The Importance Of Restitution In Art

In his paper “The Case for Reparations,” Coates argues that the social, economic, and political injustices against black people in America have compounded since the colonial periods. Moreover, even after slavery and segregation have ended, the conditions leave many black communities on an uneven playing field today. To even out that playing field, Coates argues in his response to these social injustices that, they (which refers to the black people) need reparations from the government, just like how the government has done to the Japanese descendent American citizens.

There are several agencies around the world working to curtail art theft and recover stolen works.

This emphasis illuminates how weighty perspective is when determining perceived masterpieces across cultures. She does so by tactfully offering Cameron’s comparison of the Lega’s material distinctions with European (p. 24). Hypothetically, a nation located in a place devoid of rocks may find a lump of coal to be the most artistically valued piece in the community while foreign appraisers may overlook, or even overestimate, its importance. Had history been different, so would

Inmates that are active probationers, parolees, and juvenile’s delinquents are given the opportunity to learn new skills and make positive contribution to their communities to repair the prior harm they may have caused. In the mural Arts restorative justice program there In the Mural Arts Restorative Justice program there is a growing emphasis on re-entry, reclamation of civic spaces, and the use of art to give voice to people who have consistently felt disconnected from society. These programs show to have an impact on the victims of these crimes. Statistics show that 85% or satisfied or very satisfied with the restorative programs. Leaving 75% participating in restorative justices, feeling its positive experience happy and recommending restorative

If the image is no longer unique and exclusive, the art object, the thing, must be made mysteriously so,” (Berger 44). Therefore, the final step in the exploitation of power is mystification of its origins. Over time a concept will build its image and solidify its strength through results, showing the public its value until it becomes integrated and thus, hidden within society. There are several examples of power that has become formally accepted or internalized by the public and it is difficult to see how they exploit power because their origins are mystified. For the concept of originality in art, we can see how its status may have risen because of the definition we give to “originality” rules that have commercial purposes or vice versa. Some examples include companies that have copyright issues to protect names and identities that belong to them, or schools that incorporate rules about plagiarism. The idea of originality has already become internalized within our society that assigning a market meaning with it, just seems natural. If our judicial system has already incorporated ideas of “originality”, then not many people will see any problems with it. However, it is important to look at the origins and realize how a power came to be to prevent it from being exploited. Another covert concept integrated within society

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

Restorative justice is a response to misconduct that gives people the opportunity to mature whether

"Holocaust Restitution: Recovering Stolen Art." Jewish Virtual Library. American-Israeli Cooperative Enterprise, Mar. 2017. Web. 19 Mar. 2017.

However, artifacts should not be repatriated to the countries of their origin because museums are to educate people about different places, things, objects, cultures, and eras. If the artifact is donated then the museum’s highest priority is to honor the donor’s wishes. And if the museum found the artifact(s) in a foreign country, then it should stay with museum

America’s infatuation with labels was a relatively new trend in postmodern society. Andy Warhol’s “Silver Liz as Cleopatra” as well as his other pieces impacted societal views on modern art in relationship to value. Warhol had a strong belief that the loss of something in replicating an image was over powered by something of new value being created.

In the occurrence of stolen valuable artwork, often times law enforcement authorities have an extremely hard time recovering the missing property. There are many reasons why of all thefts, artwork theft can be one of the most complicated to solve. In 1990, 14 pieces of art valued at $500 million dollars was stolen from the Isabella Stewart Gardner Museum, becoming the biggest art Theft in American history. The National Stolen Art File (NSAF) was set up to help recover missing artwork. some people may have missing priceless artwork passed down to them just sitting in there basement with them unknowing its true value. Some art works missing have been and can be intentionally taken by

Recently I have watched the movie The Women in Gold, which takes place in Los Angeles in the year 1998. This movie is a true story and follows the story of Maria Altmann who was a Jewish refugee in World War II. While being ripped from her home, Altmann's family panting were robbed from her house. Against all odds when Altmann was being transported with her husband to a concentration camp, they escaped and made their way to the United States. Fast forward fifty year and Altmann sister just died and it brought up old memories, specifically the painting that were stolen from her. With Austria new policy of art restitution, she employs the help of lawyer Randol Schoenberg to retain her stolen painting. After many hardship and legal battles the

It is very unfortunate that there are so many people throughout the world who must work under terrible conditions to produce beautiful works of art. This exploitation takes place is

Ms. Shaheed presented the Human Rights Council resolution of 1976 report; it showed how the freedom of artistic expression could be curtailed. Artistic voices are being limited through the passing of different legislation. Legislations are mostly brought about by political, religious or moral reasons. Different governments should review and reconsider the laws that limit the artistic expression. Several legal frameworks have been made to protect the rights and freedoms of the artist. The freedom of artistic expression and creativity is in article 15 (3) of ICESCR states that all governments are expected to respect artistic expression; they may include freedom to seek and receive all important information in the form of art. American Convention on rights of the child and Arab Human rights contain the same straightforward declaration. Every person has the right to enjoy arts.

This chapter is broken down into three main parts, culture and heritage, the law and war, and the international community and its legal instruments. The first part addresses the historical perspective of the ideas about culture by acknowledging the development of the term; starting from Edward Burnett Tylor’s definition of culture from the 19th century to the ideas suggested by Clifford Geertz concerning culture.1 These ideas are further explored through contemporary scholarship on the associations of culture and heritage, and how cultural heritage relates to the identities of human beings and thus becomes a target in conflict situations. The second part of the first chapter, on the law and war, outlines the development of International Humanitarian Law throughout history in order to communicate how the law is reactive and consequently created. The distinct difference in treatment of cultural objects throughout the history of war has demonstrated the value and ideas surrounding their importance and safeguarding. The last part of Chapter 1 is a legal analysis of primary sources of law, chiefly dealing with the Geneva Law and Hague Law, on the protection of cultural heritage and their practical application during armed conflict.