1.You are a soldier in a NATO peacekeeping force in a war-torn Middle Eastern country. The entire town that you are in has been evacuated. A bomb, potentially fired by your own country, has just landed in a local museum. Your NATO comrades are heading toward the museum and suggesting that you all take what’s left of the artefacts inside because you deserve it for all the hard work you’ve put in. What are the issues relating to this scenario? Your answer should emphasise a legal OR moral OR financial point.
2.You are having an interesting discussion with a dealer of Australian Indigenous Art. He says that an internationally renowned British contemporary artist, whose recent exhibition has just sold out, has plagiarised the work of Australian Indigenous artists without acknowledgement. The dealer believes that something should be done about it. You go home and think it over. It raises questions in your mind from when you studied The Dark Arts. Discuss any key issues you may have identified with this case, that draw from your learning in The Dark Arts.
3.You are a highly successful graduate of The Dark Arts now working at a major international art museum. You have been approached by a German family about buying a painting from them that they currently own, and putting it in your museum’s collection. When you enquire about the work, they say they have paperwork from when the work came into their family shortly before World War II. Drawing from your knowledge in The Dark Arts, what factors would you consider when answering the family’s request? What background information should you consider when deciding if you should acquire their artwork? What other information might be relevant in your decision?
1.As a head of an army group on a peacekeeping mission I would suggest that we would get to the museum. The museum is a place where is number of artefacts coming from different countries are kept it will not just from the country which is being invaded and if even if it is so the inpatient should not cause harm to the cultural and ethnic heritage of the country (Roberts 2014). The museum release and artefacts are always one of a kind and they are reminiscent of the history of mankind. If it is lost it will be extremely tough for anyone to replace them or ever find a decision of the same kind so it will be best for the social understanding and the help of the people that the artefacts and relax are taken from the Museum to a safe place (Alivizatou 2016). I don’t agree on using that affects for personal benefits but rather distributing them to the surface equation for the best safekeeping and for them to remain in the public view. It will be heavily unjustified to use the relics from the museum for personal economic benefits as it will leave us to more than no more than a plunderer rather than she began peacekeeping missionaries. It will be very helpful if we collect the different artefacts and relax and give it to the different museums around the world as it will help the different refugees from the country we are in to reconnect with their past and the heritage. It can be argued that taking the relics out of the country may be morally wrong but to me it is not as the whole country has become a virgin the relics will always be lost our find a place in the black market at the hands of the rebels in and input the cases it will be of no use for the people are the society. I’ve also not in favor of taking the artefacts as trophies to my home country but distribute them to the different countries who are taking refuge from this country. They can also be used for safekeeping and can be returned back here after the war is over. They will help the reconnect with their past and their cultural values after years of being torn in wars. This not only be an act of overall good but also an actor social welfare (Chun 2014).
2.The plagiarism of Australian indigenous art is very common as the Australian indigenous art is usually made by artist who are unknown and work in large groups . Is there is no renowned artists to add attribute the acknowledgement to there is a considerable window of plagiarism of the earth by the different artists around the world. One of the major issues that raises with the Plagiarism of the art and selling of them at his prices is that the local Island is to not get their fair share (Trogdon and Livingston 2015). Along with this the different changes in the art form used by the new artist will also affect the market of the islanders at Torres. It was not sure that the artist could not give any acknowledgement even though they could not in. A certain artist of the local islanders who make this art but he could have attributed the art form and its inspiration to the local islanders from which it was plagiarised. Different types of art in the indigenous form represent their culture and ethnic diversity and when an artist borrows from them they were not just that but the means of living as well (Coleman 2017). Acknowledging their art form that is given them a proper platform which would have helped the Social Welfare as most of the indigenous australians artists belong to the lower social Strata of the society with no income. The local indigenous artist face a number of different trouble surviving in the modern world and tenderness art form and its demand is the only way that they earn. I think I would inform the authorities about the presidential and the blue credit that the artist is taking so that whole society can benefit with the operation and the economic help that is getting. Moreover it is morally and ethical around for an artist to copy another Artist and on from their suitability. The artist if let go would copy and some other artists and pass it off LG was his own. This not only brings a bad name to the but also is wrong towards the person who is the buyer. The role of the different organisations working for the Welfare of the original artist of the different paintings in Australia should also take up the initiative in finding the plagiarised walks around the world and making sure that Australian tribal get their due (Thorner 2017). I would personally like to inform about the person who is plagiarizing any content be it from aboriginal art or any other art form as it is attractive creativity.
3.There are a number of different ways in which a painting can be verified and after verification why should take the initiative of acquiring the artwork (Silverstein 2016). In the given scenario, there are a number of different ways in which the authenticity and the lineage of the painting can be checked before it can be bought. One of the best ways is cross verify the story that the person is telling to sell the painting (Prowda 2014). The cross verification of the story can be done by relocating the people are the events that are said to have happened behind the passing over of the printing through the different hands. The authenticity of the people we should also be checked and most importantly the signatory of The authenticity paper should be verified to be legal arts expert who has a name in identifying and authenticating such paintings. One of the other information which is important is the painter of the painting and how the printing came to the place is it is currently in (Zerefos et al. 2014). Other than that the error of the painting and what is the possible cause or thought process of the influence and I did not equal references used in the painting is very important in making the decision. In the passing of the painting through different hands and verifying the lineage of the painting it is also to be made sure that it has come through legal ways into the country and can be displayed for public. Another major issue that is to be looked is the condition of the printing as it is son of the prime concerns in valuing a painting (Janowski and Ingold 2016). If the condition of the painting and the different parts of the painting and layers of colours have degraded to the point that they cannot be restored it is futile to buy the painting. There are a number of different ways in which the painting can be answering indicated and the legal Framework we can be completed before buying it. Other than that the story behind the painting is to be understood and value and it will also be considered house painting sheets in the theme of the location of the place that is buying it. One of the major issues in transfer the painting is a legal claim that my come after work and it is to be made sure that there are no such claims on the painting (Sheleg 2017). Therefore it is in there are a number of different for understanding valuing and the checking of authenticity of the painting before buying it and it is the role of the advisor are the curator of the Museum to do this before completing the transaction.
References
Alivizatou, M., 2016. Intangible heritage and the museum: New perspectives on cultural preservation. Routledge.
Chun, A.L., 2014. The shifting roles of museums. Nature nanotechnology, 9(9), p.724.
Coleman, E.B., 2017. Aboriginal art, identity and appropriation. Routledge.
Janowski, M. and Ingold, T. eds., 2016. Imagining landscapes: Past, present and future. Routledge.
Prowda, J.B., 2014. The perils of buying and selling art at the fair: legal issues in title. In Art, Cultural Heritage and the Market (pp. 141-163). Springer, Berlin, Heidelberg.
Roberts, L.C., 2014. From knowledge to narrative: Educators and the changing museum. Smithsonian Institution.
Sheleg, M., 2017. ‘Painting 2.0: Expression in the Information Age’. Journal of Contemporary Painting, 3(1-2), pp.242-246.
Silverstein, M., 2016. Fabrication, Verification, Authentication: An Introduction 1. Proceedings of the American Philosophical Society, 160(1), p.1.
Thorner, S.G., 2017. Remote Avant-Garde: Aboriginal Art under Occupation by Jennifer Loureide Biddle. Anthropological Quarterly, 90(1), pp.335-340.
Trogdon, K. and Livingston, P., 2015. Artwork completion: a response to Gover. The Journal of Aesthetics and Art Criticism, 73(4), pp.460-462.
Zerefos, C.S., Tetsis, P., Kazantzidis, A., Amiridis, V., Zerefos, S.C., Luterbacher, J., Eleftheratos, K., Gerasopoulos, E., Kazadzis, S. and Papayannis, A., 2014. Further evidence of important environmental information content in red-to-green ratios as depicted in paintings by great masters. Atmospheric Chemistry and Physics, 14(6), pp.2987-3015.
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