, manillas were used in slave traded and to make Benin Bronzes for 300 years

26:00 RSG’s allegations that Smithsonian is violating US law that requires consideration for transfer of the Bronzes outside the Smithsonian

28:00 Board of Regents vote on transfer of Benin Bronzes

30:30 11 October 2022 - Smithsonian’s scheduled transfer of Benin Bronzes

31:30 Lack of media attention on this issue

31:50 Short film They Belong to All of Us

34:00 RSG’s suit against the Smithsonian is a restitution case

34:45 RSG’s efforts with institutions other than the Smithsonian

36:50 bronzes taken according to the laws of war

39:45 forensic research

41:50 16th-19th Century Bronzes

42:15 Dan Hicks’ book The Brutish Museum

43:50 removing labels from the Bronzes

44:50 Oba Head gifted by Nigerian leader

48:30 Benin City - hub of human trafficking

51:20 African scholar Dr. Ibrahima Seck

52:00 missing slave trade documentation for two main slave ports

54:00 one on one approach with American institutions

57:00 Petition submitted to UK’s Charities Commission

1:02:00 Smithsonian’s current holdings of Bronzes

1:04:00 RSG’s emergency motion

1:05:20 number of Bronzes in the U.S.

1:09:00 dual citizenship

1:11:00 Nigeria’s request for reparations

1:11:50 definition of justice

1:14:00 opportunity for Nigeria to speak up

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"Prejudice" features episode excerpts from Warfare of Art and Law in the following order:

Episode 71: David de Jong on his book Nazi Billionaires and his call for Historical Transparency from Families that control brands like BMW, Porsche, Volkswagen, Dr. Oetker, Bahlsen, Allianz and Munich Re

Episode 33: Glance at Culture - The Holocaust in Modern Art: Professor Ziva Amishai-Maisels on Artists Picasso, Chagall, Rothko, Bacon and more
Episode 67: Dr. Joanna Sliwa On Holocaust Distortion, Poland's ‘Politics of Memory’, Jewish Childhood in Kraków, an Undercover Jewess Who Negotiated with the Nazis, and a Legacy to Inspire Future Scholars of All Genocide

Episode 81: Glance at Culture - Ella Nowicki on Incarceration, Art and Defining Justice in Terms of Accountability

Episode 48: Glance at Culture - A Conversation with Art Historian and Author Dr. Laura Morelli on Historical Justice and Historical Fiction
Episode 79: ASU Art Museum Director Miki Garcia On Art's Power to Address Inherited Notions About Mass Incarceration, the Undoing Time Exhibition, and Justice As Public Love

Episode 59: Glance at Culture - Ukrainian-American Artist Mira Hnatyshyn on Ukrainian History & Heritage, Art as Protest and Creating a Community of Empathy

Episode 16: Mosse Art Restitution Project: Director of Investigations J. Eric Bartko On the Washington Principles and Restitution Efforts In Poland, Israel, Russia and the Netherlands

Episode 88: Glance at Culture - Journalist and Author Peter Kupfer on his book "The Glassmaker's Son"

Episode 10: Max Stern Art Restitution Project: Dr. Willi Korte On Restitution of Nazi-Looted Art, Sales Under Duress, and the German Advisory Commission

Episode 69: Glance at Culture - Author Menachem Kaiser on His Book Plunder, His Research and Property Claim in Poland, the Vilna Ghetto and the Frustrating Design of Judicial Systems

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

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Please visit Fritz Ascher Society's website and YouTube channel to learn more.

Show Notes:
2:00 mission of The Fritz Ascher Society for Persecuted, Ostracized and Banned Art

3:45 Fritz Ascher’s life and work

8:30 open composition of Ascher’s 1968 Trees in Hilly Landscape compared with blocked tree compositions circa 1940

11:15 recent discovery of portraits by Ascher

14:40 art historic term ‘inner emigration’

15:45 Ascher’s poetry as ‘unpainted paintings’

17:50 Artist Jeanne Mammen

19:35 Artists Lea and Hans Grundig

23:00 Art For No One exhibition in Frankfurt, Germany

26:40 creation of Fritz Ascher Society to highlight unknown artists

29:30 Identity, Art and Migration online exhibition

34:15 Felix Nussbaum’s work and Felix Nussbaum Haus in Osnabrück, Germany

35:15 founding director of Felix Nussbaum Haus Inge Jaehner

35:40 curator of Felix Nussbaum Haus Anne Schwetter

36:30 Nussbaum’s wife, Felka Platek

38:00 post-war focus communist control and Cold War

38:40 her work to create historical justice for these artists and educating about these artists in order to put them into their context

39:40 justice through telling stories of minorities

40:40 legacy

41:20 power of art to initiate discussion and to help create a better world

Please share your comments and/or questions at stephanie@warfareofartandlaw.com

To hear more episodes, please visit Warfare of Art and Law podcast's website.

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To learn more, please visit the websites for M.C. Sungaila, the Portia Project podcast, and Mother's Thoughts For the Day.

Show Notes:
3:00 Overview of M.C. Sungaila’s work

5:00 US v. Lanier, 520 U.S. 259 (1997)

9:00 González et al. (“Cotton Field”) v. Mexico in the Interamerican Court of Human Rights

11:30 factors considered in drafting appellate briefs

14:30 her work on Holocaust art recovery cases began with Randy Schoenberg in Republic of Austria v. Altmann

16:00 procedural hurdles for heirs in Holocaust art recovery cases

18:00 Zuckerman cert petition raised questions about the meaning of the HEAR Act and how state equitable doctrines should interplay with the HEAR Act

20:00 potential issues surrounding drafting of HEAR Act

21:30 developing issue of how forced sales fit into Holocaust art recovery

22:40 Cassirer v. Kingdom of Spain, et al

25:30 Federal Republic of Germany, et al v. Philipp aka the Guelph Treasure case

30:25 Andy Warhol Foundation v. Goldsmith

39:20 need for procedural and substantive fairness in U.S. Legal system

41:40 mission of the Portia Project Podcast

49:40 Portia Project documentary

54:00 Girls Inc episode of the Portia Project

56:00 Sungaila’s mother as one of her role models

57:40 Judge Dorothy Nelson and Judge Ferdinand Fernandez of the 9th Circuit

57:50 Judge Alicemarie Stotler, Chief Judge of the Central District of California

58:45 Sungaila’s publishing of Mother’s Thoughts For the Day

1:02:00 Mother’s Thoughts For the Day self-guided journal and merchandise

1:04:40 how Sungaila’s book publishing led to the Portia Project

1:07:00 advice for mind-management and time-management

1:10:50 what justice looks like or should look like to Sungaila

1:13:35 the theme of her work is the importance and power of the individual

1:14:50 three of Sungaila’s favorite quotes from her mother that relate to making your own mark and persisting

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Thanks so much for listening!

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The Glassmaker's Son is available here. Please visit Peter Kupfer's website to learn more.

Show Notes:
3:00 Kupfer’s description of The Glassmaker’s Son

5:00 Kupfer exploration of identity

6:30 Kupfer’s name change

7:45 paternal family history in Germany prior to WWII

10:00 1979 first visit to Bavaria

11:00 NY attorney for Kupfer’s father

12:00 1937 passenger list that includes Kupfer’s father

13:00 Kupfer’s grandfather

14:30 Kupfer’s grandfather in Terezin

15:25 Kupfer Villa sold

16:50 letters between Mr. Kupfer’s father and grandfather regarding escape from Nazis

19:00 Kupfer’s glassmaking business

24:00 last meeting of Kupfer business

26:00 mixed feelings when meeting Germans who knew Kupfer family prior to/during WWII

29:00 level of anti-semitism in Germany

31:00 German school education on Holocaust

32:30 importance of visiting concentration camps

33:30 Terezin Concentration Camp

37:30 efforts to seek return of ancestral portraits

44:00 post-war restitution claims

46:30 how his story addresses justice

47:45 legacy he hopes his book has

49:00 his definition of justice confirmed after exploring his family history

50:50 most surprising aspect of his research for this book

53:00 Stolperstein ceremony honors Kupfer’s family on November 22, which is also the release day of The Glassmaker’s Son

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To learn more, visit Art Recognition's website.

SHOW NOTES:

2:00 Lisa Salama’s background in art and art law

3:00 authentication remains main risk of art trading

3:30 Salama’s work overseeing legal aspect of Art Recognition and

4:00 analysis process

4:15 the deep convolutional neural network mimics human brain

5:30 physical inspection of work is not needed

6:00 algorythm assessment determines authenticity

6:15 heat map shows important features that led to network’s decision in red

6:45 Sample report available, e.g., Cezanne’s Boy In Red Vest

7:15 Samson & Delilah confirmed as non-authenticate; listed by National Gallery as a Rubens

8:40 Collaboration with universities

10:30 data sets

12:00 analysis of paintings and drawings

13:00 analysis of restored work

14:00 legal issues

16:30 data set due diligence process

18:00 minimum 100 works for a data set

19:00 how AI compliments other authentication methods, e.g., art experts

21:00 Unsupervised Deep Learning involves no human programming

21:40 works created by school of an artist

22:30 different styles and periods of an artists’ work

23:00 graffiti

23:20 range of clients

24:00 over 500 case reports completed

24:10 Future for an Art Recognition app

24:45 co-creator Dr. Carina Popovici

26:00 how Art Recognition contributes to transparency in art market

28:20 Responsible Art Market

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The following are links used to prepare this episode:

https://www.britishmuseum.org/our-work/departments/human-remains
https://www.getty.edu/art/collection/object/103WN2

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To learn more, please visit the website for Museum Art of the Lost Generation.

SHOW NOTES:

2:10 How Dr. Böhme began his collection

2:50 2nd Generation of Modern Artists

3:00 Corinth, Beckmann, Klee, Kokashka

4:00 Museum’s goal to find and research Lost Generation artists

4:50 Museum in historical city centre of Salzburg, 300 square meters

5:00 Using Brush and Paint Against the Time exhibition

5:20 Exhibition poster image – 1955 self-portrait by Heinrich Emil Adametz studied at Hamburg School of Arts and Crafts

5:50 1933 Heinrich Emil Adametz was banned

6:00 1945 Heinrich Emil Adametz returned to Berlin

7:00 Special exhibition on destinies of female artists from lost generation

7:15 Until end of WWI, women were denied access to universities and art colleges

1933 – Jacobis refused to close their school; fled to NY and re-opened school

9:30 1889 Felka Platek born in Warsaw

9:40 1923 - Platek moved to Berlin

9:50 Felix Nussbaum

11:45 Felka and Felix

12:00 Frankfurt artist Hanna Becker Van Rath

12:40 Van Rath’s Blue House in Germany

13:00 We Haven’t Seen Each Other In So Long

14:00 Provenance research process

14:50 Digitization aids in research

15:20 Provenance research defines them as a museum

17:00 engagement/sponsoring program

17:30 Frankfurt Artist Ruth Camp’s portrait of woman

18:00 Canvases by Heinrich Esser found rolled in attic

18:20 Three People by Esser

19:40 Posthumous political Portrait of Dr. Friedrich Maase (1878-1959) by Gert Heinrich Wollheim

21:00 Female Destinies

21:45 Future of the museum - coming to terms with the past by focusing on the artists and their fates

22:30 combines art history with contemporary history

23:00 Museum to be part of the movement to create justice for these artists

23:40 visitor comments and press feedback

25:05 library

26:00 Meet Me in Paris Exhibition

27:45 female artists seeking education in Paris

29:00 Paris co-ed classes

29:50 nude works by Martha Bernstein and Rudolf Levy

30:20 Montparnasse cafe scene

31:15 1933 Paris as a safe haven from National Socialists – life in exile

32:00 Occupied Paris

33:20 Russian artist Samuel Granovsky - worked with pastels and a spatula

35:50 Granovsky nicknamed the Cowboy of Montparnasse

36:45 Matisse student Martha Bernstein; 1911 Female Nude in Atelier

38:20 Bernstein later became part of the Berlin Secession

38:50 Malweiber (painting women) mocking term for female artists

40:30 Adolf Da Haer’s 1940 On the Beach; shifted from expressionism to conservative natural approach

43:45 Mack Koch – example of inner immigration

46:45 Koch’s 1930 Woman With Pipe

48:45 Häfner family

49:55 Herbert Häfner’s 1935 Portrait of Miss Lilo Jüngst

52:35 Ilse Häfner-Mode’s Portrait of a Woman in front of a Wooden Door

54:20 Thomas Häfner’s Fantasy Landscape with Mask

56:00 Ilsa Häfner’s ink drawings while interned

56:30 feedback

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The following are links used to prepare this episode:

https://en.wikipedia.org/wiki/Else_Berg

http://www.arthurkampf.de/biographie/arthur-kampf-biographie_en.html

https://en.wikipedia.org/wiki/Mommie_SchwarzTo view rewards for supporting the podcast, please visit Warfare's Patreon page.

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To view rewards for supporting the podcast, please visit Warfare's Patreon page.

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Cover image: Ben Kinmont and the Antinomian Press at Section Seven Books, Paris, printing Project Series: Lee Lozano.

For more information, please visit the websites for Antinomian Press, Ben Kinmont Bookseller, Ben Kinmont's projects and his gallery page.

SHOW NOTES:

0:00 Artist Ben Kinmont’s thoughts on artist / attorney collaboration

3:30 Kinmont’s initial art practice in NYC

3:50 Kinmont’s work with antiquarian bookseller focused on medicine and science

4:20 Kinmont’s antiquarian bookselling business - Sometimes a nicer sculpture is to be able to provide a living for your family
5:00 Occupational realism coined as a term by Julia Bryant Wilson

5:35 Kinmont’s practice included painting, video, sculpture, photography

5:50 his street project in NYC and Cologne titled I am for you, ich bin fur sie consisted of three sculptures

6:15 “The Social Sculpture” - Joseph Beuys

6:40 ‘The Thinking Sculpture’ - William James

7:10 cognitive process as a sculptural process

7:25 “The Third Sculpture”

8:00 I Am For You

9:00 Christo’s public projects are about his conversations with farmers and coastal commission

10:35 The Materialization of Life Into Alternative Economies
11:45 Antinomian Press

14:40 economic precarity subtheme

15:10 theme of art in everyday life, what we can and can’t call art

16:00 Borders of what can and cannot be called art

17:45 NYU Draper Institute lecture to grad class of anthropology

19:00 cultural differences in interviewing NYC and Cologne individuals

21:15 archives of his projects led to his interest in contracts and Promised Relations: or, thoughts on a few artists’ contracts?

24:20 Tilted Arc contract

24:30 Felix Gonzalez-Torres’ certificates

25:30 Kinmont’s contract

25:40 Attorney Jerry Ordover

25:55 Seth Seigelab and Bob Projansky artist contract

29:45 MoMA Department of Prints and Drawing’s purchase of Antinomian Press archive

31:40 why artists shy away from using contracts

36:45 circa 1990 - Trust as Sculpture – strangers invited to waffle breakfast in Kinmont’s home

38:15 understand history to create discourse around your own experience

40:00 feedback from An Exhibition In Your Mouth
41:45 social and political meaning behind the study of gastronomy

42:50 Inter-sectionality of gastronomy with women’s studies, economic history, ethnography, class, medicine, health

44:40 Gastronomy and Economic Precarity
45:50 FBI’s attacks on the Black Panther’s Free Breakfast Programs

46:50 San Quintin death row inmate’s inquiry about publishing Death Row Cookbook

48:50 his projects addressing injustice

50:25 Ethical Considerations in Project Art Practice
51:10 definition of justice

51:502011 Carl Andre Killed His Wife Ana Mendieta

53:00 Olivier Mosset bought and later returned it

54:25 Andre’s involvement in Art Workers Coalition Group and work using proletariat mater

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Cover Image: "The Boardroom Was Taken", oil on aluminum, 28"x22" Copyright Stefania Salles Bruins 2022.

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Please visit the following links to learn more:
Shahn’s sketches for Rikers Island;
Correctional History discussion of Shahn;
Lucienne Bloch, Cycle of a Woman’s Life: Childhood: Shahn’s photo of an incarcerated painter at Blackwell’s Island;
Larry Cook, The Visiting Room and Urban Landscapes;Groundswell murals at Rikers;
Handwritten survey responses in the Shahn Papers at the Archives of American Art.

SHOW NOTES:
2:00 Ben Shahn’s and Lou Block’s proposed Rikers Island Penitentiary murals for the New Deal

4:45 West wall’s mural representing prison reform

6:05 East wall’s mural of prisons in need of reform

8:20 New York’s Municipal Art Commission rejects murals as psychologically unfit for prisoners and as anti-social propaganda

9:00 1935 survey of Blackwell Island prisoners about murals

11:35 one incarcerated man likened Shahn’s murals to Diego Rivera’s Rockefeller Center mural

12:40 concerns about making incarcerated life a spectacle

14:10 responses by Ben Shahn and Lou Block to survey

17:20 utility of survey for art historians

19:10 survey archive

21:30 Ben Shahn’s New Deal Murals: Jewish Identity in the American Scene by Diana Linden

22:10 Ben Shahn’s New York by Harvard Art Musuems

22:50 Art for the Millions: Essays from the 1930s by artists and administrators of the WPA Project by Francis O’Connor includes material from Lucienne Bloch

23:10 Bloch’s “Cycle of a Woman’s Life” accepted for WPA Project in 1935

23:50 Bloch’s primary sources quote from letters by incarcerated females

29:30 Harold Lehman’s Man’s Daily Bread erected at Rikers and later removed

35:20 Faith Ringgold’s 1971 For the Women’s House

37:00 Reception to Ringgold’s For the Women’s House by male incarcerated population

38:45 2012 Prison Landscapes by Alyse Emdur

42:10 Antoine Ealy’s opinion of prison landscapes

43:20 utility of murals in correctional institutions

44:15 Nicole Fleetwood’s book and exhibition Marking Time: Art in the Age of Mass Incarceration

45:00 Shahn’s photograph of incarcerated man painting portrait at Blackwell’s Island

47:30 Utility of art as a direct and didactic tool

51:00 how a focus on art in correction facilities aids in facilitating justice

56:00 Marking Time includes incarcerated and non-incarcerated artists

56:20 Artist Larry Cook

57:30 Groundswell NYC

58:20 How Nowocki defines justice

59:20 Mariame Kaba’s view of justice in terms of accountability as compared with punishment
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To view rewards for supporting the podcast, please visit Warfare's Patreon page.

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Cover photo of Miki Garcia by Alonso Parra.

Please visit the website for Undoing Time: Art and Histories of Incarceration at ASU's Art Museum and at Berkeley Art Museum to learn more.

1:30 ASU Art Museum’s mission as a learning institution that centers art and artists in the service of social good and community well-being

2:40 inspiration for Undoing Time: Art and Histories of Incarceration exhibition as a cultural mark in time for ASU Art Museum

6:40 effort to address all dimensions of an exhibition on mass incarceration and its impact on viewers

8:00 Art for Justice Fund’s involvement in exhibition

9:05 prior exhibition with artist Gregory Sail who worked with incarcerated populations

9:15 Contemporary Art Museum Houston and Nicole Fleetwood’s work with the Walls Turned Sideways: Artists Confront the Justice System exhibition

10:20 Undoing Time’s focus began with a survey of how incarceration has been portrayed through images from the 18th Century Code of Hammurabi forward

11:30 12 artists invited to create commissions for Undoing Time, including Mario Ybarra, Jr. who created a pizza parlor vignette that dealt with Ybarra’s childhood friend Richard who later was incarcerated on a murder charge

13:20 rehabilitation was shown in Ybarra’s work that’s not shown in historical images of incarceration

13:55 Stephanie Syjuco’s commission abstracted images of black and brown incarcerated population

15:10 Juan Brenner’s commission about the Guatemalan Highlands and how the U.S. West Coast prison system gang culture was exported to Central America

16:10 destruction of Guatemalan Highlands’ residence due to erection of prison that houses Mara Salvatrucha gang

17:25 architecture of prisons, e.g, the panopticon, the fortress

18:00 Indigenous artists Raven Chacon and Cannupa Hanska Luger

19:15 Luger’s commission focus on the relationship of land to mass incarceration

19:25 Mass Liberation Arizona’s mission of people over property

21:00 Theater maker and Playwright Michael Rohd choreographed going through the exhibition

22:55 Raven Chacon’s musical composition about a juvenile detention center

24:10 Rohd’s positing of questions and cards for viewer feedback

26:45 Art for Justice Fund to ASU poet Natalie Diaz and the Center for Imagination in the Borderlands

30:00 undergoing critique of the purpose and operation of museums

33:30 museums are civic institutions of dialogue, engagement and storytelling and should be responsible to the communities they serve

35:30 art’s power to challenge inherited narratives about incarceration

37:15 how she sees her legacy to eliminate as many boundaries as possible and uphold all kinds of art forms and include more voices and to open up what a museum can be and who it’s actually for

39:20 evolution of her definition of justice

40:45 justice has to be fought for

40:55 justice as public love

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The featured image is titled Peggy Cooper Cafritz (2020), acrylic on canvas, 16"x20", Gina McKlveen. Image: © and TM Gina McKlveen. All rights reserved.

Peggy Cooper Cafritz grew up in Mobile, Alabama under Jim Crow laws during the days of racial segregation in the Southern United States of America. She moved to Washington, DC in 1964 to attend college at The George Washington University, where she was instrumental in creating organizations for Black students on campus. Continuing her education at George Washington University Law School, she graduated with her Juris Doctor degree in 1971. Cafritz was significantly involved in the arts community while she was a student, serving on boards, chairing committees, and planning several festivals in the nation's capital. However, Cafritz solidified her support for the arts when she co-founded the Duke Ellington School of the Arts, a public high school located in Washington, DC that focuses on arts education. Throughout her lifetime, Cafritz developed an extensive art collection primarily of works by artists of African descent as a means to address the absence and confront the erasure of Black history in the United States. She passed away in 2018, gifting portions of her art collection between the Duke Ellington School of the Arts in DC and the Studio Museum in Harlem, NY.

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Please visit Dr. Greenspan's website to learn more.

Show Notes:

00:00 impression of survivor about Greenspan’s representation of their story

03:00 1970s interview for psychologist

04:20 depth rather than breadth of his interviews with Holocaust survivors

6:25 collaborative meetings with survivors

7:00 Agi Rubin described good interviews as learning together

9:00 Process of creating courses, books, plays from conversations with survivors

13:45 Greenspan’s dissertation topic on this became his life’s work

15:10 Agi Rubin: I’m not a “Survivor” as a category.

18:35 On Listening to Holocaust Survivors: Beyond Testimony

19:00 Leon’s recollection of murder of Paul Lieberman

22:10 Leon’s correction that his recollection is not a story; it must be made a story

25:30 Remnants

29:50 Reflections: Auschwitz, Memory and a Life Recreated

35:40 Death/Play or the Mad Jester of the Warsaw Ghetto

41:20 source material for Death/Play or the Mad Jester of the Warsaw Ghetto

44:40 short play Gravediggers involving the Ukraine

47:20 Greenspan’s view of injustice

48:00 His work is ‘disposable people’ studies

49:40 Corruption

53:00 what we do together is where hope is

53:45 per Agi Rubin, legacy is not up to her

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To view rewards for supporting the podcast, please visit Warfare's Patreon page.

To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com.

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For those interested in obtaining a copy of Contested Heritage Removing Art From Land and Historic Buildings by Richard Harwood QC, Catherine Dobson and David Sawtell, please visit the publisher’s website and use code P8W4VZ for a 10% discount.

Show Notes:
00:00 overview of Contested Heritage – Removing Art From Land and Historic Buildings

2:10 Lucien Freud mural of flower; removed from a house that was a listed building

3:14 Rustat Memorial plaque at Jesus College chapel

4:20 Emily Gould introductory comments

5:00 What is meant by contested heritage

5:50 co-authors Catherine Dobson and David Sawtell

6:00 dispute over public memorialization of certain person or events

8:20 question of whether a work is part of a building, who owns it, to what extent it’s subject to listed building control

9:05 Dill case

10:15 Dill involves pair of 18th C. lead urns produced by Flemish sculptor John van Nost and placed on limestone piers in Wrest Park

12:00 2015 local planning authority learn urns are not at Idlicote House and issue enforcement notice for their return

17:20 regulatory issues, export licensing

17:50 property ownership

19:00 Old Flo case

19:30 London Borough of Tower Hamlets v. London Borough of Bromley

19:40 Henry Moore statue Draped Seated Woman

21:20 purpose of annexation

27:00 listed building control

28:00 main considerations for authorities faced with application for removal of contested statue or other memorial or work of art

29:00 for listed buildings, strong presumption in favour of building to protect special architectural or historic interest

30:00 Public Sector Equality Duty

31:00 Jen Reid statute appeal

32:35 Rustat Memorial case

37:40 Colston case

38:40 Colston – late 17th C. deputy governor of the Royal African Company that ran slave trade and benefactor of Bristol

40:45 ‘Colston 4’ trial – individuals charged with criminal damage and acquitted

41:00 acquittal now on appeal by Attorney General’s reference on lawfulness of some lines of defence run, including question of right to freedom of expression and extent that can justify attacking property

41:45 ‘retain and explain’ policy

43:10 changes to planning and listed building procedures

44:35 Cecil Rhodes statues and other memorials in Oxford

46:35 another Rhodes commemorative plaque in Oxford recently listed by Secretary of State

46:45 increased public awareness about these issues

47:15 Arts education charity, Art UK recent catalogue of 13,500 British public sculpture - only 2% commemorate people of colour

48:35 public art

49:45 Old Flo example of post-war public authority support for public art

50:00 developers recently encouraged to include public art, e.g., Desert Quartet Sculptures by Dame Elisabeth Frink placed in back of Worthing shopping center and now a listed building

51:50 Ulster Defence Regiment memorial in Lisburn, N. Ireland includes a female

53:00 National Windrush Monument in Waterloo Station commemorates arrival of Caribbean migrants after WWII

54:20 political issues about colonialism and empire involved with cultural heritage dispute

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Show notes:

1:00 evidence at trial from historian David Olusoga regarding Colston's ownership of more slaves than any other Brit in history, one of the earliest, biggest slave traders

1:30 Colston died circa 1720

1:45 statue of Colston erected by Victorian dignitaries in Bristol

2:10 half of the schools, streets and whatever in Bristol are named after Colston

2:20 circa 1990s, true history of Colston revealed

3:25 in the wake of the killing of George Floyd, the Black Lives Matter protests group pushed Colston statue into the harbor

3:45 restorative justice by others with community penalty

3:55 Colston 4 jury trial over prosecution of four individuals involved in toppling Colston statute

4:05 Elected for a Crown Court jury trial and were acquitted

5:20 Conservatives and those in the government, including the cabinet, expressed surprise at the verdict

6:10 UK Attorney General considered whether to send the case to the appeal court to consider whether there was an error of law in the direction of the jury

7:50 bill going through Parliament with a provision to increase the potential sentence for criminal damage against a public monument

8:15 proposed bill to change threshold that currently exists for criminal damage against a memorial or public monument with value under 5000 pounds, maximum sentence magistrates that could impose was three months in prison

8:50 proposed bill is to remove financial threshold and make maximum sentence 10 years

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To learn more, please visit the website for Scientific Analysis of Fine Art, LLC.

Show Notes:

0:01 use of scientific methods in London and Berlin to understand and preserve cultural heritage since 19th Century

2:30 history of cultural heritage science

4:00 founding Scientific Analysis of Fine Art LLC (SAFA)

5:40 Yves Tanguy’s Fraud in the Garden

5:50 catalogue raisonné prepared by art historians Charles Stuckey and Stephen Mack

6:10 fascist attack during screening of Luis Bunuel’s satiric “L’Age d’Oro”

7:00 use of multi-spectral imaging on Fraud in the Garden included ultraviolet light and infrared radiation, and x-rays to view slash pattern on painting

7:45 multiple restorations on Fraud in the Garden dated through the pigments and paint binders

9:00 value of artwork as historical documents versus restoration of the artwork

9:45 cultural heritage as historical documents example of Victoria & Albert Museum

10:45 display of the Rothko Murals at Harvard by projecting original color on faded paintings

11:45 analysis for attribution questions varies between antiquities, paintings, decorative art objects

13:20 non-destructive drive for protocols for elemental and molecular analysis

14:00 changes to work by Van Gogh and Met’s Irises and Roses exhibit on this

14:30 geranium lake known as Eosin red

15:00 paints like cadmium yellows and chromium yellows created during the Industrial Revolution are also very sensitive to light and relative humidity

15:15 changes in Matisse’s 4 versions of Joy of Life – yellows fading to ivory white

15:30 mechanism of degradation

16:20 Picasso's 1901 The Blue Room

17:30 Cezanne

18:15 analysis of over 900 tubes of paint from Munch

19:30 paints standardized in 1920s

21:00 flaking of zinc white: reaction of zinc oxide with oil creates crystalized molecules - zinc soaps

21:25 titanium white

23:00 heavy metal pigment paints that strongly absorb x-rays like lead white or vermillion (a mercury sulfide red) prevent seeing under-painting

24:45 head of the scientific vetting committee for TEFAF New York

27:15 Court of Arbitration for Art

28:35 trusting science to conduct due diligence

30:30 stigma attached to use of science

33:00 Bard Graduate Center

34:00 wooden polychrome sculpture analysis: dendrochronology and radiocarbon dating

36:00 dirty dozen paint list

36:45 mixing drying oil paints (linseed) with non-drying oil paints (sunflower)

37:50 Eosin red, emerald green, cadmium yellow, chromium yellow, vermillion, copper blues

38:50 favorite paintings

39:10 Modigliani Collection at the Barnes

39:45 Modigliani’s palette

40:35 The Burlington Magazine

41:10 Klimt’s Faculty Paintings

42:30 computational technologies to bring lost work back to life

43:00 facilitating justice

43:45 invention of photography enabled Jacob Riis to document New York slums

44:00 20th Century photographer and sociologist Lewis Hine

44:20 BLM movement

44:30 environmental justice issues

45:40 recommendations to pursue cultural heritage science

46:55 legacy to create scientific literacy for art conservators and historians

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© Stephanie Drawdy [2022]

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To learn more, please visit David de Jong's website.

Show Notes:

3:30 overview of Nazi Billionaires

5:15 families included in Nazi Billionaires control companies like BMW and Porche whitewashing patriarchs’ legacies

6:15 moral and historical reconstruction – acknowledging what’s transpired in history

9:00 Quandt dynasty and BMW Group

10:00 Flick dynasty and Daimler-Benz

11:10: Von Finck and Allianz and Munich Re

11:45 Porsche-Piëch - Volkswagen, Porsche, Bentley

13:40 Oetkers - baking powder, cake mixes, Germany’s largest beer brewery, one of Europe’s largest sparkling wine manufacturers, luxury hotels

14:00 Flick’s conviction of war crimes and post-war business success

19:20 Flick released on good behavior and saw himself as wrongfully convicted

20:30 Ferry Porsche’s autobiography We At Porsche

22:30 Rosenberger’s post-war settlement with Porsche

23:30 Porsche Sales & Marketing Representative Joachim Peiper’s death sentence commuted for the Malmedy Massacre of U.S. Army POWs

24:45 English version of We At Porsche

25:30 German version of We At Porsche

26:00 Porsche AG spokesperson and head of Porsche Foundation Dr. Sebastian Rudolph

28:30 research for Nazi Billionaires for 4 years starting in 2017

29:00 archive availability and Fold 3 access

30:30 German academic reporting of Nazi family histories

32:00 breadth and depth of families’ collaboration with Third Reich

33:00 Reimann family emerge in 2019 as Germany’s second wealthiest family

36:50 Reimann family’s Alfred Landecker Foundation

38:20 German family Bahlsen’s study expected summer 2023

39:20 ignorant remarks by Verena Bahlsen

41:00 how current ignorance and historical distortion are related to overlooking war crimes

41:50 dynasties’ lean on notion of collective guilt

46:00 de Jong’s family experience

47:00 Artist Max van Dam

49:30 his family experience makes him mindful of history

51:00 his motivation to get these stories out

51:50 plans for a second book about dynasties that shaped the U.S. and the Netherlands

52:50 evolution of his definition of justice over the course of writing Nazi Billionaires

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Cover photo of Menachem Kaiser by Beowulf Sheehan.

To learn more, please visit the website for Menacham Kaiser and Plunder.

Show Notes:

2:00 genesis of Plunder: A Memoir of family property and Nazi treasure

4:00 the memoir by Abraham Kajser

6:45 Kajser’s experience as a forced laborer during WWII in underground camp structures in Poland that were given the code name Project Riese

7:30 Polish version and Hebrew version of Kajser’s memoir

8:45 political decisions in what stories are given attention

10:30 the writer’s mandate to create work that’s honest

11:20 he went on a Fulbright to Lithuania

11:50 his unexpected research on the Vilna Ghetto

12:30 lessons missed in Holocaust education

13:00 his revelation of how morally and historically complicated and interesting the Holocaust is

14:00 Jews’ self-governance in ghettos included trials and hangings

15:00 How the ‘politics memory’ differs in countries like Lithuania and Poland

17:00 The arc of his thoughts on the moral and ethical questions raised by his inheritance claim for his grandfather’s building

21:00 status of his inheritance claim for his grandfather’s building

22:00 move by mayor of Sosnowiec to claim his grandfather’s building

25:30 Nationalist shift in Poland, resulting in failed/dismissed property claims

27:00 response to Plunder in Poland

28:30 KARTA publisher of Plunder in Poland

30:00 the challenges he dealt with in researching the book

31:50 research into forced displacement of Germans after WWII

34:30 myth-soaked Silesia became a character in the book

36:30 archive from Vilnius, Lithuania

38:00 David Fishman’s The Book Smugglers

40:00 value of archives in digitized form versus physical form

41:00 Vilnius archive re-surfaced in the late 1980s/early 1990s

43:00 arts programs in the Vilna ghetto during WWII

43:30 Artist Samuel Bak

44:00 Poet Abraham Sutzkever

44:15 Protest songs by poet, musician, writer and activist Szmerke Kaczerginski

44:40 civil war rumblings in Vilna ghetto

46:50 Jacob Gens, head of the Vilna ghetto government

47:45 death of Itzik Wittenberg, Hero of the Vilna Ghetto / leader of the Resistance

49:30 anti-Semitism in Poland

50:30 his thoughts on how the justice system is designed to frustrate efforts

52:15 his thoughts on how his legacy is being shaped as a writer

57:00 his current project related to an ongoing story in Montreal that involves allegations of hiding 4B in Nazi gold.

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To learn more, please visit the website for Ms. Sliwa.

Show Notes:

2:45 inspiration for her career as a historian of the Holocaust and Polish Jewish history

4:30 American Jewish Joint Distribution Committee (JDC)

6:50 Conference on Jewish Material Claims Against Germany (the Claims Conference)

8:00 Claims Conference’s work on behalf of elderly survivors

10:00 current issues blocking claims that she’s encountered and how they differ between countries

12:00 history of the plunder and anti-restitution approach/laws in Poland

16:00 definition of who is a survivor for restitution purposes, e.g., exclusion of Jews who were in hiding during WWII from receiving pensions

17:45 lack of understanding and education about the gravity of the theft and restitution issues from WWII

19:00 claims like Menachem Kaiser

20:20 attitudes and behaviors towards Holocaust survivors and why claims are still ongoing

23:00 heirless property

24:00 JUST Act report’s findings on Poland about archives

26:00 It Is Still Night authors Historian Jan Grabowski and Professor Barbara Engelking

30:00 pursuit of the ‘Politics of Memory’ by the current government in Poland, Law and Justice as a distortion of Holocaust history

35:00 example of how Holocaust history is distorted: Poland’s commemoration of a Polish railway worker who is said to have given water to Jews in boxcars en route to Treblinka versus acknowledging Poles who robbed Jews in boxcars in exchange for water

41:00 Jewish Childhood in Kraków: A Microhistory of the Holocaust

43:45 historical drama film Schindler’s List

45:45 Children With a Star: Jewish Youth in Nazi Europe by Deborah Dwork

47:00 Counterfeit Countess: The Jewish Mathematician Who Rescued Poles during the Holocaust co-authored with Dr. Elizabeth (Barry) White, expert on Majdanek Concentration Camp

52:00 genealogy methods supplemented research for Counterfeit Countess

56:15 The Beginning of the Holocaust in Poland 1939-1941? Other upcoming projects?

59:15 how Dr. Sliwa defines justice and how she sees her work facilitating justice

1:30:00 Dr. Sliwa’s hope for her legacy: to educate and inspire future scholars of all genocide

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To learn more, please visit Marisabina Russo's website.

Show Notes:

2:00 A Visit With Oma

2:45 A House of Sports

3:30 Always Remember Me

3:45 I Will Come Back For You

4:00 Why Is Everybody Yelling? Growing Up In My Immigrant Family

5:00 Graphic memoir about cancer

7:00 Research at the Holocaust Museum in Washington, DC

7:40 Steven Spielberg’s USC Shoah Foundation

8:00 Research in Italy

8:25 Her brother’s identification of his murdered father

10:30 Immigration experience and being a child of divorced parents

12:30 Jewish Book Council Review

15:30 Sainthood

17:25 German and Yiddish included in graphic novel

18:30 Bengasi 1942 Italian war film directed by Augusto Genina

22:30 Cats of Krasinski Square by Karen Hesse

22:35 Nicky & Vera by Peter Sís

22:50 No Pretty Pictures by Anita Lobel

24:45 German program for Holocaust victims to visit Germany

25:20 Visit to Leipzig, Germany

25:45 Gewandhaus - opera and classical music venue in Leipzig, Germany

27:30 how her books work towards historical justice

29:00 Why books dealing with war are important for young readers

31:15 New York City’s Tenement Museum

32:10 1911 Triangle Shirtwaist Factory fire

32:45 how Ms. Russo’s definition of justice has evolved; that justice is for all

33:30 Quote from James Baldwin “It is certain in any case that ignorance allied with power is the most ferocious enemy justice can have.”

34:50 The Warmth of Other Suns by Isabel Wilkerson

35:25 After Such Knowledge: Memory, History and the Legacy of the Holocaust by Eva Hoffman

36:00 The Grapes of Wrath by John Steinbeck

36:40 Maus by Art Spiegelman

37:40 Can We Talk About Something More Pleasant by New Yorker cartoonist Roz Chast

38:00 Fun Home: A Family Tragicomic by American cartoonist Alison Bechdel

38:05 Persepolis: The Story of a Childhood by Marjane Satrapi

38:15 Linda Barry’s books

38:30 Her recent appearance on comic creator panels in NYC

39:30 El Deafo by CeCe Bell

40:00 Spiegelman’s comments on not doing another Maus book

42:20 current book dummy project

42:30 Fiber Artist Liz Albert Fay collaboration for ‘Extraordinary Women’ project viewable on Instagram

45:15 her first book The Line Up Book

45:35 House of Sports was a turn from picture books

46:05 Always Remember Me was her first time addressing the Holocaust in a book

48:00 the passing of her Tante Annie

50:45 Tante’s response about prayer during her time in Auschwitz

53:30 The legacy of her work: to act as a bridge from the former generation to the next generations

55:10 two letters her mother received from employer who was forced to fire her that evidence the reality of the Holocaust era: one indicating she was fired because she was a Jew and the other as a recommendation letter

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Please visit the website for Arté Util to learn more.

SHOW NOTES:

0:02:20 overview of Arté Util

0:08:00 projects prior to Arté Util

0:14:00 Arté Util archive and museum

0:24:00 museum 3.0

0:24:30 vocabulary created for Arté Util

0:32:00 ‘expert culture’ term to be retired

0:36:00 the work of Dr. Jemma Medina and Alessandra Saviotti under the lens of usership

0:46:00 project applications

0:51:00 Please Love Austria project and Foreigners Out film

0:57:45 Alternative Energy Argentinian project

1:01:45 why art should be put into useful aspect

1:04:15 how Arté Util facilitates justice through its collaborative aspect

1:06:00 U.S. prisoners photo project

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To learn more, please visit The Art Unit's website.

SHOW NOTES:

1:40 reason for founding The Art Unit to make art more accessible for collectors and creatives

4:45 Ukrainian artist Nataliia Verbova based in Germany

5:00 Ukrainian artist Margo Sarkisova fled Eastern Ukraine in 2014 and recently fled Kharkiv

5:30 Ukrainian artist Bohdan Svyrydov

7:00 Ukrainian artist Sergiy Kondratiuk and his series of Soviet porcelain figurines

10:15 Challenges Ukrainians face with misappropriation of culture

12:50 The Gates of Europe by Ukrainian historian Serhii Plokhy

13:40 Ukrainian poet Taras Shevchenko

14:15 weaponization of culture and history

14:45 works by Ukrainian artist Maria Prymachenko damaged by Russian war

16:00 oppression of Ukrainian culture and history

17:20 Homeward by directed by Nariman Aliev and Crimean Tartars

18:35 Importance of art in times of war

19:20 Ukrainian artist Olena Shtepura

19:50 Ukrainian artist Polina Shcherbyna

20:15 Charcoal swirl mother and child

20:25 Artists acting as a conscience for society

21:20 Ukrainian artist Margo Sarkisova’s war diary – works on paper employing symbolic imagery

22:40 utility of art versus photography

24:00 war photographer Maksim Levin

24:40 Timur Dzhafarov aka John Object’s war diary on Instagram

26:00 The Art Unit’s impact on culture by helping to raise the voices of emerging artists

28:00 Change in her definition of justice

30:00 Russian propaganda that war is only targeting military bases

31:10 art addressing war by Olena Shtepura

31:20 art addressing war by Polina Shcherbyna with real & surreal imagery

32:00 works to come that will interprete the war as the war will continue to be a main topic

33:00 multiple generations of Ukrainians have experienced war

33:20 art creating the language to go forward with Russia as the neighbor after the war

35:45 looting during the war

36:15 how to deal with the destruction of Ukraine when she returns

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For more details about joining the monthly discussion on art, culture and justice, please message me at stephanie@warfareofartandlaw.com. Hope to see you there!

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The following are links to Nuremberg: The Trial of Nazi War Criminals, 4AM Kyiv Is Bombed, Mueller: Trump Tower Moscow and Reykjavik.

Show Notes:

0:42 war crimes in Ukraine and disappointment that America is not a member of the ICC.

3:00 Jonathan Myerson’s reasons for writing Nuremberg: the Trial of Nazi War Criminals

5:00 issues that almost kept Nuremberg trial from happening, including Winston Churchill’s disinterest in having a trial

7:45 Soviet Judgment at Nuremberg by Dr. Francine Hirsch

9:45 indictment of the wrong Krupp.

10:20 speed of the trial after VE Day in May 1945

11:35 one structural point for the Nuremberg podcast was to show the trial from the ground up

12:50 another structural point for the Nuremberg podcast was to focus on what the defendants caused in Europe not about the defendants

14:30 how witnesses were selected to include in the podcast

15:00 Episodes 5 and 6 include what it was like to hear from witnesses about the mass killing concentration camps for the first time

18:30 British bureaucratic coping in collection of evidence

20:00 Hadassah Binco, mother of Belsen – use of her testimony from the Belsen trial

21:30 Hermann Graebe’s testimony about witnessing mass shooting site in Ukraine

22:30 closing by British Chief Prosecutor Lord Hartley William Shawcross

24:45 feedback from Nuremberg podcast

27:00 This Is Your country Too podcast - seven plays about child refugees

29:00 Britian’s poor approach to accepting immigrants from Ukraine now and during WWII, Kindertransport

30:20 Lebanon, the Syrian army, Civil War

31:45 Ukraine podcast play, 4AM Kyiv is Bombed

33:30 Lviv otherwise known as Lemberg, otherwise known as Lvov

34:30 Bloodlands by Timothy Snyder

35:30 Ukrainian National Police Facebook page

37:30 his work serves to remind us about historical events

38:30 Payback about the 1973 Yom Kippur War and US’s decision to re-arm Israel

40:00 Reykjavik podcast - meeting between Reagan and Gorbachev

40:45 Francis Fukuyama's End of History

41:30 Star Wars program

42:00 a wider understanding of justice

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The following is the link to 4AM KYIV IS BOMBED.

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Cover Image: Freedom Holding Bread, Mira Hnatyshyn (2022)

To learn more, please visit Mira Hnatyshyn's website.

SHOW NOTES

2:15 Hnatyshyn’s work focused on identity, gender roles and cultural constructs

3:00 influence of her Ukrainian culture and history

4:00 travels to Ukraine inspired The Braid Basket

4:40 Revolution of Dignity

8:00 Orange Revolution

10:00 work in reaction to Russia’s recent invasion of Ukraine

11:30 Ukrainian flag’s meaning

12:45 Pieta inspired Freedom Holding Bread

13:45 Fatal Run-Kyiv

15:40 abstract painting Red

17:15 military exercises preceded invasion

18:30 Mariupol theatre bombing of children, діти

20:50 message with paintings of empathy, knowledge, truth and justice

22:10 feedback from paintings

22:40 painting titled Orange Revolution aka Invasion

24:30 art during war / potential for using art as protest

26:15 justice as a principle of fairness

26:45 hope for her work to facilitate justice and/or addressing injustice by not silencing empathy or truth

27:45 artists creating a community of empathy with their work

28:35 her message to those impacted by war and atrocity

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For more information, please visit the Artists at Risk website.

The following is a link to an article about the Russian military's taking of Oleksandr Kniga by the Washington Times.

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The interview with Irina Tarsis took place before the Russian invasion of Ukraine. Irina is a Russian-speaking American, with Ukrainian and Jewish roots. The events we are witnessing now in connection with the war in Ukraine are heartbreaking. Glory and Peace to Ukraine and Forgiveness and Awakening to Russia.

Cover art: photograph taken in Kyiv art gallery/store circa 2020 by Irina Tarsis.

To support the Center for Art Law’s mission and to learn more about its offerings, please visit the Center for Art Law’s website.

SHOW NOTES:

0:00 Irina Tarsis’ decision to attend law school to study art law

1:42 Tarsis’ reasons for pursuing art law

3:05 her work with Soviet nationalizations in the context of law libraries

4:15 Tarsis began studing art history

4:34 Founding Center for Art Law

5:17 Center’s growth

7:20 Center’s Judith Bresler Fellowship

9:24 Center’s legacy and estate planning clinic

12:51 clinic’s artists feature series.

13:42 Artist Molly Dougenis

14:16 Dougenis’ estate planning

15:00 next clinic about artists dealer relationships with a focus on New York law and will include resale royalty.

16:44 recent NFT case filed in Southern District of New York that involves the Guernica of India

17:30 many contracts include reference to all future media now known or to be to be invented down the line

18:00 suit involving Quentin Tarantin’s attempt to mint NFTs

18:48 future cases in art law

20:33 teaching at Sotheby's and FIT

23:09 Tarsis’ work with the European Shoah Legacy Institute

24:15 provenance research

26:50 Portrait of Wally

28:00 Center’s future mission

30:16 Knoedler Gallery story

31:45 idea for a Knoedler award

33:03 creation of a community of artists, art fans, art aficionados, and collectors and attorneys

34:30 fundraising efforts

36:13 career positions in art law

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To view rewards for supporting the podcast, please visit Warfare's Patreon page.

To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com.

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To view rewards for supporting the podcast, please visit Warfare's Patreon page.

To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com.

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To view rewards for supporting the podcast, please visit Warfare's Patreon page.

To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com.

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For more information, please visit the website of Jai Chakrabarti.

SHOW NOTES:

2:15 Chakrabarti’s inspiration for A Play For the End of the World

3:30 Rabindranath Tagore’s play The Post Office

8:00 memoir by survivor of Janusz Korczak’s orphanage titled The Last Korczak Boy

8:30 injustices in 1942 Warsaw

10:00 The Post Office performed in 1940s Warsaw to uplift compared with exploitation through its performance in 1970s India

11:15 Chakrabarti’s inspiration from Tagore’s play

12:20 theme of intergeneration trauma in Chakrabarti’s book

13:20 Bessel van der Kolk’s The Body Keeps the Score and Rabbi Dr. Firestone’s Wounds Into Wisdom: Healing Intergenerational Jewish Trauma

14:30 assumption that gravity of the book would be 1942 Warsaw

16:00 research for book

17:15 Jhumpa Lahiri’s The Lowland

17:40 Lawrence Langer’s collection titled Art From the Ashes

18:25 character journaling process

19:30 questions asked of characters

21:00 reader feedback

22:30 value of art in times of conflict as a healing balm

23:30 Tagore poem translated into a Yiddish song in 1930s Warsaw

24:45 challenges of dual timelines in A Play For the End of the World

26:00 thematic repetition edited out

27:15 most revised scene during escape from train en route to Treblinka

28:30 social justice aspect of A Play For the End of the World

29:30 recommendation of collected short stories by Tagore

30:00 A Home In The World by Tagore

30:30 The Foreign Student by Susan Choi

30:50 The Lowland

31:40 use of a system in drafting a dual timeline novel

32:15 reason for writing story as a novel versus short story

33:30 death of Archbishop Desmond Tutu

33:40 music of Miriam Makeba and Hugh Masekela used to end apartheid

34:00 each piece of art can allow for conditions by which social change can occur

35:40 Playwright Safdar Hashmi whose theatre work in the 1960s and 70s directly advocated for economic and social improvement for the laborers of India

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For more information, please visit the websites for Sergio Muñoz Sarmiento and The Art & Law Program.

0:06 routes taken by students wanting to pursue art law

1:00 “gatekeepers” of art law

3:00 Sergio Sarmiento’s experience practicing art seriously since 1992,

3:45 global expansion of art law practice

4:10 former student in Seoul, Korea applying to law school there to do art law in Korea

5:00 artists’ reliance on the law

6:00 protecting artist's rights through contract, as opposed to encouraging federal legislation in relation to resale royalties.

7:25 NFTs denied definition as art.

9:10 reason for picking medium of NFT

10:25 1970s pet rock

13:00 1992 undergrad at the University of Texas at El Paso

14:30 1995 CalArts

15:25 teaching at University of Southern California

15:50 focus on the concept of private property and public property

16:15 originally applied to law school as an art project

16:50 springboard for creating The Art & Law Program occurred during law school

18:20 evolution of The Art & Law Program’s mission since 2010

22:35 skeptical now of art that that attempts or believes that it is critiquing the system

26:40 the necessity of the political mural

29:40 how his perspective has changed on what is art and its value

34:00 book project

36:20 the National Basketball Association NFTs and their terms of service

39:00 The Art & Law Coloring Book

44:20 how culture and justice is addressed in the Program

45:35 justice shown by example through cases read and discussed in the Program

45:50 how justice is defined individually, can it be attained completely

46:10 is justice provisional and a bridge that temporarily fulfills us to get to the next step

46:35 if justice is unachievable, is that why people are in a perpetual state of misery

47:00 diversity in The Program like a spider web

48:00 current cultural powers thwarting or facilitating justice

49:00 museums’ use of their cultural power with social projects

50:00 if art is everything, then art is nothing. If museums are everything, then museums are nothing.

50:30 one of the lecturers of The Art & Law Program questioning an artist's work about immigration

52:15 if a plumber performs plumbing services and calls it art

53:30 acceptance of other forms or types of artistic activity doing social good institutionalizes that practice

54:45 what he would do differently would go back to 1997

56:10 impact he hope that his work, including the work with the Program, makes

56:30 to exist and to have a practice as an artist, and someone who's interested in culture, without the necessity of a institutional affiliation

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To view rewards for supporting the podcast, please visit Warfare's Patreon page.

To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com.

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To learn more, please visit the websites of Terezín Music Foundation and its project Our Will to Live.

SHOW NOTES:
00:02:45 Foundation of Terezín Music Foundation

00:06:30 Our Will To Live

00:08:30 Ullmann as guide through Terezin’s cultural community

00:09:35 Otto Weininger

00:12:20 Ullmann’s essays on Sigmund Schul included in Our Will To Live

00:13:30 Ullmann’s critiques of Carman and Verdi’s Requiem

00:14:45 Viktor Frankl

00:18:40 Council of Elders member Karel Herman

00:22:50 smuggling musical instruments

00:24:55 Ullmann’s critique of performance by Karel Švenk

00:26:05 knowledge of environment and history of creators enriches understanding of their work

00:26:10 George Horner

00:29:15 Yo-Yo Ma’s work with TMF

00:30:45 Yo-Yo Ma and George Horner’s performance at Boston’s Symphony Hall

00:32:45 Ludwig’s performance of Klein’s Lullabye for Dalai Lama at US Capital and in Sarajevo after seige

00:33:20 Our Will To Live as a work of historical justice

00:33:50 Primo Levy’s The Drowned and The Saved

00:35:00 How tracks for Our Will To Live were choosen

00:35:40 Karel Berman's performance of “A Sleepless Night” from Four Songs on Chinese poetry

00:36:00 cabaret works by Karel Svenk

00:37:15 Tracks of the month by OWTL

00:38:15 TMF’s ‘Finding A Voice’ program curriculum

00:39:55 enabling individuals to find their voice

00:40:50 social justice and the voice of society

00:41:20 voices of Ullmann, Hans Krása, Gideon Klein

00:42:05 Friedl Dicker-Brandeis

00:44:50 Pavel Haas’ “A Sleepless Night” from Four Songs on Chinese Poetry

00:46:20 Gideon Klein’s String Trio, Second movement

00:46:55 Ullmann’s Third String Quartet

00:47:40 Hans Krása’s children's opera Brundibar

00:48:10 Krása’s Passacaglia and Fugue for String Trio

00:48:50 Picasso’s Guernica

00:49:30 Ullmann’s Don Quixote Overture

00:51:10 TMF’s legacy

00:55:40 Track 27 Viktor Ullmann, Third String Quartet [13:38] (Terezín, 1943)
performed by Hawthorne String Quartet

01:09:45 Track 11 Gideon Klein, String Trio, Movement II — Theme and Variations [07:17] (Terezín, 1944), performed by Ronan Lefkowitz, violin; Mark Ludwig, viola; Sato Knudsen, cello

01:17:45 Track 12 Gideon Klein, String Trio, Movement III — Molto Vivace [03:04] (Terezín, 1944) performed by Ronan Lefkowitz, violin; Mark Ludwig, viola; Sato Knudsen, cello

01:21:05 Track 16 Pavel Haas, Four Songs on Chinese Poetry (for Karel Berman) “A Sleepless Night” (Han Yu [14:11] (Terezín, 1944) performed by Karel Berman, baritone, and Přemsyl Charnát, piano, November 1991 Czech Radio broadcast of a concert featuring Terezín composers in the Jewish Town Hall, Prague.

01:25:10 Track 29 Karel Švenk, “Why Does the Black Man Sit at the Back of the Car?” [01:16] (Terezín, 1943) Arrangement by David L. Post; performed by Thomas Martin, clarinet, and Hawthorne String Quartet

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Please visit the websites for Whitworth Art Gallery, Manchester Art Gallery, Decentralizing Political Economies, and Arte Útil to learn more.

2:00 Evolution Whitworth and Manchester Galleries’ mission

4:30 Use of art as a process for social change

5:00 Manchester Art Gallery

5:45 Whitworth Gallery

6:50 Healthy mind, body and spirit agenda

7:50 Platt Hall redevelopment

12:00 Pub as art center in Cumbria

14:00 Museum 3.0

16:30 Arte Útil and Cuban Artist Tania Bruguera

18:10 Whitworth’s Office of Arte Útil

20:00 Aplicación Legal’s use of legal loopholes

20:58 Núria Güell’s Degenerate Art Protocol

22:00 Núria Güell’s project involving loophole that allowed occupation of Tower block in Spain after removing doors

23:30 Decentralizing Political Economies research platform

23:50 Joy Forever exhibition – based on Social Reformer John Ruskin’s 1857 two-day lecture on economy as making the right conditions for living

24:55 Interplay between art and economy is fundamental to the way we develop society - how to see the world truthfully and then act ethically

25:25 Art defined as what’s done with care and consideration

26:05 Economics the Blockbuster exhibition

26:35 Reclaiming art as the operating system for our living conditions, as good housekeeping

27:50 Decentralizing Political Economies platform

28:30 NFT of William Blake’s The Ancient of Days

30:40 Proceeds of Blake NFT to be used for social programmes

31:41 Story of NFT to be used in exhibition

33:15 U.S. Artist Suzanne Lacy’s current show at The Whitworth

34:05 SF MoMA’s version of a Suzanne Lacy retrospective

34:35 Lacy’s What Kind of City? A Manual for Social Change

36:10 Lacy’s Oakland Projects to be used for a new project in Manchester to give youths agency

37:55 Lacy’s Uncertain Futures project to be used for better working rights for women over 50 years old

39:10 Capacity for change with individuals involved in and benefiting from these projects

42:30 These projects are elegant demonstrations of why art matters

42:50 Art world individuals who have a vested interest in the status quo are sometimes the ones who criticize these types of projects

43:20 Social justice at the center of these projects

43:50 The Whitworth and Manchester Galleries’ design as social instruments

44:10 The beauty of ethics and equitable relationships

45:00 Use of museums’ cultural power

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View Details

To view rewards for supporting the podcast, please visit Warfare's Patreon page.

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View Details

Please visit Laura Morelli's website to learn more.

Show Notes:

2:20 Travels in Europe began interest in art history

3:00 Shift from academia to historical fiction

4:20 Dual timelines of The Night Portrait and The Stolen Lady

5:45 Characters in The Night Portrait set around Leonardo da Vinci’s creation of Lady With an Ermine in the Italian Renaissance and its theft in Nazi-Occupied Poland

7:30 Characters in The Stolen Lady set around creation of Mona Lisa and efforts to save it from theft during World War II

8:40 Conspiracies around Mona Lisa

9:40 16th and 17th Century copies of Mona Lisa

10:35 Theft of Mona Lisa in 1911 by Italian contractor who thought the painting had been stolen from Italy

11:45 Da Vinci’s work in the Court of France and how Mona Lisa came to be in the French Royal Collection and then the Louvre

13:00 Use of protagonist Bellina’s agency as a servant in The Stolen Lady

15:45 Bonfire of the Vanities after Medici expelled from Florence, Italy

17:40 The Gondola Maker set in 16th Century Venice

18:45 Gondola burning as a Venetian act of justice to punish gondolier

20:20 Characters in The Night Portrait

20:54 Cecilia Gallerani, subject of Lady with an Ermine

22:35 German art conservator Edith conscripted into looting art

23:30 Scale of art looting during World War II

24:30 Hans Frank who served as the Nazi General Governor of Nazi-occupied Poland and was later known as the Butcher of Poland

25:50 Value of art versus value of life during war

26:45 Review of The Night Portrait compared character of Edith with character of Hannah in The Woman Who Heard Color by Kelly Jones

27:45 Complications of character with Edith

28:40 Outlining process

31:20 Advice for writers wanting to become historical fiction authors

32:05 Empowerment of writers

32:35 Read with the eye of a craftsperson to see skeleton of book

33:10 Foreshadowing in first chapters that will come to fruition later

34:00 Author recommendations of Tracy Chevalier and Geraldine Brooks

34:18 Author recommendation of Ken Follett, including his book The Pillars of the Earth about construction of a cathedral in Medieval England

35:20 Author recommendations of Umberto Eco; Maggie O’Farrell, including her book Hamnet; and Karen Maitland

35:50 Morelli’s website LauraMorelli.com and Art History Academy under the ‘Learn’ tab

37:40 Virtual visits to Italian museums and archeological sites

39:00 Using art as a research resource

39:20 Books on the daily life in an era recommended as an aid for sensory details

40:25 Recommendations on craft of writing

42:35 Survivor bias

44:15 Da Vinci’s missing/destroyed hydraulic and engineering projects

45:25 Raphael’s missing Portrait of a Youth

47:30 Facilitating historical justice through books like The Night Portrait

48:50 Upcoming book on the evacuation of the Uffizi Gallery

50:20 Uffizi book inspired by the different ways art was evacuated and managed in Italy than elsewhere during World War II

52:35 Historical justice theme also included in the upcoming Uffizi book

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Cover Photo from Bayeté Ross Smith's Our Kind of People: Campaign.

Please visit Bayeté Ross Smith's website to learn more.

Show Notes:

1:15 Genesis of Art of Justice program

6:00 African American experience in America

9:00 Florida A&M University’s business school

12:25 Shift from corporate business to photography

14:20 Our Kind of People project

16:40 Columbia’s Artist-in-Residency program

30:00 How his audience has changed

34:30 U.S. government entities

36:40 State property exhibition related to state prisons

40:40 Continuing Legal Education

42:00 Red Summers series

49:20 Historians who have worked with him

53:40 Red Summer series as a corrective narrative that connects to current times and aids in producing future outcomes

55:25 Upcoming projects

56:20 Legacy of his work as a resource

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Image: Arc, 2021, Jerry Alonzo

Please visit Jerry Alonzo's website to learn more.

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To learn more, please visit the Worcester Museum's webpage.

SHOW NOTES

2:45 Richard Neumann’s grandson Tom Selldorff approached Worcester Museum to take Neumann collection of 16 recovered works on long term loan

3:45 exhibition is meant to tell the story of the Neumann collection and efforts to reconstitute it

4:25 Richard Neumann was a collector’s collector

5:10 two exceptional works by Alessandro Magnasco

5:50 Madonna and Child by Neri di Bicci

7:45 Maerten van Heemskerck Donor Panels

9:20 Donor panels held in the Künsthistorisches Museum

12:00 Neumann’s inventory

12:50 Neumann’s lecturing on art in Cuba

13:10 collection includes some works Neumann purchased from the Habsburg Dynasty holdings

13:45 Neumann’s primary advisors included Albertina Museum curator Otto Benesch and Italian drawings specialist Lili Fröhlich-Bume

14:25 Vienna was a city of Old Master and new artists when Neumann is collecting all while royal collections are also becoming available

16:05 Sophie Lillie’s role in restitution of works to Neumann family

17:40 di Bicci panel discovered in a Sotheby’s catalog by Lillie

18:00 materials incorporated into exhibition

18:30 verso of two paintings shown in exhibition on pedestals

18:40 note on di Bicci’s verso indicates it to have been from the Neumann family

19:00 images in exhibition include French Ministry of Culture ceremony in 2013 for return of six works to Neumann family

19:30 Neumann family’s experience of looting speaks to larger narrative

20:00 Neumann family’s efforts to locate looted works

20:30 museum’s responsibility for looted works

20:50 Worcester Museum publishes all works with incomplete Nazi provenance online and is in the process of working with one family to determine if a work in the Worcester collection is the looted work that the family is seeking

21:40 exhibition design has two spaces: recreation of works as would have been hung in the Neumann’s Vienna home and process of locating works post-war from 1950s-2021

25:20 verso of works

26:50 forced sales / sales under duress

27:55 di Bicci’s Madonna and Child and Magnasco’s Monks at Mealtime appeared at auction

30:00 Sotheby’s Art Loss Register search for Magnasco’s Monks at Mealtime

31:20 1938 inventory of Neumann assets

32:20 1938 inventory includes paintings but not sculpture or works on paper

33:20 works from Neumann collection intended for Linz Museum and works shipped to Paris

34:00 works that have gone missing from Neumann inventory, including van Dyck and Rubens

35:00 late 17th C / early 18th C Barogue / Rococo paintings chosen for Linz Museum

35:30 Neumann prized oil sketches, showing his deep interest in the art

37:30 visitor reactions to exhibition

40:15 exhibitions that informed Whitner in preparation of Neumann exhibition

44:45 Sophie Lillie’s book Was Einmal War (What Once Was)

46:10 Stephanie Barron’s catalog of Degenerate art exhibition for LACM

47:15 French government website with images of looted works

48:30 Richard Neumann’s legacy is one of generosity and tenacity

50:00 Neumann’s escape from Vichy France and arrival in Havana, Cuba; his work and art lectures and joined effort to create the Palacio de Belles Artes in Havana

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To learn more, please visit ARCA's website.

SHOW NOTES:

03:00 Dr. Charney’s interest in being a playwright led to foundation of Association for Research into Crimes against Art (ARCA)

05:00 Charney’s first book

05:30 first conference to bring academics and art police together

06:30 criminalistics applied in Slovenia - a balanced policing system that merges the theories of criminology and practice of criminal investigation, forensics & police procedure

11:00 ARCA’s summer conference on art crime in central Italy

14:00 Italy’s Carabinieri Art Squad

17:50 ARCA’s CEO Linda Albertson

18:30 Albertson’s blog post about return of objects to Cambodia by Doug Latchford’s Estate

19:00 ARCA’s blog

21:30 recommendations to those who want to return looted art or cultural heritage objects

24:00 Missing Masterpieces exhibition

25:35 thief of Van Gogh’s Parsonage arrested though painting is still missing

25:50 tip on whereabouts of Jean-Baptiste Oudry’s The White Duck

26:20 panel of Ghent Altarpiece stolen in 1934 is still missing and is an ongoing open case in Ghent, Belgium

27:45 a work is ‘extant’ if its location is known

28:25 Justice Cycle panels by Rogier van der Weyden referenced in Charney’s Museum of Lost Art

29:00 The Deposition in the Prado in Madrid is now considered van der Weyden’s masterpiece

29:10 van der Weyden considered The Justice of Trajan and Herkinbald from the Justice cycle to be his masterpiece

29:45 the Justice cycle destroyed in a fire circa early 17th C.

29:55 survivor bias for works that still exist and a negative space history of art is explored in Charney’s 2018 book The Museum of Lost Art

31:10 Charney’s most recent book The Devil in the Gallery: How Scandal, Shock, and Rivalry Made the Art World? also has a negative space approach

31:55 Charney’s 2017 book The Collector of Lives focuses on the life of Giorgio Vasari

33:00 rivalry of artists as shown in Caravaggio’s 1599 The Calling of St. Matthew wherein the artist used a duplicate of Sistine Chapel Ceiling’s hand of God by Michelangelo to paint the hand of Jesus

34:15 Charney’s online discussion of Caravaggio’s 1599 The Calling of St. Matthew

34:50 top missing work that Charney would like to see recovered is the Book of Drawings, twelve folios by Giorgio Vasari

36:05 second work is Leonardo da Vinci’s Battle of Angiati; Vasari’s use of false walls to preserve works he valued like da Vinci’s Battle of Angiati

37:15 third work would be the Justice Cycle

37:30 Charney’s preference for work in situ

39:00 Vasari’s use of false walls to cover paintings

39:50 Vasari’s false wall in front of da Vinci’s Battle and reasons to keep or remove wall

40:50 Charney’s recommendations of books published by ARCA

41:10 Context Matters: Collating the Past by David W.J. Gill - collection of essays on antiquities, looting and archaeology

41:20 Transnational Art Crime by ARCA academic director Edgar Telehouse

41:45 The Secret Collector: the Lost Art Collection of Erich Šlomovič by Leon Pogelick and Slavko Pregl

42:45 Charney’s The Art Thief’s Handbook - art theft essays

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For more information about the Afterlives exhibition, please visit the Jewish Museum's website.

Show Notes:
00:02:00 inspiration for Afterlives: Recovering the Lost Stories of Looted Art

00:06:30 design of Afterlives

00:10:15 windows metaphor of seeing through to the history of works and events

00:11:20 August Sander’s portrait photos of persecuted Jews

00:13:00 Jeu de Paume’s “Room of the Martyrs”

00:13:40 1942 photograph of Room of the Martyrs includes images of work by Matisse, Picasso, Léger, and Derain who were defamed as degenerate

00:14:15 exhibition reunites large nude by Cezanne, small surrealist Picasso and post-cubist painting Composition by Fédor Löwenstein

00:14:52 Cezanne and Picasso looted from Alphonse Kann

00:15:00 Composition seizure

00:16:20 restution of Composition in process

00:17:45 works celebrate history of their creation and document their looting

00:18:00 artwork as documentation

00:19:30 Rose Valland

00:20:20 Dachau records in ‘Creativity Under Duress’ gallery

00:20:50 work by artists in exile

00:21:05 work by artists in camps and/or in hiding

00:22:00 Nuremberg trial excerpt

00:25:30 Judaica Room includes pieces from Jewish Museum’s collection affiliated with Jewish Cultural Reconstruction (JCR) and community of Danzig and installation by Maria Eichhorn

00:28:15 Jewish Museum as temporary storage depot for the JCR 1949-1952

00:32:00 JCR aluminum tags on objects

00:32:20 Hannah Arendt’s work at the core of Eichhorn’s commission

00:34:40 Eichhorn’s commission focuses on the intellectual history of the subject and Jewish communities that were its subject

00:37:50 reading of Arendt’s documents

00:39:30 commissions by artists Lisa Oppenheim, Hadar Gad, Dor Guez and Eichhorn

00:41:30 international perspective from these artists came from their geographic and cultural points of reference and their backgrounds

00:42:15 Oppenheim’s piece deals with work by Jean-Baptiste that was likely destroyed and survival bias against such work

00:46:00 historical justice operating on personal/emotional and legal levels

00:49:00 international culture of memory

00:50:00 Exhibition’s symposium

00:52:00 two French loans: Pechstein's 1912 Paysage and Löwenstein’s 1939 Composition

00:54:45 We Fight to Build a Free World: An Exhibition by Jonathan Horowitz; and upcoming exhibition related to Ephrussi family story and looting of their collection except for netsuke, which is told in Edmund de Waal’s The Hare with Amber Eyes

00:57:45 1940 charcoal portrait by Jacob Barosin while in French forced labor camp of fellow prisoner

01:00:15 Picasso’s 1929 Group of Characters

01:02:50 Pissarro’s 1872 Portrait of Minette

01:06:00 Portrait of Minette, Group of Characters and Cézanne’s Bather and Rocks liberated from train by Alexandre Rosenberg, grandson of Dealer Paul Rosenberg

01:06:50 Kurt Schwitters’ Opened by Customs from 1937/38

01:09:35 Afterlives catalog

01:10:30 reactions of visitors

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Photography of Alana Kushnir by Justin Ridler.

For more information about Guest Work Agency, please visit GWA's website.
To learn more about the Legal Lab Report, please visit Serpentine Legal Lab's website.

Show Notes:

2:30 Alana’s inspiration to merge curatorial and legal work into a single agency

5:50 Goldsmiths, University of London

9:30 curator and attorney Daniel McClean played a role in her creation of GWA

10:15 Daniel McClean’s books Dear Images: Art, Copyright and Culture and The Trials of Art

12:00 2017 exhibition Travelers: Stepping Into the Unknown at Osaka’s National Museum of Art

16:00 The Legal Bookshop

17:30 Traveler’s exhibition rose from exploration of how law is impacting contemporary art

19:00 book project Cooking Sections by Daniel Fernández Pascual and Alon Schwabe that celebrated their public installation in London titled The Empire Remains Book Store.

21:00 Cooking Sections' franchising heads of agreement

22:20 collaborations

24:00 Serpentine Legal Lab’s project

28:00 Victoria Ivanova developed Serpentine’s R&D platform circa 2018-2019

28:45 Serpentine’s arts technologies department

29:45 Serpentine’s legal lab, block chain lab, creative AI lab and science lab

31:00 Serpentine’s chief tech officer Ben Vickers

32:20 Serpentine’s 2019 summit

35:45 Marie Potel-Saville, Founder & CEO of Amurabi: Legal Innovation by Design

37:15 Three-prong research process for quantitative and qualitative research

42:00 Legal design defined as an approach to legal thinking and legal practice to promoate access to justice

42:30 pioneer of legal design Margaret Hagen at Stanford Law School’s Legal Design Lab

44:00 Legal design’s user-oriented research and user’s pain points

48:00 Cross-disciplinary advisory panel to address action points raised in Legal Lab Report 1

50:45 Serpentine’s affiliation with University College London

52:20 Serpentine’s future creation of a Model Code

54:20 Those interested in contributing can reach out via legallab@serpentinegalleries.org

54:50 Kushnir’s article The Legal Ambiguities of Art Collaborations and their Compatibility with NFTs

57:30 research of NFT platform’s website terms of use with GWA paralegal Mia Schaumann

59:20 The Mars House controversy

1:04:30 Advice to those pursuing art law

1:06:05 Guest Club

1:09:00 Transparency in collecting

1:12:20 Turkish Artist Rafik Anadol’s Quantum Memories series

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For more information about the Paintings, Politics and the Monuments Men exhibition, please visit the Cincinnati Art Museum's website.

Show Notes:

04:00 Inspiration for Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America

05:15 How issues surrounding post-WWII exhibition of Berlin 202 are addressed

07:50 Prizes of war or protection mission for German patrimony per Truman Administration

11:30 Reasoning for Weisbaden Manifesto

12:00 “Art & Injustice”

15:30 Design process of the exhibition

18:00 Legacy of Weisbaden Collecting Point Director Captain Walter Farmer

18:30 Red background inspired by Army tour’s exhibition catalog

19:30 Oskar Kokoshka painting in 1937 Degenerate Art Exhibition and sent to Lucerne auction

20:30 Botticelli’s Ideal Portrait of a Woman

21:45 Self-Portrait by Moravian painter Martin Quadal

22:15 Madonna and Child from Jacques Goudstikker’s collection

24:20 Reactions of visitors

26:15 Message of the exhibition

28:50 why does it matter who takes care of artwork, where they travel and how they are used?

29:30 archival material in exhibition

31:10 The Berlin Masterpieces catalog

33:00 the fundamental importance of provenance research

35:25 Advice to those interested in a career as a provenance researcher and/or curator

37:20 ‘web of connections’ in art history

37:45 Book recommendation: Rape of Europa

39:15 Worcester Museum’s current exhibition as a case study on Nazi looted art

40:00 Symposium will include keynote speaker Dr. Richard Kurin, Under Secretary for History, Art, and Culture and Ambassador at large for the Smithsonian Institution

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To learn more, please visit MARI's website.

Show Notes

4:00 German culture of memory

5:00 MARI-first collaboration between German public institutions and Holocaust victims

7:00 Historical question addressed about Rudolph Mosse as art lover

8:50 location of objects related to politicians and individuals in culture scene of Mosse’s day

11:00 Hanns Fechner’s portrait of German writer Theodor Fontane held by daughter of Nazi finance Minister Hjalmar Schacht

16:00 Venus Chasing Cupid-sculpture localized during first phase of MARI

17:00 sculpture not included in Nazi arranged auction of Mosse collection

19:00 MARI contact with those believed to hold works from Mosse Collection

20:30 Tel Aviv Museum – tapastries and Jozef Israels’ From Darkness to Light

25:00 Historical justice achieved by making history visible

26:00 MARI’s impact-to prompt scrutiny of provenance of collections

27:30 size of Mosse’s collection

28:30 MARI’s first phase began in early 2017

31:00 MARI’s staff assignment

34:00 Hoffmann’s work on Gurlitt project as researcher and task force member

35:00 portal database for MARI – starts with resources not objects

40:00 Hoffmann began first academic training program for provenance research in 2011

41:30 Adolph Menzel painting – no trace since 1934 auction

43:15 expertize outside of MARI for Eyptian antiquities and Benin Bronzes

46:30 Gurlitt work

50:00 Frie University’s degenerate art program

52:30 Hoffman’s work as Brücke Museum curator

54:40 International Circle of Provenance Research member

59:50 exhibitions that show provenance research

1:02:00 Artist Maria Eichhorn

1:03:00 Hoffmann curated 2019 exhibition Escape Into Art?

1:06:00 future of degenerate artists

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To learn more, please visit The Last Cyclist's website.

SHOW NOTES:

3:30 background in Holocaust studies

6:00 Jana Šedová’s essay referenced The Last Cyclist

9:00 Terezin March used in 1995 version of The Last Cyclist created by Patz

12:00 Svenk died in death march

14:00 title of The Last Cyclist rooted in bitter joke

16:30 Jana Šedová

21:00 The Last Cyclist underscored prisoners’ resilience and spiritual resistance

24:00 Holocaust was a shaky topic under Communists

27:30 The Lost Food Card

30:00 Verdi’s Requiem Mass brought to Terezin by Rafael Schächter

35:00 Emperor of Atlantis

36:45 Brundibar

39:00 Lullaby from The Last Cyclist survived but not in current version

40:45 4-part documentary is in process

42:45 The Last Cyclist is also a film

45:30 Director Edward Einhorn

46:25 Terezin Music Foundation

47:30 Composer Stephen Feigenbaum

48:00 Artwork by Mark Podwal

48:45 The Last Cyclist’s ongoing relevance to address bigotry and bullying

49:40 justice facilitated by The Last Cyclist

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To learn more, please visit Vertigo Graffiti's website.

Show Notes:

2:00 relationship with public space changes when art is placed in it

4:00 nature of graffiti; Vertigo blog’s proposal to leave graffiti in Bogotá’s transit system

10:00 focus of Vertigo’s graffiti on universal issues of tolerance, acceptance and diversity

15:00 ‘Kiss of the Invisibles’ mural

23:00 graffiti’s ability to help create empathy for others

25:30 reaction to public murals

31:00 advise to graffiti artists to doubt everything

33:30 self-sensorship

39:00 ‘Shared Glance’ mural

47:30 legal spaces for graffiti

52:00 Grandmother series

1:04:00 thoughts for those who doubt the importance of graffiti

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For more information, please visit the Defiant Requiem Foundation's website.

3:30 Maestro Murry Sidlin’s creation of concert-drama Defiant Requiem: Verdi at Terezín

6:00 Eizenstat’s contribution to formation of Defiant Requiem foundation

8:00 Rafael Schächter’s background and work before being interned at Terezín

10:40 Schächter’s decision to pack the Czech opera, Bedrich Smetana’s Bartered Bride

11:50 Schächter’s decision to pack Verdi’s Requiem Mass

14:30 Terezín Commandants, including SS First Lieutenant Karl Rahm

16:45 Terezín became a hotbed of arts and humanities

19:00 Schächter taught Verdi’s Requiem Mass
to approximately 150 singers by rote

20:20 Edgar Krasa’s recollection of Schächter as “merciless” in rehearsals because they “could not afford for any minds to wander”

21:15 Verdi’s Requiem Mass was performed 16 times at Terezín

21:45 Edith Steiner Kraus’ recollection that the chorus led by Schächter in Terezín would make one proud “in any urban setting” and the singers were “so far inside the music that we’d returned to Verdi’s desk”

24:00 Edgar Krasa’s recollection about controversy between Jewish Council and Schächter over performing Verdi’s Requiem Mass

31:15 Jewish Council’s concern that Requiem Mass had Catholic origin

36:50 Sidlin’s one act “speculative history” drama Mass Appeal 1943 based on Schächter’s meeting with Jewish Council

38:00 Schächter’s use of Verdi’s Requiem as an act of defiance and to uplift prisoners

39:30 Jewish Council’s censorship of Ullmann’s Der Kaiser von Atlantis and Kael Švenk’s The Last Cyclist

44:00 Performance of Defiant Requiem at Terezín

48:30 composer Ilsa Weber at Terezín

49:55 Inspiration for Foundation’s concert, Hours of Freedom: The Story of the Terezín Composer that includes work by composers such as Victor Ullmann, Pavel Haas, Gideon Klein, Hans Krasa, James Simon, Zikmund Schul, Rudolf Karel and others

54:00 Pianist and Composer James Simon’s background and work

56:15 Simon’s colleague Violinist Alma Rosé

59:00 Pavel Haas and Karel Ančerl

1:00:20 Conductor Karel Ančerl

1:01:30 Phillip Silver’s contribution to Hours of Freedom

1:04:10 Hours of Freedom arranged by chapters that include Longing, Hope, etc.

1:05:00 Composer, Conductor, Pianist, Singer Karel Berman created Terezín Suite that includes Auschwitz Corpse Factory

1:06:20 10-minute memorial by Martinů

1:09:00 Maestro Sidlin’s challenge to a description of Ullmann as ‘finding his voice’ in Terezín and his thoughts on Ullmann’s critical essay that described his experience at Terezín

1:13:45 cloud over many composers was their background training in the law

1:16:10 misconception that Gideon Klein learned to compose at Terezín

1:16:50 Richard Strauss’ unsuccessful efforts to have his daughter-in-law’s grandmother released from Terezín

1:20:00 Maestro Sidlin’s job as messenger to give Verdi’s Requiem an identity connected to Terezín and Schächter; to highlight Terezín’s legacy as a place where the arts and humanities blossomed because of those imprisoned there; and to encourage others to make room in their musical and artistic consciousness for these composers

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Please visit the website devoted to Arthur Szyk to learn more.

SHOW NOTES:

3:00 Ungar’s introduction to Szyk

10:15 Byron Sherwin’s involvement with creating a solo show Justice Illuminated: The Art of Arthur Szyk in Chicago with the Spertus Institute of Jewish Studies

15:25 2000 Library of Congress exhibition, Artist for Freedom

21:00 2002 U.S. Holocaust Memorial Museum’s exhibition, The Art and Politics of Arthur Szyk23:25 Biography of Szyk by Joseph Ansell entitled Arthur Szyk: Artist, Jew, Pole

25:20 Exhibitions in Poland

32:45 2008 Deutshes Historiches museum exhibition

42:00 2017 New York Historical Society exhibition Soldier In Art

50:50 Bergson Group

55:50 McCarthyism & Szyk’s Thomas Jefferson’s Oath: “I have sworn upon the altar of God eternal hostility against every form of tyranny over the mind of man.

1:07:15 2017 Ungar’s book Arthur Szyk: Soldier In Art won 2017 National Jewish Book Award

1:13:20 Wagner

1:22:30 Comparison of Chagall’s White Crucifixion, Picasso’s Guernica and Szyk’s De Profundis

1:30:25 Japanese Historian Rinjiro Sodei’s book illustrated with Szyk’s work, Representing Hirohito in Wartime: The Art of Arthur Szyk

1:44:45 Book in progress to list the thirty institutions that hold Szyk’s work

1:46:35 Ungar’s memoir, Reviving An Artist’s Fame: My Life With Arthur Szyk

1:48:00 Short documentaries about Szyk

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The following is a link to the Nelson-Atkins Museum's Discriminating Thieves Exhibition.

4:15 How Discriminating Thieves exhibition came about

6:20 Title of Discriminating Thieves exhibition came from correspondence by Nelson-Atkins’ first director Paul Gardner

7:30 One of the four works in the exhibition: painting by German Expressionist Emil Nolde titled Masks

8:50 Karl Buchholz held Masks for a decade until 1948 when he sent it to dealer Curt Valentin

11:30 Nolde was a member of Nazi party but still targeted by Nazis

15:00 Pitfalls of researching women

18:00 Marguerite Stern’s ownership of Jean – Francois Ducis’ 1779 Bust of Augustin Pajou

19:50 Pierre Bonnard’s Still life with Guelder Roses

21:30 Nicolas de Largillière’s Augustus the Strong – erroneously listed on property card as portrait of King Frederick of Denmark

25:00 2019 Collecting and Provenance: A Multidisciplinary Approach by Jane Milosch, Nick Pearce

25:50 German-American Provenance Research Exchange with the Smithsonian Provenance Research Initiative and Prussian Cultural Heritage Foundation was a “game changer”

35:35 Guest speaker for Discriminating Thieves Exhibition was Corine Wegener, Director of the Smithsonian Cultural Rescue Initiative

42:00 The process of provenance research is never finished as new resources become available

44:30 Importance of research in museum setting by individuals with specialized knowledge

46:30 Cincinnati Art Museum’s exhibition Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America

47:30 Nelson-Atkins’ first curator of European Art Patrick Kelleher was one of the signatories of the Weisbaden Manifesto

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Below is the email for Dr. Jacques Schuhmacher:
j.schuhmacher@vam.ac.uk

The following is a link for more information on the Victoria & Albert Museum's Concealed Histories Exhibit.

SHOW NOTES

3:30 importance of provenance research regarding potential for Nazi-looted art in collections outside of countries that had been occupied by the Nazis

7:35 provenance gaps in Gilbert Collection didn’t raise concerns when the Gilberts were acquiring the collection;

9:40 Nazi-looted art found in U.S. collections in the 1990s, making this an issue for the international art market

10:55 Unclear provenance of snuffbox from Gutmann Collection

15:50 massive red flags raised by some objects like the Louis XVI enameled gold snuffbox looted from Maximilian von Goldschmidt-Rothschild

18:30 Decisions about restitution of looted art are not made by UK museums but by a panel of experts

19:45 The only restitution to date by the V&A has been of Meissen pieces.

22:05 even after Monuments Men joined the museum, an unbroken chain in provenance was not necessary; acquisition protocol in the U.K. didn’t change until 1998

23:40 Deaccession laws in the UK under the Heritage Act were changed with the U.K.’s Holocaust Act 2009

35:30 no claims for works in the Gilbert Collection

37:35 Victoria & Albert Musuem’s Concealed Histories.

38:38 Magdala1868 exhibition of Ethiopian cultural objects inspired V&A’sConcealed Histories.

41:35 MacKenzie Mallon with the Nelson-Atkins Museum had put on the Discriminating Thieves exhibition, which was a huge inspiration for V&A’s Concealed Histories.

42:50 Provenance research into Nazi-looted art detached from other types of provenance research

44:45 Ethiopian Embassy negotiations for return of objects looted during Colonial era

45:00 Long-term loans used to return work that is subject to deaccession laws; example being long term loan of silver item stolen during church festival in Spain

46:45 In 1999, discovered that V&A had bought in 1950s a silver item without realizing it was stolen in the 1890s in Spain; object has been on long-term loan since 2005

48:25 Gilbert collection is on 100+ years long term loan

50:00 Museum Association guidelines for restitution claims being updated

51:15 Virtual loans

52:49 Notion of digital restitution

54:30 upcoming provenance research handbook for researchers in English-speaking countries

57:30 idea of a mega-website arose from the 1998 Washington Conference to allow cross-referencing to identify objects

58:35 no replacement for archival research

1:01:50 His provenance research at the V&A outside of the Gilbert Collection includes newly acquired objects, loaned objects and objects for which questions are raised

1:05:15 He studied history and did PhD in German/Allied war crimes then worked at London’s Commission for Looted Art

1:07:50 Student inquiries about provenance research welcome

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Show Notes:

3:55 Marc Chagall's Passion imagery led the way for other artists

8:00 Lea Grundig

9:30 Francis Bacon

12:20 Mark Rothko

15:15 Picasso

20:05 Robert Morris

22:55 Jean Fautrier

25:25 Naftali Bezem; Igael Tumarkin

27:35 Lea Grundig

32:25 Hans Grundig

32:50 Zoran Music

35:45 Artists in Terezin: Bedrich Fritta and Leo Hassin

44:00 Sculptors Jacques Lipschitz and Leonard Baskin

52:20 Artists not in Holocaust who integrated Holocaust iconography

55:45 Anselm Kiefer

56:55 Death Fugue by Holocaust survivor Paul Celan

58:00 Kiefer’s Margarethe and Shulamith series

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The following are links for more information about the Institute of Art and Law and the LLM program.

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Show Notes:

3:05 Alexander Herman discusses the Institute of Art and Law’s beginning in 1995

4:40 IAL founded by Norman Palmer and Ruth Redmond-Cooper

5:15 IAL mission

7:15 Emily Gould discusses growth of art law

9:20 online courses

10:05 Diploma in Art Profession Law and Ethics; next beginning online 5 June 2021

11:45 Diploma in Law and Collections Management

12:15 Diploma in IP and Collections

13:25 Art as Security Seminar

13:50 Restitution Dialogues

16:30 Blog

16:50 Herman’s blog post on Copyright in America

18:10 Cariou v. Prince

20:55 Marano v Metropolitan Museum of Art

23:00 Herman’s transformation of cover art from Supertramp’s 1979 album

26:10 Gould's blog on Benin Bronzes

35:50 Museums and the Holocaust, Second Edition

37:35 UK Holocaust Act

46:14 Topics covered in Art Antiquity and Law Journal

51:05 Art, Business and Law LLM

57:45 Conflicts and compliments of art and law

1:00:45 NFTs

1:07:00 Smart contracts for NFTs

1:08:00 impact of art law and culture

1:12:15 IAL speaks to justice by informing the public of the complexities within art law matters

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The following are links to the Art History School's Chagall video and to the trailer for Flying Lovers.To view available rewards for supporting the podcast, please visit Warfare's Patreon page.

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Here are links for more information on The Rothko Chapel and for the film trailer on The Rothko Chapel.

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Cocktails with a Curator's episode on Lady Meux can be viewed here.

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Second Saturday Art + Justice is an offering from the non-profit Art Haus for Justice.

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Link for Toyland.

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To view the works of J.D. Kirszenbaum, please visit the website created by Mr. Diament and please follow this link to see a presentation from Nathan Diament on the life and work of Kirszenbaum.

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Show Notes

04:30 Kirszenbaum’s work in Belgium after World War II

07:00 Israeli Museum Curator’s belief Kirszenbaum’s legacy should not die

07:40 Prof. Ziva Amishai-Maisels’ encouragement of Diament’s research

08:30 Art Loss Register and Kandinsky Library at Centre Pompidou

09:15 600 of Kirszenbaum’s works burned during World War II

10:30 Baroness Alix de Rothschild’s assistance

11:20 Tel Aviv Museum’s works by Kirszenbaum

12:00 Dutch Artist Paul Lindgreen, a student of Kirszenbaum’s

12:20 Frans Hals Museum in Holland

13:50 Approximately 200 of Kirszenbaum’s works located

14:20 Israeli Exhibition of Kirszenbaum’s work in 2013

16:30 Baroness Alix de Rothschild’s assistance

19:20 Book J.D. Kirszenbaum (1900-1954) The Lost Generation

21:00 Croatian exhibition of Kirszenbaum’s work

22:00 Dutch Artist Paul Lindgreen, a student of Kirszenbaum’s

23:30 German exhibition of Kirszenbaum’s work

24:00 French exhibition of Kirszenbaum’s work upcoming

25:00 Kirszenbaum’s works about the Messiah and the Prophets

26:00 Tel Aviv Museum; Kirszenbaum’s Self Portrait with Cubism

26:55 Kirszenbaum’s caricatures in Germany during the world wars

28:00 Kandinsky Library at the Pompidou Center

30:00 Baroness Alix de Rothschild’s assistance

34:45 Influences of Kandisky and Klee

35:55 Horseman of the Apocalypse

36:20 Kirszenbaum’s emancipation

37:00 Chagall’s life and sources similar to Kirszenbaum’s

42:40 Felix Nussbaum and Royal Museum of Belgium’s letter about Nussbaum

44:40 S.S. St. Louis

46:40 Baroness Alix de Rothschild commission of Prophets Triptych (Elias, Jeremiah, Moses)

50:00 Diament’s membership with Yad Vashem’s Commission of the Just

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The link to In Every Generation: Remaking the Szyk Haggadah is here.

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Here is the link to the Institute of Art & Law's Law 101 for Dealers in Art and Antiquities

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Link to documentary short featuring Mr. Ferencz:
https://www.youtube.com/watch?v=_FLMRa9WOh4

Link to the website for Mr. Ferencz:
https://benferencz.org

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The following is a link for more on The $50 Million Art Swindle.

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Show notes:

03:20 Banksy lawsuits
04:20 Tradeamarks
10:50 NFTs
11:45 moral rights
14:40 artist's right to disassociate from a work
18:00 Charging Bull & Fearless Girl
19:25 5Pointz
26:15 Banksy NFT
27:00 Certificates of Authenticy from Pest Control Office
30:00 Banksy's The Drinker
34:00 animal selfies
35:30 Harvard lawsuit over daguerreotypes of slaves
53:00 Confederate statutes; British statue of Edward Colston
55:00 Guelph Treasure case

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The following are links to the Art Angle Podcast episodes' first and second episodes that feature Dan Hick's discussion of the Benin Bronzes and his book, The Brutish Museums: The Benin Bronzes, Colonial Violence, and Cultural Restitution.

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The following is a link to a trailer for Ghosts of the Third Reich.

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The following is a link to the Great Art Explained video about Guernica:

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The following is a link to the Mosse Art Restitution Project.

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Show Notes:

9:30 - Berlin art dealer Karl Haberstock
11:30 - Lepke and Union auctions
13:30 - Berliner Tageblatt
23:50 - Washington Principles
27:30 - Three Dancing Maidens fountain, Berg Schlitz
51:00 - German museums, Museum Island
1:02:00 - http://www.lostart.de
1:06:00 - https://www.mari-portal.de
1:11:00 - restitution of Winter or Skaters from Arkell Museum
1:15:00 - restitution efforts within Poland
1:17:00 - restitution efforts within Israel
1:21:00 - Germany's holding of Karl Blechen's Scholastica
1:25:00 - restitution efforts within Russia
1:31:00 - restitution efforts within Israel
1:40:00 - restitution efforts within the Netherlands

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The following is a link to the opera Der Kaiser von Atlantis.

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The following is a link to the children's opera Brundibár performed in Czech.

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The following is a link to the event scheduled to take place on the 25th of January 2021.

In addition, the following are links to the book and additional information about the Wels Family as referenced in the episode.

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Please visit the websites of the Max Stern Art Restitution Project and the Stern Cooperation Project to learn more.

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Show Notes:

3:30 Dr. Korte’s initial inquiries in Düsseldorf

4:00 Galerie Stern dealt in Old Masters and 19th / early 20th Century artists

4:30 Dr. Korte’s research of Nazi records and post-war restitution claims

5:50 Stern inventory sold in November 1937 at Lempertz auction house in Cologne, Germany

7:00 Stern’s 1933-1938 inventory

9:30 post-war restitution proceeding confirmed the 1937 auction was a sale under duress

11:30 Stern’s art pursued as stolen property

12:50 Max Stern Art Restitution Project is the only project of its kind on behalf of a foundation only

13:30 Girl from the Sabiner Mountains sold at the 1937 Lempertz Auction; surfaced in Rhode Island auction house

14:50 Civil litigation over Sabiner Mountains focused on 1937 Auction as a sale of stolen property

Phases I – III Approach of Restitution:

16:20 Phase I: Stern team prevailed in Sabiner Mountains case with argument that sales under duress are the same as seizures and confiscations, and Stern’s 228 paintings were sold as stolen property

17:30 Stern approached Customs Service at U.S. Attorney’s Office in S.D.N.Y. to have remaining 227 paintings reported to Interpol as stolen property

19:50 August 1935 Order from Nazis required Stern to shut gallery, creating period of persecution that ran until 1937 auction

21:25 Phase II: Italian gallery that held painting sold in 1935-1937 period in its collection ignored requests from project that painting be returned; painting then seized while it was in New York; stipulation signed confirmed work sold in 1936 was sold under duress

23:10 Phase III: 2019 German Advisory Commission recommended return of painting sold by Stern in 1936, “Uhlans on the March”, and concluded Stern was under duress as of spring/summer 1933

25:00 Project will now pursue hundreds of paintings sold as of mid-1933

27:00 Private collectors in Europe are not held to German Advisory Commission’s recommendations or Washington Principles; German private collector of Sicilian landscape by Andreas Achenbach sold by Stern in 1937 has refused to return it and initiated litigation, alleging painting was wrongfully listed as stolen with Interpol.

35:00 Dynamic within Germany’s Commission changed after appointment of two Jewish members.

36:45 Paintings sought are mostly on German art market with some Dutch Old Masters expected to appear on European/ U.S. markets.

43:20 Bruegel painting returned by the Dutch Government.

44:30 Dutch museum refused to return another painting; recent criticism of Dutch commission for its handling of claims may be invitation to again request return of work from Dutch Museum.

47:00 Dutch government may have thought these claims were only P.R. problem.

48:00 Jewish gallery owners are challenging group seeking restitution.

52:45 Dr. Korte discusses how justice is part of the Project’s work and losses that have occurred thus far.

58:00 Stern Cooperation Project is a German-Canadian-Israeli scholarly research project focused on the Stern family.

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Please visit the Moshe Rynecki website to view his work.

To learn more about Elizabeth Rynecki's documentary and book about her journey, Chasing Portraits, please visit the Chasing Portrait's website.

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Show Notes:

2:50 Moshe Rynecki is likened to an ethnographer and documented similar scenes that Roman Vishniac photographed

4:00 three surviving studies from Moshe’s time in the Warsaw Ghetto

5:00 Yehudit Shendar from Yad Vashem

8:00 Archives of Emanuel Ringelblum from the Warsaw Ghetto

9:15 Moshe’s decision to stay in Warsaw Ghetto to be with his people

13:30 Moshe hid 800 artworks;120 of the surviving artworks are with the Ryneckis

15:08 Warsaw’s Jewish Historical Institute has 52 works

15:14 Private collectors of Moshe’s work are in Canada, Israel, the U.S. and France

15:30 How the Jewish Historical Institute acquired the 52 works by Moshe in its collection

17:00 Restitution issues and historical justice

24:00 Artworks are also survivors with a story

25:00 Elizabeth Rynecki’s decision to author a book and create a film with this story

27:00 Elizabeth’s advice on seeking lost art: persistence and a sense of practicality

29:20 Books recommended by Elizabeth, including Landscape with Smoke Stacks: The Case of the Allegedly Plundered Degas that relates to a restitution case involving Simon Goodman

35:20 Poland’s approach to restitution

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Cover art: 1922 painting by David Friedmann.

To learn more about David Friedmann and his artwork:

www.davidfriedmann.org

https://www.yadvashem.org/yv/en/exhibitions/last_portrait/friedmann.asp

https://www.visitnorman.com/events/testimony-the-life-and-work-of-david-friedman

https://www.jewishgen.org/austriaczech/wall-of-fame/friedmann.html

https://blog.nli.org.il/en/lbh_friedmann/?fbclid=IwAR3xrdcUEDhSyMckJDFBEXIPmWAsS8ALOGmtOPdCkMX8uX2nM175CnQ6p9

https://www.youtube.com/watch?v=kQFh748qS5Y&fbclid=IwAR18E_o43rumDGLs02G8S6__K-Ocj8ij0JYdoIZs5r9stRajVzHNpgatQOs

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Show Notes:

1:45 Studied with German painter/printmaker Lovis Corinth and German Etcher Hermann Struck

2:40 Chess portraits; press artist of celebrities, artists, political figures, etc.

2:50 Lodz Ghetto then Auschwitz

5:00 Haval River painting

11:20 Lodz Ghetto Chronicle header - Friedmann's sketch of Lodz Ghetto Bridge

12:30 Austrian Writer Oskar Rosenfeld wrote about Friedmann

13:40 Jewish Museum in Prague

14:00 Auschwitz Museum donation of Polish prisoner portrait

18:40 Berlin’s Centrum Judaicum Synagogue exhibited Polish Prisoner sketch

20:30 1943 sketches of hat factory survived

23:00 Researcher Eva Wiater located album with 33 colorized drawings at Jewish Historical Institute

37:00 Artwork surfaced in France marked with number that indicates auction

38:50 Buffalo, New York gallery gifted Friedman works

44:00 Friedmann claimed 800 missing works in restitution claims, but later indicates 2,000 works went missing

48:00 Friedmann rebuilt life in U.S. and created billboards; retired to paint Holocaust works

49:00 During Czech exhibition in 1946, Friedmann met second wife, Hildegard Taussig

52:52 Friedmann created Holocaust paintings in 1945-1946 after liberation; Palestine office purchased some of these works, which toured in Palestine in 1947

53:15 During D.C. Jewish Holocaust Survivior’s Conference in 1983, Miriam learned seven are held by Yad Vashem and three are at Holocaust History Museum

55:00 Etching by Friedmann dedicated to his violin teacher located

1:04:00 Long Island chess player’s heirs donated some of Friedmann’s chess portraits to Cleveland Public Library

1:05:00 2009 Holocaust Era Assets Conference Panel in Prague

1:07:30 Friedmann’s two series of Holocaust paintings

1:10:00 Sudeten Germans in Western Bohemia required to visit Friedmann’s Holocaust series and pay entry to receive food ration cards

1:19:00 After 1962 retirement, Friedmann returned to the Holocaust paintings

1:27:00 Drawings of Prague Jewish Community leaders survived; donated to Yad Vashem

1:29:00 Album of portraits exchanged between friends/ col

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Show Notes:

3:00 Simon Goodman’s background that led to writing The Orpheus Clock

4:30 Location of first looted painting in Chicago in 1995 led to first restitution suit in U.S.

7:00 Nazi inventories and handwritten note by Gutmann gave evidence of looted works; works were sent for safekeeping in Switzerland, the Netherlands and the U.S.

10:30 Anne Webber’s documentary about the Gutmann story, Making a Killing

17:00 Post-war, claimants were required to file individual claimants; Goodman’s father, for example, filed over 1,000 individual claims with the Dutch government

20:00 Goodman’s senate judiciary testimony to extend the statute of limitations for restitution claims; issues that make locating works difficult include change of dimensions, titles, attributions, etc.

24:00 Avoiding litigation in favor of negotiations

30:00 6-7 successful restitutions from Dutch Committee with one pending and a claim to be filed against a museum in the Hague

32:00 Goodman’s complaints to Dutch Committee about its change of direction to deny claimants based on revisionist thinking that museums have feelings and care about what’s in storage; and adoption of the concept of good and bad heirs

35:00 Right of inheritance and right to private property are international principles that should be observed

39:00 Potential claims for return of Goodman’s family home Bosbeek; expectation that one in a concentration camp was still expected to pay their mortgage and property taxes; and government refusal to re-write laws to address these types of injustices

41:00 Shares of the bank that the family founded in Germany

42:00 Simon focuses on the art because searching for beautiful thinks makes the search tolerable compared with searching for the missing insurance policies

43:00 Impediments to heirs include lack of evidence

49:00 The Orpheus Clock was used as the title of the book because of its symbolism on many levels, including that it was the first direct restitution from a German official body

51:00 Restitution for Simon’s grandmother’s fur coats

52:00 Restitution of Orpheus Clock triggered need to revive family trust and to create compact with remaining cousins, which helped to restore familial relationships broken by the Holocaust

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The following are links for Jerry Alonzo, Andrew Smith, Taylor Cobb, and Conner Reddan.

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Show Notes:

Legal and Arts Careers

1:45 Lutswata Enid

8:50 Taylor Cobb

24:45 Conner Reddan

38:00 Andrew Smith

47:50 Jerry Alonzo

Defining Justice and Identifying Social Justice Issues

1:19:00 Lutswata Enid

1:23:00 Conner Reddan

1:27:00 Taylor Cobb

1:36:00 Andrew Smith

Perseverance and Mapping Injustice

1:54:45 Taylor Cobb

1:55:35 Jerry Alonzo

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To learn more, please visit the Monuments Men Foundation's website.

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Show Notes:

3:00 348 professionals including architects, librarians and curators comprised the Monuments, Fine Arts and Archives Organization known as the Monuments Men

4:00 Robert Edsel’s founded of the Monuments Men Foundation

4:40 Foundation’s initial mission to locate living Monuments Men, record their stories and honor their legacies; 2015 ceremony to award Congressional Gold Medal to Monuments Men

6:15 Foundation’s mission includes locating and returning objects looted during World War II; to date, over 38 objects have been located and returned

7:00 Foundation’s archives given to the National World War II Museum; Museum to open a Monuments Men Gallery

10:00 Foundation’s mission includes raising awareness about the importance of preserving cultural heritage in all countries; membership program launching soon

11:00 Foundation also conducts provenance research

14:00 Foundation’s website features top 15 looted works still missing from World War II

17:00 Foundation’s alliance with Italian Carabinieri Cultural Heritage Protection Unit

23:00 Foundation’s return of objects includes to German museums and individuals

24:30 Foundation’s quarterly newsletter

25:00 Foundation’s return of Italian books

26:00 Foundation’s return of paintings to South German gallery

28:45 Significance of the Wiesbaden Manifesto

33:00 Foundation’s education programs

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To learn more, please visit Janet Berg's website.

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Show Notes:

3:30 Katz Gallery targeted by Nazis as of 1938/39.

4:00 Katz family’s survival based on a Rembrandt painting

6:30 Bergs hired Lynn Nicholas, author of Rape of Europa, to research art looted from Katz Gallery

8:45 Rembrandt’s Portrait of Raman was exchanged with Nazis for 25 Jewish lives, returned by Dutch Government and donated to the L.A. County Museum

10:30 Characters in Rembrandt’s Shadow based on family

12:45 Family first became aware of location of looted paintings when visiting a Dutch museum and began research

15:00 Different manifestations of trauma from Holocaust

20:00 Family escaped to Jamaican internment camp

25:30 Katz Gallery’s inventory meant for the Führermuseum in Linz, Austria and for Göring

27:00 Family is still seeking the return of 144 paintings from Dutch Government

28:00 Dutch Government currently possesses paintings looted from Katz Gallery and considers the artwok its national treasure

29:00 Nazis gave appearance of legitimacy to sales by Katz Gallery

31:15 Berg’s second book, Restitution

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This introductory episode discusses the true-life war stories to be shared in the coming episodes of this podcast. Each story is rooted in true events, ranging from Nazi-looted art to graffiti.

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This episode focuses on Nazi art dealer Hildebrand Gurlitt, recent findings about the history of the art he held, and ongoing efforts to return Nazi-looted art found in his collection, which was in the possession of his son, the late Cornelius Gurlitt.

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Show Notes:

1:30 Hildebrand Gurlitt exhibited modern artists, including German Expressionists

2:30 Gurlitt began work for Nazis; he gathered art for the Führermuseum and was authorized to liquidate degenerate art

4:25 Hildebrand’s son, Cornelius, inherited his father’s collection

5:20 German tax investigation led to locating approximately 1,500 works in Cornelius’ residences in Munich, Germany and Salzburg, Austria

6:20 Claim by Alfred Flechtheim’s heirs for Beckmann’s The Lion Tamer

8:00 Kunst Museum Bern inherited Gurlitt’s collection

8:30 Manet’s Ships at Sea in Stormy Weather was sold to Tokyo’s National Museum of Western Art

8:50 Gurlitt Art Find: Paths of Research

10:15 27,000 documents from Gurlitt’s estate provide unreliable information about sales

11:00 Thomas Couture’s Portrait of a Seated Woman

11:40 Paul Cezanne’s Mont Sainte-Victoire

12:20 To date, 14 looted works have been returned to heirs, including Henri Matisse’s Woman with a Fan and Max Liebermann’s Two Riders on a Beach

13:50 Questions arising from the Gurlitt Collection: how can right and wrong be so easily blurred?

15:00 Why, in the shadow of mass murder, is the stealing of art important? Because small steps of hate, like theft of a people’s culture, lead to larger steps.

To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com.

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Stephanie Drawdy