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Journal articles on the topic 'Art forger'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

De Giovanni, Cosimo. "Le palimpseste collocationnel : mécanismes productifs de formation des collocations métaphoriques V + N." NEO 32 (December 23, 2020): 210–32. http://dx.doi.org/10.31261/neo.2020.32.12.

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In this article we argue in favor of a useful model to explain the productive mechanisms of formation of verb + noun metaphorical collocations. We postulate that verbo-nominal collocations, relating to human activities and relating to the fields of techniques, crafts, art and manufactures constitute a model for the metaphorical collocations. We will apply our model to metaphorical collocations with the French verb forger. For the application of our model, a corpus analysis will be necessary.

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2

Hendriks, Laura, Irka Hajdas, Ester S. B. Ferreira, Nadim C. Scherrer, Stefan Zumbühl, Gregory D. Smith, Caroline Welte, Lukas Wacker, Hans-Arno Synal, and Detlef Günther. "Uncovering modern paint forgeries by radiocarbon dating." Proceedings of the National Academy of Sciences 116, no. 27 (June 3, 2019): 13210–14. http://dx.doi.org/10.1073/pnas.1901540116.

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Art forgeries have existed since antiquity, but with the recent rapidly expanding commercialization of art, the approach to art authentication has demanded increasingly sophisticated detection schemes. So far, the most conclusive criterion in the field of counterfeit detection is the scientific proof of material anachronisms. The establishment of the earliest possible date of realization of a painting, called the terminus post quem, is based on the comparison of materials present in an artwork with information on their earliest date of discovery or production. This approach provides relative age information only and thus may fail in proving a forgery. Radiocarbon (14C) dating is an attractive alternative, as it delivers absolute ages with a definite time frame for the materials used. The method, however, is invasive and in its early days required sampling tens of grams of material. With the advent of accelerator mass spectrometry (AMS) and further development of gas ion sources (GIS), a reduction of sample size down to microgram amounts of carbon became possible, opening the possibility to date individual paint layers in artworks. Here we discuss two microsamples taken from an artwork carrying the date of 1866: a canvas fiber and a paint chip (<200 µg), each delivering a different radiocarbon response. This discrepancy uncovers the specific strategy of the forger: Dating of the organic binder delivers clear evidence of a post-1950 creation on reused canvas. This microscale 14C analysis technique is a powerful method to reveal technically complex forgery cases with hard facts at a minimal sampling impact.

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3

HYDE, S., and G. SMITH. "The Art of the Forger; Don't Trust the Label: an exhibition of fakes, imitations and the real thing." Oxford Art Journal 10, no. 2 (January 1, 1987): 107–11. http://dx.doi.org/10.1093/oxartj/10.2.107.

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4

Malik, Muhammad Imran, Marcus Liwicki, Andreas Dengel, and Bryan Found. "Man vs. Machine." Journal of Forensic Document Examination 24 (December 31, 2014): 21–35. http://dx.doi.org/10.31974/jfde24-21-35.

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Signatures have been used as a means to authenticate documents for centuries. From the outset, the focus of forensic examinations was to both objectively and subjectively establish whether they were genuine (written by the specimen author) or simulated (written by an imposter/forger). With the emergence of new computing technologies, additional objective examination techniques designed to determine the authenticity of questioned signatures became available. Although the opinions of Forensic Handwriting Examiners (FHEs) remain the most popular method of signature authenticity determinations, computer based techniques are attracting increasing interest within the forensic community. The question here is; which is better: man or machine? To address this question we focus on empirically comparing the performance of the two, on the same or similar material. The novelty of this work is that we have applied various state-of-the-art signature verification systems to questioned signature problems which had already been worked by FHEs and then performed a comparative analysis of the two. Purchase article for $10.

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5

Becker-Leckrone, Megan. "Wilde and Pater's Strange Appreciations." Victoriographies 1, no. 1 (May 2011): 96–123. http://dx.doi.org/10.3366/vic.2011.0009.

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This essay explores the intertextuality of Oscar Wilde's ‘Pen, Pencil and Poison’, one of four essays collected in Wilde's 1891 Intentions. It argues that, while its obvious provocation is its subject – notorious nineteenth-century murder, forger, and aesthete, Thomas Griffiths Wainewright, especially the seemingly sympathetic treatment Wilde gives that subject, the essay is also doing other significant things. It does not merely set out to shock its audience with a hyperbolic example of ‘art for art's sake’ (or, as he puts it here, ‘a man's being a murderer is nothing against his prose’) but also engages seriously with the principles of aestheticism. The essay, styled as an ‘appreciation’, models itself on (among other things) Walter Pater's Appreciations, a book Wilde reviewed with keen, high praise just months before publishing ‘Pen, Pencil and Poison’. Pater's essay on William Wordsworth (‘Wordsworth’) in that volume seems to hold a particularly suggestive influence over Wilde's study of Wainewright, with enough textual similarities between the two ‘appreciations’ to suggest that Wilde had not just his minor aesthetic contributions (e.g. journalism, Wilde admits, is largely neither original nor terribly good) but also more serious aestheticist writing and ideas.

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6

Brethes, M. O. "De l’art comme catharsis à l’épanouissement par la créativité : accompagnement par l’art-thérapie évolutive dans un cas de trouble bipolaire." European Psychiatry 29, S3 (November 2014): 674. http://dx.doi.org/10.1016/j.eurpsy.2014.09.081.

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L’exposé présente le suivi par l’art-thérapie évolutive d’une patiente atteinte de trouble bipolaire. Au début du suivi, la patiente était très affaiblie, en phase dépressive, en arrêt de travail prolongé. Son traitement associait du lithium, un neuroleptique, un antidépresseur et un anxiolytique. Ses productions artistiques (poèmes, nouvelles, journal, dessins) lui servaient de catharsis uniquement, ce qui renforçait son identification à la souffrance ressentie et à la pathologie. Une tentative de suicide a nécessité un sevrage momentané du traitement.L’accompagnement par l’art-thérapie évolutive, en apprenant à l’artiste comment utiliser consciemment sa créativité pour agir sur son humeur, a permis à la patiente de se forger une vision du monde plus optimiste, qui donne du sens à son questionnement existentiel. Guidée par l’art-thérapeute, elle a intentionnellement réorienté ses créations pour refléter une joie sereine et davantage de confiance en la vie. Elle utilise maintenant en autonomie des outils créatifs concrets pour gérer ses émotions sans s’y identifier. Cette rééducation créative, riche en prises de conscience, incite l’artiste à choisir désormais avec soin les émotions qu’elle vitalise par son art ou au travers des œuvres, films et livres dont elle s’inspire.Après deux ans de suivi art-thérapeutique, en association avec le suivi psychiatrique en place, la patiente a pu reprendre son activité professionnelle initiale à plein temps. Son humeur est stabilisée par une dose deux fois moindre de thymorégulateur et de neuroleptique, sans antidépresseur et sans anxiolytique. Cet allègement du traitement a permis à cette personne obèse de retrouver de l’énergie, de reprendre une activité physique normale et d’amorcer une perte de poids régulière. Grâce à cette nouvelle manière de vivre sa créativité, elle se sent véritablement épanouie et actrice de sa transformation.L’exposé s’appuiera sur un diaporama présentant quelques supports artistiques de cette évolution, tel le tableau « L’envol ».

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7

Steenberg, Elisa. "Can art be forged?" Konsthistorisk Tidskrift/Journal of Art History 58, no. 1 (January 1989): 44–45. http://dx.doi.org/10.1080/00233608908604219.

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8

Hick, Darren Hudson. "Forgery and Appropriation in Art." Philosophy Compass 5, no. 12 (December 2010): 1047–56. http://dx.doi.org/10.1111/j.1747-9991.2010.00353.x.

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9

Cebik, L. B. "FORGING ISSUES FROM FORGED ART." Southern Journal of Philosophy 27, no. 3 (September 1989): 331–46. http://dx.doi.org/10.1111/j.2041-6962.1989.tb00493.x.

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10

Holsinger, Bruce. "Of Pigs and Parchment: Medieval Studies and the Coming of the Animal." PMLA/Publications of the Modern Language Association of America 124, no. 2 (March 2009): 616–23. http://dx.doi.org/10.1632/pmla.2009.124.2.616.

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For Jorge Luis Borges, local color was overrated. In “the argentine writer and tradition” (1951), borges responded to the charges of critics who valued indigenous traditions and themes above all else; for Borges, just as Shakespeare could draw on Scandinavian history and Racine from the memories of the ancient world, so the Argentine writer should be permitted to mine the veins of the Western European tradition for the rich ore of literary art (Frisch 43). When the national writer does wish to produce a “truly native” text, he suggests, this should be accomplished with great subtlety, even to the extent of obscuring altogether the indigenous hues of local color in favor of an unspoken affiliation with the authorial homeland. A prime example of this technique, he avows, can be found in the Koran:A few days ago, I discovered a curious confirmation of the way in which what is truly native can and often does dispense with local color; I found this confirmation in Gibbon's Decline and Fall of the Roman Empire. Gibbon observes that in the Arab book par excellence, the Koran, there are no camels; I believe that if there ever were any doubt as to the authenticity of the Koran, this lack of camels would suffice to prove that it is Arab. It was written by Mohammed, and Mohammed, as an Arab, had no reason to know that camels were particularly Arab; they were, for him, a part of reality, and he had no reason to single them out, while the first thing a forger, a tourist, or an Arab nationalist would do is bring on the camels, whole caravans of camels on every page; but Mohammed, as an Arab, was unconcerned; he knew he could be Arab without camels. I believe that we Argentines can be like Mohammed; we can believe in the possibility of being Argentine without abounding in local color. (181)

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11

Currie, Gregory, and Denis Dutton. "The Forger's Art. Forgery and the Philosophy of Art." Philosophical Quarterly 35, no. 141 (October 1985): 435. http://dx.doi.org/10.2307/2219478.

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12

Gredka-Ligarska, Iwona. "Terms of seller’s liability for the sale of a false cultural object." Roczniki Administracji i Prawa specjalny, no. XIX (December 30, 2019): 321–36. http://dx.doi.org/10.5604/01.3001.0014.1036.

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This study includes analysis of the terms of a seller’s liability for the sale of a false cultural object or monument. In the introductory part, attention was paid to the phenomenon of forging cultural objects with a view to marketing counterfeits, which, in reference to monuments, constitutes the offense of forgery threatened by fine, restriction of liberty or imprisonment up to 2 years (Art. 109a of the Act of 23.07.2003 on the protection and care of monuments, Dz. U. No. 162, item 1568, as amended). Further in the study, attention was drawn to the fact that for the determination of terms of civil law liability of a seller – including sellers of forged cultural objects – key importance attaches to the differentiation between defective performance, which triggers liability under statutory warranty, and provision of another object, which does not amount to performance of an obligation at all. Emphasis was put on the importance of the opinion that the decisive factor for the determination of the seller’s liability regime in case of provision of an object other than agreed is the act of acceptance of performance. The considerations were made from the perspective of interests of a forged cultural object’s buyer. As a result, it was indicated that for the buyer the optimal solution is to exercise, in the first place, the right to withdraw from the sale contract under the provisions on statutory warranty and, only where this is impossible, to invoke the construction of error, as defined in Art. 84 of the Civil Code.

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13

Wetterer, James K. "Forager Polymorphism and Foraging Ecology in the Leaf-Cutting Ant,Atta colombica." Psyche: A Journal of Entomology 102, no. 3-4 (1995): 131–45. http://dx.doi.org/10.1155/1995/10717.

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I compare forager size and foraging selectivity of the leaf-cutting antAtta colombicaand that of its close relativeAtta cephalotes. In both species, larger foragers cut fragments of greater mass and area, and at vegetation sources of greater specific density (mass/area). However, the size-range ofA. colombicaforagers (1.5–56.8 mg) was wider than the range typical forA. cephalotes(1.4–32.1 mg). InA. colombica, the maxima workers (24–60 mg) commonly participate in foraging, making up 13% of all foragers in this study and in a previous study. In contrast,A. cephalotesmaxima workers (24–100 mg) rarely forage (less than 1% of all foragers in two previous studies), but instead serve primarily as soldiers defending the nest. Thus,A. colombicamaxima workers are smaller and do not appear to be so specialized as soldiers as areA. cephalotesmaxima workers. The broader size-range of workers participating in foraging appears to allowA. colombicato exploit a wider range of resources thanA. cephalotes, including tougher, denser vegetation and fallen fruits.

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14

Pham, Nam Thanh, Jong-Weon Lee, and Chun-Su Park. "Structural Correlation Based Method for Image Forgery Classification and Localization." Applied Sciences 10, no. 13 (June 28, 2020): 4458. http://dx.doi.org/10.3390/app10134458.

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In the image forgery problems, previous works has been chiefly designed considering only one of two forgery types: copy-move and splicing. In this paper, we propose a scheme to handle both copy-move and splicing image forgery by concurrently classifying the image forgery types and localizing the forged regions. The structural correlations between images are employed in the forgery clustering algorithm to assemble relevant images into clusters. Then, we search for the matching of image regions inside each cluster to classify and localize tampered images. Comprehensive experiments are conducted on three datasets (MICC-600, GRIP, and CASIA 2) to demonstrate the better performance in forgery classification and localization of the proposed method in comparison with state-of-the-art methods. Further, in copy-move localization, the source and target regions are explicitly specified.

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15

Kalmanowitz, Debra, and Bobby Lloyd. "Fragments of art at work: art therapy in the former Yugoslavia." Arts in Psychotherapy 26, no. 1 (January 1999): 15–25. http://dx.doi.org/10.1016/s0197-4556(98)00027-6.

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16

Cebik, L. B. "On the Suspicion of an Art Forgery." Journal of Aesthetics and Art Criticism 47, no. 2 (1989): 147. http://dx.doi.org/10.2307/431827.

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17

CEBIK, L. B. "On The Suspicion of An Art Forgery." Journal of Aesthetics and Art Criticism 47, no. 2 (March 1, 1989): 147–56. http://dx.doi.org/10.1111/1540_6245.jaac47.2.0147.

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18

Chrzczonowicz, Piotr. "Organised crime in the art forgery market." Law Review 16, no. 2 (2017): 126–42. http://dx.doi.org/10.7220/2029-4239.16.8.

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19

Larcanché-Noël, C. "Quels art-thérapeutes former, pour quelles institutions ?" European Psychiatry 30, S2 (November 2015): S88. http://dx.doi.org/10.1016/j.eurpsy.2015.09.382.

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Cette question laisserait entrevoir la possible spécificité de l’art-thérapie au regard d’indications particulières… À chaque institution, son type de publics, son type de prise en charge et de là son type d’art-thérapeutes et artthérapies… Cela correspond-t-il à une réalité, à un besoin ou seulement à un mythe ? Si notre propos n’est pas de définir les besoins de ces nombreuses structures, ce qui serait une entreprise bien présomptueuse, nous pouvons toutefois cerner les grandes lignes d’une réalité de terrain et de son offre de formation en matière d’artthérapies. C’est évidemment la grande diversité des publics et des institutions les accompagnant qui rend sensible cette question de la formation des professionnels art-thérapeutes. Faut-il une formation spécifique, une spécialisation dans la spécialisation que représente déjà l’art-thérapie, pour travailler en psychiatrie, ou en Ehpad, ou ailleurs ? Quels types de connaissances sont-ils requis dans tous ces cas si nombreux que l’art-thérapeute est susceptible de rencontrer dans son parcours professionnel ? Loin d’ignorer ces savoirs spécifiques, nous nous demanderons d’abord « qui est l’art-thérapeute », et quelles qualités humaines et sensibles il doit présenter ? De quoi a-t-il besoin pour exercer et pour qui ? Quels moyens les formations mettent-elles ou non en œuvre ? Quelle idée de l’art-thérapie et quelle idée de la formation des art-thérapeutes véhiculent l’ensemble des professionnels, mais aussi des médias et du grand public ? Il n’est pas rare d’entendre qu’il existe autant d’art-thérapies qu’il y a d’art-thérapeutes… Nous pourrions ajouter : autant d’art-thérapies qu’il y a de formations d’art-thérapeutes… Alors faut-il former des art-thérapeutes, et pour qui, pour quoi ? Si oui, se pose la question du « comment former ces nouveaux professionnels ». Nous tenterons de développer ces différentes pistes de réflexion avec notre regard d’art-thérapeute, de notre place de dirigeante d’un centre de formation en art-thérapie pluriexpressionnelle.

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20

Halazun, Karim J., and Russell Rosenblatt. "Lest we forget." American Journal of Transplantation 20, no. 7 (June 21, 2020): 1785–86. http://dx.doi.org/10.1111/ajt.15888.

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21

Patel, S., D. A. Collins, and B. E. Bourke. "Don't forget tuberculosis." Annals of the Rheumatic Diseases 54, no. 3 (March 1, 1995): 174–75. http://dx.doi.org/10.1136/ard.54.3.174.

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22

Zhao, Jie, Qiuzi Wang, Jichang Guo, Lin Gao, and Fusheng Yang. "An Overview on Passive Image Forensics Technology for Automatic Computer Forgery." International Journal of Digital Crime and Forensics 8, no. 4 (October 2016): 14–25. http://dx.doi.org/10.4018/ijdcf.2016100102.

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Currently, with the popularity of sophisticated image editing tools like Photoshop, it is becoming very difficult to discriminate between an authentic image and its manipulated version, which poses a serious social problem of debasing the credibility of photographic images as definite records of events. Passive image forgery detection technology, as one main branch of image forensics, has been regarded as the promising research interest due to its versatility and universality. Automatic computer forgery employs computer intelligent algorithms to forge an image in an automatic way, which is rather more complex than copy-move forgery since the source of duplicated region could be non-continuous. In this paper, the authors provide a comprehensive overview of the state-of-the-art passive detection methods for automatic computer forgery.

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23

Kujala, Urho M., Jyrki Kettunen, Heli Paananen, Teuvo Aalto, Michele C. Battié, Olli Impivaara, Tapio Videman, and Seppo Sarna. "Knee osteoarthritis in former runners, soccer players, weight lifters, and shooters." Arthritis & Rheumatism 38, no. 4 (April 1995): 539–46. http://dx.doi.org/10.1002/art.1780380413.

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24

Hendel, Ronald. "Notes on the Orthography of the Shapira Manuscripts: The Forger’s Marks." Zeitschrift für die alttestamentliche Wissenschaft 133, no. 2 (May 26, 2021): 225–30. http://dx.doi.org/10.1515/zaw-2021-2008.

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Abstract The Shapira manuscripts, putatively precursors of Deuteronomy, have many indications of forgery, particularly in the orthography, which mixes the writing conventions of the Mesha stele and the Hebrew Bible. Notably, the consistent use of waw, instead of he, to mark final ō is an anachronism. These problems were not perceivable by the text’s nineteenth century critics (or its forgers), but in hindsight are clear marks of the forger’s art.

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25

Amineddoleh, Leila. "Purchasing Art in a Market Full of Forgeries: Risks and Legal Remedies for Buyers." International Journal of Cultural Property 22, no. 2-3 (August 2015): 419–35. http://dx.doi.org/10.1017/s094073911500020x.

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Abstract:Since the first lawsuit against the Knoedler Gallery was filed for selling forgeries, the art world has been abuzz with stories of high-end fakes. However, forgeries are not a new phenomenon. The law of supply and demand dictates that there will be no end to the rising value of artworks done by the hands of “masters.” And with soaring market prices, art forgery will proliferate as forgers find incentive in skyrocketing sales. At the heart of forgery disputes is the determination of authenticity. Who makes these determinations? How does the market and legal world handle a battle of experts? Moreover, what remedies are available to disappointed buyers? The best method of protection is to complete due diligence; however, the process is often complex and expensive. Even after completing due diligence, it is possible for buyers to be left with sophisticated fakes. What legal remedies are available to buyers?

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26

Hlavajova, Maria. "Former West: Documents, constellations, prospects." Maska 30, no. 172 (July 1, 2015): 76–83. http://dx.doi.org/10.1386/maska.30.172-174.76_1.

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FORMER WEST (2008–2016) is a long-term contemporary art research, education, publishing, exhibition and discursive project that aims at developing a critical understanding of the legacy of the radical resistance to power in 1989, in order to both imaginatively reevaluate the present and speculate about global futures. It employs the “retroperspective” method – allowing for imaginative thinking and acting through both global pasts and future prospects simultaneously. The work of art plays a critical role in this context and is understood as a “document” through which to re-read the recent course of history otherwise than the way in which we’ve gotten to know it, demonstrating thus the imaginative potential of artistic practice in shaping and transforming the world.

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27

Bradley, Will. "Former Reflections Enduring Doubt." Afterall: A Journal of Art, Context and Enquiry 19 (October 2008): 72–79. http://dx.doi.org/10.1086/aft.19.20711715.

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28

Tsarev, V. A. "Forest resources and timber harvesting in former Soviet republics." Resources and Technology, no. 5 (2005): 132–34. http://dx.doi.org/10.15393/j2.art.2005.2003.

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29

Hanna, Georgia A. "Art Forgery: The Role of the Document Examiner." Journal of Forensic Sciences 37, no. 4 (July 1, 1992): 13296J. http://dx.doi.org/10.1520/jfs13296j.

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30

Fleming, Stuart J., and Edward Hall. "Authenticity in Art: The Scientific Detection of Forgery." American Journal of Physics 54, no. 6 (June 1986): 572. http://dx.doi.org/10.1119/1.14545.

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31

Hick, D. H. "Art Forgery: The History of a Modern Obsession." British Journal of Aesthetics 52, no. 4 (June 27, 2012): 427–30. http://dx.doi.org/10.1093/aesthj/ays017.

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32

Dundler, Lauren. "Art crime: terrorists, tomb raiders, forgers and thieves." Journal of Policing, Intelligence and Counter Terrorism 11, no. 2 (July 2, 2016): 199. http://dx.doi.org/10.1080/18335330.2016.1231377.

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33

Siegel, Andrea. "Art forgery: The history of a modern obsession." Visual Studies 28, no. 2 (June 2013): 196. http://dx.doi.org/10.1080/1472586x.2013.765242.

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34

MacLean, Ewan. "False images: On the meaning of art forgery." Law and Critique 2, no. 1 (1991): 3–36. http://dx.doi.org/10.1007/bf01128436.

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35

Stoller, Paul. "Forget Colonialism? Sacrifice and the Art of Memory in Madagascar.:Forget Colonialism? Sacrifice and the Art of Memory in Madagascar." American Anthropologist 105, no. 2 (June 2003): 398–99. http://dx.doi.org/10.1525/aa.2003.105.2.398.

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36

Davenport, Nancy. "William Holman Hunt: Layered Belief in the Art of a Pre-Raphaelite Realist." Religion and the Arts 16, no. 1-2 (2012): 29–77. http://dx.doi.org/10.1163/156852912x615874.

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Abstract The essay is concerned with the evolving religious beliefs of the British Pre-Raphaelite painter, William Holman Hunt (1827–1910). Hunt’s faith was forged by his early connection and friendships with members and patrons of the High Anglican Oxford Movement and transformed by his repeated trips to the fraught religious environment of nineteenth-century Syria, the name generally used at the time to denote modern Israel. His contacts with urban and agrarian Jews, Christians, and Muslims, with officials in the Anglican, Byzantine, and Lutheran Churches, and with British colonial officials turned both him and his art in more universalistic directions from his former parochial British colonial/elitist global understanding.

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37

Sadeghi, Somayeh, Sajjad Dadkhah, Hamid A. Jalab, Giuseppe Mazzola, and Diaa Uliyan. "State of the art in passive digital image forgery detection: copy-move image forgery." Pattern Analysis and Applications 21, no. 2 (December 26, 2017): 291–306. http://dx.doi.org/10.1007/s10044-017-0678-8.

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38

Hindley, Victoria. "From Beyond the Former West." Afterimage 40, no. 1 (July 1, 2012): 2–4. http://dx.doi.org/10.1525/aft.2012.40.1.2.

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39

Vuong, Quan-Hoang, Manh-Tung Ho, Hong-Kong Nguyen, Thu-Trang Vuong, Kien Tran, and Manh Ho. "“Paintings Can Be Forged, But Not Feeling”: Vietnamese Art—Market, Fraud, and Value." Arts 7, no. 4 (October 9, 2018): 62. http://dx.doi.org/10.3390/arts7040062.

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A work of Vietnamese art crossed the million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity for Vietnamese art amidst many problems. Even though the media in Vietnam has discussed the problems enthusiastically, there is a lack of literature from Vietnamese academics on the subject, especially from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market through the lens of art frauds. Thirty-five cases of fraudulent paintings were found on the news and in stories told by art connoisseurs. The qualitative analysis of the cases has shown that the economic value of Vietnamese paintings remains high despite the controversial claims about their authenticity. Here, the Vietnamese authority seems indifferent to the problem of art frauds, which make the artists more powerless. While the involvement of foreign actors in the trading of Vietnamese art does not reduce the intensity of the problem, it seems to continue to drive the price higher. The results have implications on the system of art in Vietnam, the current state of art theft in Vietnam, and the perception of Vietnamese people on art.

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Vitelli, Karen D., and John F. Moffitt. "Art Forgery: The Case of the Lady of Elche." American Journal of Archaeology 99, no. 4 (October 1995): 755. http://dx.doi.org/10.2307/506215.

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Berger, Laurent, and Jennifer Cole. "Forget Colonialism? Sacrifice and Art of Memory in Madagascar." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 36, no. 3 (2002): 583. http://dx.doi.org/10.2307/4107343.

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Blanke, Olaf, Luca Forcucci, and Sebastian Dieguez. "Don't forget the artists when studying perception of art." Nature 462, no. 7276 (December 2009): 984. http://dx.doi.org/10.1038/462984d.

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Yang, Heesoo, and Eunjung Hyun. "Analysis of Media Discourse on Art Forgery in Korea." Korean Arts Association of Arts Management 45 (February 28, 2018): 77–106. http://dx.doi.org/10.52564/jamp.2018.45.77.

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Konovalov, A. P., E. A. Tihonov, and V. N. Litvinov. "Estimation of forage conservation technologies efficiency." Resources and Technology, no. 8 (2010): 71–73. http://dx.doi.org/10.15393/j2.art.2010.1769.

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Hussain, Muhammad, Sahar Qasem, George Bebis, Ghulam Muhammad, Hatim Aboalsamh, and Hassan Mathkour. "Evaluation of Image Forgery Detection Using Multi-Scale Weber Local Descriptors." International Journal on Artificial Intelligence Tools 24, no. 04 (August 2015): 1540016. http://dx.doi.org/10.1142/s0218213015400163.

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Due to the maturing of digital image processing techniques, there are many tools that can forge an image easily without leaving visible traces and lead to the problem of the authentication of digital images. Based on the assumption that forgery alters the texture micro-patterns in a digital image and texture descriptors can be used for modeling this change; we employed two stat-of-the-art local texture descriptors: multi-scale Weber's law descriptor (multi-WLD) and multi-scale local binary pattern (multi-LBP) for splicing and copy-move forgery detection. As the tamper traces are not visible to open eyes, so the chrominance components of an image encode these traces and were used for modeling tamper traces with the texture descriptors. To reduce the dimension of the feature space and get rid of redundant features, we employed locally learning based (LLB) algorithm. For identifying an image as authentic or tampered, Support vector machine (SVM) was used. This paper presents the thorough investigation for the validation of this forgery detection method. The experiments were conducted on three benchmark image data sets, namely, CASIA v1.0, CASIA v2.0, and Columbia color. The experimental results showed that the accuracy rate of multi-WLD based method was 94.19% on CASIA v1.0, 96.52% on CASIA v2.0, and 94.17% on Columbia data set. It is not only significantly better than multi-LBP based method, but also it outperforms other stat-of-the-art similar forgery detection methods.

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Bellisari, Andrew. "The Art of Decolonization: The Battle for Algeria’s French Art, 1962–70." Journal of Contemporary History 52, no. 3 (October 17, 2016): 625–45. http://dx.doi.org/10.1177/0022009416652715.

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In May 1962 French museum administrators removed over 300 works of art from the Musée des Beaux-Arts in Algiers and transported them, under military escort, to the Louvre in Paris. The artwork, however, no longer belonged to France. Under the terms of the Evian Accords it had become the official property of the Algerian state-to-be and the incoming nationalist government wanted it back. This article will examine not only the French decision to act in contravention of the Evian Accords and the ensuing negotiations that took place between France and Algeria, but also the cultural complexities of post-colonial restitution. What does it mean for artwork produced by some of France’s most iconic artists – Monet, Delacroix, Courbet – to become the cultural property of a former colony? Moreover, what is at stake when a former colony demands the repatriation of artwork emblematic of the former colonizer, deeming it a valuable part of the nation’s cultural heritage? The negotiations undertaken to repatriate French art to Algeria expose the kinds of awkward cultural refashioning precipitated by the process of decolonization and epitomizes the lingering connections of colonial disentanglement that do not fit neatly into the common narrative of the ‘end of empire'.

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Inshakov, Alexander N. "Monumental Painting by Sergei Romanovich: Former and Unfulfilled." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 102–26. http://dx.doi.org/10.21638/spbu15.2021.107.

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The article is devoted to an important period in the life and work of the Moscow artist Sergei Romanovich (1894–1968), one of the most interesting young artists of the Russian pictorial avant-garde of the second half of the 1910s, a student and later friend of Mikhail Larionov. From the late 1930s to the mid-1950s, Romanovich was an employee of the Workshop of Monumental Painting at the Academy of Architecture of the USSR. Together with Lev Bruni and Vladimir Favorsky, he worked on the decoration of the Red Army Theater, participated in the development of projects and interior design of theater and exhibition spaces, new public buildings in Moscow and other cities of the country. Romanovich turned to monumental art largely forced, unable to seriously engage in easel painting and exhibit his work in the 1930s. The author of the article analyzed the main works performed by Romanovich in the field of monumental art. Special attention is paid to Romanovich’s interest in painting by outstanding masters of the Renaissance and modern times, which had a certain influence on his monumental works: among the most important artists are Raphael, Michelangelo, and Delacroix. The article also reveals the connections and mutual influences between the easel work and the monumental painting of Romanovich. In his work, there was also a “counter” influence: the artist’s interest in outstanding monuments of monumental art of the past influenced his search in the field of painting. The author demonstrates this influence by referring to an analysis of several famous works by Romanovich in the late 1940s. The most important place in the artist’s heritage is occupied by religious painting. In the conditions of the USSR of the 1940s–1950s, Romanovich could not depict and fulfill his talent as a muralist in religious art.

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김수희 and JUSUNG JUN. "Realization of the Biographicity of a Former Middle School Art Teacher Whose life Became Art." Global Creative Leader: Education & Learning 7, no. 2 (September 2017): 127–53. http://dx.doi.org/10.34226/gcl.2017.7.2.127.

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Kratz, Martin. "‘Two Uses for Ashes’: Translation as Forgery in Anthony Burgess' Versions of Giuseppe Gioacchino Belli." Translation and Literature 26, no. 1 (March 2017): 52–71. http://dx.doi.org/10.3366/tal.2017.0275.

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In 1978 Anthony Burgess published twelve translations from the original, biblically themed, Romanesco sonnets by the nineteenth-century Roman poet Giuseppe Gioacchino Belli in the journal Translation. It has been suggested that two of them (‘Two Uses for Ashes’ and ‘The Bet’) are in fact Burgess’ own creations, and not translations at all. In the context of Translation, the poems are fakes, a literary hoax or forgery - Burgess passed off as Belli. This article considers how the ambiguous status of Burgess’ two poems draws attention to the uneasy relationship between literary forgery and literary translation. In particular, it reflects on the way in which translation, as an act of mediation, has offered specific opportunities for the literary forger to stage textual interventions and inventions.

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Scanner. "Remembering How to Forget: An Artist's Exploration of Sound." Leonardo Music Journal 11 (December 2001): 65–69. http://dx.doi.org/10.1162/09611210152780700.

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This article is an introduction to the work of electronic sound artist Scanner, which explores the place of memory, the cityscape and the relationship between the public and the private within contemporary sound art. Beginning with a historical look at his CD releases a decade ago, the article explores his move from his cellular phone works to his more collaborative digital projects in recent times. With descriptions of several significant performance works, public art commissions and film soundtrack work, the piece explores the resonances and meanings with the ever-changing digital landscape of a contemporary sound artist.

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