FIFTEEN SHApES OF GREY: ABSTRACT PHOTOS OF RANDOM SCRATCHES ON A PUBLICITY BILLBOARD IN MILAN


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15 abstract images of random scratches on a publicity billboard in Milan, Italy. Created by Roberto Alborghetti his Lacer/actions project-research about torn and decomposed publicity posters, natural cracks and scratches, urban and industrial matters.

 © Roberto Alborghetti, Lacer/actions, 2015

© Roberto Alborghetti, Lacer/actions, 2015

BLUE MILANO… THEY’RE NOT PAINTINGS, BUT NATURAL CORROSIONS AND DECOMPOSITIONS ON A WALL


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In the videoclip: 13 abstract photos of random corrosions and scratches on a wall in Milan, Italy. Created by Roberto  Alborghetti  for his Lacer/actions project-research about torn and decomposed publicity posters, natural cracks and scratches, urban and industrial matters. © Roberto Alborghetti – Lacer/actions Project

© Roberto Alborghetti - Lacer/actions Project

© Roberto Alborghetti – Lacer/actions Project

RENÈE LAVERNE ROSE: “THERE ARE SO MANY CREATIVE MINDS WITH FASCINATING STORIES TO SHARE”

Renèe LaVerne Rose interviewed by Roberto Alborghetti

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#1 Renee's headshot

Renèe LaVerne Rose, Chief Editor, Publisher, Gallerist, Curator & Consultant

From visual arts to “ACS” art magazine. From beautiful canvases to a great media company which is promoting arts, artists, cultures and creativity. Everywhere. Renée LaVerné Rose was born in Chicago (USA) and raised in the Southside neighborhood Morgan Park, where grandparents and extended family resided. As a child her parents exposed her to a multitude of arts/cultural experiences which feed curious nature. As a young adult, Renée grew to relish exploring the world and take in every exotic cultural experience presented to her. She describes herself as a “renaissance woman” from continuing to expand her knowledge of arts and culture (Ms. Rose had a successful career in Government Relations, Public Policy and Government Administration).

I knew her through the world wide web (Facebook and Linkedin) and last September she asked me to write an article about “Hopes project” that I created with Mitrani Yarden. She wanted to publish it on her “ACS” magazine. She was really interested and engaged in what we were doing, from Italy to the world. And the adventure (and my collaboration) began… Now it’s my turn to interview her and to know something more about her life, her attitudes, her dreams and her personality. Along the interview, Renèe reveals herself. She talks about art, media, creativity, artists and plans. She speaks about her dearest father (Emil Jones Jr., former Illinois Senate President) and about… the home screen on her desktop computer. And about Peter Pan too…

 

  • Renèe, which inspires you the most among these three books: “Alice in Wonderland”, “Peter Pan” or “The Little Prince”? And why?

First when I read this question I just burst out into laughter. Why? The question just made me feel warm and fuzzy inside and laugh. Okay I’ll be honest about why I’m laughing so hard!  There is a local commercial on TV where Peter Pan is going back to his high school reunion and everyone at the high school reunion are now in their early 70s (I’m trying to stop laughing). When Peter Pan enters into the reunion party, the camera pans across the room to show three former classmates be grudgingly and glancing at Peter Pan with disdain (I’m so sorry but I’m laughing again) And then Peter Pan goes over to greet his old classmates and says to the lady in the group “you don’t look a day over 70”. The classmates groan and moan as roll their eyes to the back of their heads. The commercial ends with the Peter Pan flying in the air, singing along with the reunion party band “You make me feel so young.” LOL!

 

So when I saw the name Peter Pan and in this question I immediately broke out into uncontrollable laughter and thought about this crazy commercial. So your question is actually really relaxed me because, believe it or not, I’m shy and I don’t always like talking about myself.  Yes, I like to giving interviews but I‘m shy about  being interviewed Ironic! However, I love to laugh so it put me in the right frame of mind. Then I thought what ingenious way to break the ice, really get the person you’re interviewing to open up and a neat way to reveal a little piece of that person’s soul. Well I really had to think about the question to give a good answer because it’s been a long time since I read any of these fairy tales. Mmmm! So what really vividly stood out in my mind?

 

Well I’ve chose to talk about Peter Pan (with a straight face and no giggling Renée). Of all the three actually Peter Pan is the most inspirational for me because he rose to be a leader, fought for what he believed in and created a community (his gang) to move forward with his agenda. Ultimately thing I love about this story is through his conquest and strong inner spirit Peter Pan discovered the fountain of youth or better still immortality. Like a visual artist when you’re passionate about your work you can experience an euphoric feeling, a feeling of bliss, time escapes you and you can slip into this timeless zone where you feel immortal.

 

  • Being an artist and a Chief editor of an art magazine was it one of your childhood’s dream?

My childhood dream and desire was to become a doctor, specifically a neurosurgeon. I passionately followed my desire throughout high school and with excellent GPA was still considering it in undergraduate school.  However, I before completing my undergraduate degree I changed my major and I began to explore a completely different journey in life. I know that that’s what happens when you’re really living life rather than trying to control life. In 2008 in the midst of a successful career I decided to switch midstream and become a visual artist. Trusting myself this process led to this period of my life now as a publisher and editor-in-chief of my magazine. Being open to new experiences and opportunities while harnessing my wealth of experience led to this wonderful new journey. At this stage in my life I’ve learned to let the universe guide me rather than me insisting on taking one narrow path. So now I have arrived at this destination and I’m enjoying every moment of it.

 

  • How have you had the idea to create Art & Cultural Strategies, Inc.? Had you planned it or it happened in an unexpected way?

My entry into the art world was of a traditional path. But come to think of it nothing about my professional career has ever taking the traditional path; I always seem to be to my own drummer.

My entry was a wonderful way of expressing my inner voice yet as soon as I entered into the art world I was immediately drawn to the business side of the art world. When I told my friends I was going to become a visible artists and quit my thriving consulting business. I was met with a bit of skepticism.  As I reflect back on life I’m never really been one to listen to other people about what I should do.  I’ve always trusted my inner way to the in guide me in the right direction even when the experience unpleasant it still hasn’t been a learning experience. As I reflect back on my life I would do it all over again exactly the same to be sage person I am.

 

I didn’t plan on creating Art & Cultural Strategies, Inc. it was pleasantly unexpected and the process is still revealing itself. I started the original company which has now emerged into a family of companies (ACS Magazine, ACS Gallery and ACS Consulting Services). What I do know is I was very certain about wanting to combine my wealth of experience with these creative concepts that were swarming around in my head every day. I was confident I could transition my expertise into a thriving art business because as I indulged more into the art world I felt the timing for my business was right.

 

Like everything I’ve excelled at in the last fifteen years and all the unsuccessful outcomes I have gained wisdon from I always following my muse, continually do a reality check to be certain that I am not fixated on any particular path to propell me forward, I always remain flexible to the opportunities that are present themselves, and adapt strategy in accordance with the valuable resources available.

 

  • There is a person, an experience or a book that helped you in your professional training?

There are a multitude of individuals, experiences and books that combined have been extremely influential in my professional career. However, undoubtedly the most significant impact for my professional career, and personal enhancement has been my father.  My father (Emil Jones Jr) is a self-made man who was raised in a working-class family only to successful reach become a prominent elected official as the former Illinois Senate President for the State Legislators and mentor to then a younger version of President Barack Obama.

Even though women have made strides in the business world we are still a long way off to achieve true equity. So, the wealth of knowledge derived from my father’s guidance and my observations of him brokering business collaborative partnerships gave me the ingredients to armor myself with invaluable strategies in the political/business arenas. A person attended college and achieve multiple credentials yet what really matters in the business world is how you apply that knowledge. I was extremely fortunate to learn the tricks of the trade and how to apply that information to propel myself towards successful outcomes.

 

  • What do you ask expect from co-workers and collaborators? Creativity is always a priority?

Fostering collaborative partnerships has been the foundation of my career. Usually depending on the time in the season of my life my collaborative partners are naturally drawn into my path. It’s the law of attraction for me like-minded people will gather. For any given entrepreneur comes the I conceive when it’s time for implementation the right collaborative partners will appear. None of that particular about will I work closely with. The people have to have the right synergy for me to be working with them on a daily basis. Part of the selection process is finding partners professional expertise that cover my business weaknesses.

The name of the game isn’t too reproduced myself but create greater potential for the project. I personally want collaborative partners that think out-of-the-box, challenge me professionally, and who are committed to the partnership through the challenging creative process. Creativity for me has a multitude of meanings. Therefore, depending on the particular project goals or professional preferences determines the priority for the creation process.

 

  • What excites you the most while preparing a new issue of the magazine? Gives motivation to people or watch what happens out there in the world?

I’m thoroughly enjoying the process of interviewing and meeting so many interesting people with fascinating careers plus their challenges and tribulations it takes them to reach their personal goals. It’s really thrilling to establish a rapport with individuals being interview to find out what really makes them tick and to discover their creative genius. The whole interview process has given me a deeper appreciation of the artistic creative process, arts/culture in general and the utmost respect for the journalism profession.

Even though I am a visual artist, I’ve grown to have an even greater appreciation for the courage it takes for artists to share their thoughts/concepts and display they to be naked before the world. That’s awesome! Being open and completely honest takes integrity, an inner strength of knowing who you are and being comfortable with yourself despite what others think.

Being artistically inclined and having the will to expose your thoughts to the public is a noble.  The artistic process is extremely beneficial to improving the quality of life for others. There are so many creative minds with fascinating stories to share. I am honored when artists give me the opportunity to be the vehicle to present their story to the world.

By the time I have finished editing an issue I start to feel the urge to get started on the next. Having the need to collaborate with other human beings in this manner is a rewarding experience.

 

  • Renee, what do you want communicate in your work as an artist?

I haven’t been creating artistically for a while now have started my business. However, I definitely intend to slowly get back into the artistic process. What I promise my audience grew by artistic process is I will always be true to my heart and capture on canvas what moves me. What drives me is capturing audiences’ mind and hearts.  As I am painting new works the questions that dance through my mind is “Can I seduce the audience into losing themselves into the work and being open without judgment to what is revealed. I often want my words to improve the quality of the life.

 

  • What counts today for an artist to be able to communicate properly and sincerely his work and art?

Having the ability to express yourself in any professional format is a valuable asset. The artist who has the ability to communicate effectively with their audience effectively conveys their interpretation of the art and controls their branding message.

 

  • Aesthetic or contents? Which of them is the most important for you while you are working on a new ACS Magazine issue?

Even though my digital magazine covers the arts/cultural world the aesthetics or graphic design is catchy and very pleasing to the eye; however, what is imperative is the message that is being delivered this digital media.  The ACS Magazine the practice is being the vehicle to explode those artistic, creative entrepreneurial and human stories with the general public. So publishing ACS Magazine is creating the right combination of aesthetics and content for each issue.

 

  • “Art” seems to be today a sort of wonderful world. But what does really deserve to be named “Art”?

I think the determination of which artistic works are considered authentic art is determined by the viewer. Arts and culture are one and the same for me. What is pleasing to the eye for person in Nairobi may be completely opposite will person rooming the Siberian tundra. That’s what makes the arts so welcoming and universally pleasing; what deserves or does not deserve to be considered art is subjective. However, I will interject there is fundamentally something misguided in the institutional structure of the art world where the 1% at the top dictate what is the latest trends in the art world. That will only change once the general public is reinvigorated ultimately becoming more engaged with the art world. The laypersons personal choice will drive the art market and that is how it should be. Not some billionaire sitting on their perch determining this is the latest trend for 2017! Beauty is in the eye of the beholder!

 

  • Considering the current way media are communicating art, what would you like to change or to renew?

My decision to publish ACS magazine was derived from having the desire to increase exposure of the globally diverse arts/culture in the world. For each issue I publish I’m changing the conversation internationally regarding the arts and culture.

 

  • What advice would you give to emerging artists?

It should be a given that the emerging artists must harness their intuitive artistic talents to hone their skills. Each time artists presents their work to the general public they in opportunity is presented for them to present their brand. The artist success should be determined on their personal goals not by what is latest trend in the art world. Finding your voice is everything to your success artistically. The artist needs to understand that they are a creative entrepreneur and should approach their artistic practice as such.  To excel at the business of art it’s imperative that artists acquire the necessary professional career development skills to gain a competitive edge and reach positive results. Developing an artist career or any profession career takes repetitive practice, the great nurturing, and patience.

 

  • Renèe, I love, in my artworks, to play and work with colors. How color is important for you? Have you a favorite color?

I love the array of hues that occur in nature. In 2008 when I initially started as a visible artist it was as if I were blind and I opened my eyes for the first time. All the colors that surrounded me in nature were much more vivid; it was like I was seeing everything in HD for the first time. This personal artistic awakening is the litmus that determined my artistic path for wanting to include vivid color in my works. I can’t say I have a favorite color because to be honest I love the whole spectrum of colors that naturally occur in nature. Nature is so brilliant because to try to reproduce those colors that occur naturally is a feat in itself.

 

  • My last question: what have you put in these days on the screen of your laptop? One of your paintings? A photograph? Nothing?

That’s an interesting question.  Let’s start with my desktop computer. I don’t have any special home screen on my desktop computer. On my desktop computer is one of the Microsoft screen savers that shows the Microsoft Windows logo. Real original ha! Now for IPAD, I have a screen saver that shows the stars and the top of a mountain top. Very peaceful and calm. And finally on my cell phone the lock screen is my favorite photograph of myself.

© ROBERTO ALBORGHETTI

© RENÈE LAVERNE ROSE

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ABOUT RENÈE LAVERNE ROSE

https://bio.prlog.org/acsmagazine/50006936-renee-laverne-rose.html

FLORENCE:ALL THE EXHIBITIONS IN THE MUSEUMS OF THE GALLERIE DEGLI UFFIZI IN 2016

© Roberto Alborghetti - Florence, 2015

© Roberto Alborghetti – Florence, 2015

© Roberto Alborghetti - Florence, 2015

© Roberto Alborghetti – Florence, 2015

 

The Gallerie degli Uffizi – the new museum cluster resulting from the merger of the Galleria degli Uffizi and the Palazzo Pitti museum complex occasioned by the recent minister Franceschini reform, and under the direction of Eike Schmidt for just over a month – can already offer visitors an exhibition programme for 2016 that it is at once ambitious and demanding from a scholarly viewpoint while also being of unquestioned interest to a far broader audience.  The programme, which comprises fully nine exhibitions, is outlined below in order of the various exhibitions’ inauguration, with a brief introduction for each one.

 

Guests at Palazzo Pitti

Adam Elsheimer’s Polyptych of the Holy Cross

curated by Matteo Ceriana

Galleria Palatina di Palazzo Pitti, Sala delle Nicchie

24 February – 5 June 2016 

In return for the loan of two works by Pontormo to the Städel Museum in Frankfurt, the Galleria Palatina will be temporarily hosting Adam Elsheimer’s Polyptych of the Holy Cross. The altarpiece, which once formed part of Cosimo II de’ Medici’s collection, will be accompanied by panels illustrating its history, dispersal and reassembly on the basis of archival documents.

 

He Made Sculpture of Wood, Which He Coloured.  Painted Wooden Sculpture in 15th Century Florence.

curated by Alfredo Bellandi with Marta Onali

Galleria degli Uffizi

21 March – 28 August 2016

Painted sculpture, in wood as well as in marble and terracotta, embodied the artistic primacy of sculpture throughout the first half of the 15th century.  Showcasing a core of approximately fifty pieces, the exhibition sets out for the very first time to explore the history of painted wooden sculpture in Quattrocento Florence, a city in which the close proximity of painters’, sculptors’ and architects’ workshops was frequently responsible for the direction that an artist’s career and stylistic development would take.

 

Jesters, Villeins and Players at the Medici Court

curated by Anna Bisceglia, Matteo Ceriana and Simona Mammana

Galleria d’arte moderna di Palazzo Pitti, Andito degli Angiolini

9 May – 11 September 2016

Roughly thirty 17th and 18th century works of art, primarily from the Galleria Palatina’s storage facility, set out to illustrate the bizarre figures that are such a recurrent feature of the Medici collections.  These “genre” scenes allowed artists to illustrate – naturally within strictly defined bounds and frequently with educational or moralising intent – those comic aspects of social and court life that were normally held to be base and unseemly. In this context we see the limelight being shone on such marginal and deviant figures as jesters, ignorant or grotesque peasants, dwarves and gamblers both licit and illicit. Putting it in a nutshall, “genre” painting became the medium that allowed art to seek its inspiration in the real world.

 

A Look at the 20th Century.  Italian artists’ drawings from the interwar years

curated by Marzia Faietti and Giorgio Marini, with the assistance of Valentina Martino and Bruno Maria Mascellino and with an introductory essay by Daniele Menozzi

Gabinetto Disegni e Stampe degli Uffizi, Sala Edoardo Detti

17 May – 4 September 2016

Some thirty-seven drawings and prints dating roughly from between 1900 and 1930, most of which have never been displayed in public before, include figures, faces and self-portraits oozing with expressive depth and sparking pyschological interaction between the artist and the sitter, and between the sitter and the observer. These works not only reveal the complexity of the first thirty years of the 20th century, they also appear to herald looming tragedy and drama.  The artists selected for the exhibition include Jacques Villon, Alberto Giacometti, Anders Zorn, Ram and Thayat, Giovanni Costetti, Giuseppe Lunardi, Pietro Bugiani, Kurt Craemer, Primo Conti, Giuseppe Lanza del Vasto and Marino Marini.

 

Splendida Minima.

Precious small sculptures in the Medici collections, from Francesco I de’ Medici’s Tribune to the grand ducal treasure

curated by Valentina Conticelli, Riccardo Gennaioli and Fabrizio Paolucci

Museo degli Argenti

21 June – 2 November 2016

The Gallerie degli Uffizi house the most important collection in the world of small sculptures in semi-precious stone carved chiefly in the Hellenistic and Roman eras, an extremely rare area of glyptic art.  The skill, lost during the Middle Ages, was rediscovered and given a new lease on life in the Renaissance period.  This exhibition – the first ever to explore this specific theme – not only brings together the entire Medici collection of micro-sculptures but also showcases other works of sculpture carved in precious materials in such a way as to offer the visitor comparisons capable of highlighting the unique chromatic, technical and stylistic features of these objets d’art.

 

Real Time and the Time of Reality. Clocks at Palazzo Pitti from the 18th to the 20th centuries

curated by Simonella Condemi and Enrico Colle

Galleria d’arte moderna di Palazzo Pitti, Sale del Fiorino e della Musica

13 September 2016 – 8 January 2017

The exhibition will comprise a significant selection of roughly eighty clocks out of the almost two hundred pieces in the Palazzo Pitti’s collection, testifying to the passage of time for those whose daily lives were played out in the Florentine palace in the 18th and 19th centuries.  The selection of these singular objets d’art will allow visitors to admire the astonishing technical and artistic quality of these timepieces in the various different forms and formats in which they were produced, revealing their duality comprising, on the one hand, an often sophisticated and complex mechanism, and on the other, a case which started out life as a cover for the mechanism but which gradually turned into a work of art in its own right.

 

Discoveries and Massacres.  Ardengo Soffici and Impressionism in Florence

curated by Vincenzo Farinella and Nadia Marchioni

Galleria degli Uffizi

27 September – 8 January 2017

 

The first ever monographic exhibition to be devoted to Ardengo Soffici (1879–1964) will provide visitors with an opportunity to explore the figure of this painter, writer, polemicist and art critic who played such an active role in his day, coming into contact with, and on occasion even deeply and courageously clashing with, the movements on the Italian and European art scene of the time.  The title of the exhibition, Discoveries and Massacres, alludes to the title of Soffici’s collected writings, published between the first and second decades of the 20th century and acknowledged today (together with the cultural initiatives that he promoted and organised, such as the First Italian Exhibition of Impression in Florence in 1910) as marking a crucial contribution to the renewal of Italian art in a 20th century vein.  The exhibits on display (from Segantini, Cézanne, Renoir, Picasso, Degas, Medardo Rosso and De Chirico to Carrà and beyond, in addition to Soffici’s own work), chosen on the basis of Soffici’s explicit predilections and aversions, will be accompanied by critical pieces from his writings on art, ideally accompanying the visitor on a voyage of rediscovery to explore one of the most fertile and productive interpretations of the origins of contemporary art, with its crucial “discoveries” and equally drastic “massacres”.

 

The Four Continents.  Florentine tapestries to cartoons by Giovanni Camillo Sagrestani

curated by Caterina Chiarelli and Daniele Rapino

Galleria Palatina – Sala Bianca

27 September 2016 – 8 January 2017

The exhibition will comprise four dazzling tapestries from the 1720s woven to designs by the painter Giovanni Camillo Sagrestani.  One of the finest sets of tapestry ever to emerge from the Medici manufactory, the series was made by the most skilled weavers employed in the workshop at the time, including Victor Demignot who trained in Flanders.  The tapestries depict the four continents, their bizarre attributes and fanciful inventions revealing the way in which the 18th century interpreted the world’s different cultural and historical identities.  The sumptuous and extremely elegant composition, worthy of the finest contemporary French work, was enormously appreciated at the time, in particular on 20 January 1739 when the set was used as part of the city decorations to mark the triumpal entry into Florence of the new Grand Duke Francesco II of Lorraine and his wife Maria Teresa, the future empress.

 

Colour’s Revenge Over Line.  Venetian drawings from the Ashmolean Museum and the Uffizi

curated by Marzia Faietti, Giorgio Marini and Catherine Whistler

Gabinetto Disegni e Stampe degli Uffizi, Sala Edoardo Detti e Sala del Camino

18 October 2016 – 8 January 2017

The exhibition will be highlighting the history of the development of drawing in Venice and its hinterland between the age of Titian, Veronese and Tintoretto and the era of Canaletto, a period during which figurative work was tighly bound to the dynamic of the artist’s workshop.  Visitors will be offered an interesting opportunity to explore the specific expressive vocabulary of Venetian drawing through the comparison and contrast of work from the collections of the Gabinetto Disegni e Stampe degli Uffizi and of Oxford University’s Ashmolean Museum.

YOU’VE JUST STOLEN ONE OF THE MOST FAMOUS PIECES OF ART IN THE WORLD.WHAT’S YOUR NEXT MOVE? A FREE ONLINE COURSE…

FSCN0408 - Copia (800x600)
© Roberto Alborghetti – Lacer/actions, Rome, 2014
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Shining light on the antiquities trafficking and art crime underworld: free online course opens 1 Feb.

You’ve just stolen one of the most famous paintings in the world – what’s your next move? Who buys the Mona Lisa or The Scream? In Antiquities Trafficking and Art Crime, a free online course developed by the Trafficking Culture project and the University of Glasgow, you’ll be able to weigh your options … and there aren’t many of them.

Antiquities Trafficking and Art Crime starts on 1 February, is open to anyone, and is available for free on the Open University’s online learning platform FutureLearn: https://www.futurelearn.com/courses/art-crime/

Drawing from archaeology, criminology, art history and law, Antiquities Trafficking and Art Crime will cover cover cutting-edge research into art’s seedy underworld. Structured as a series of exciting case studies, this course will ask big questions such as: Who owns the past? Who owns art? How can we protect our culture from theft and destruction?

“This is a stimulating opportunity to explore cases of art crime that make headlines around the world”, says Dr Donna Yates, an expert in antiquities trafficking research at the Scottish Centre for Crime and Justice Research, who will be leading the interactive course.

“Every day we see disturbing reports about the destruction of heritage in Yemen, Libya, Iraq, or Syria. Photographs of looters holes at important archaeological sites look like lunar landscapes. Paintings disappear off the walls of museums and go through incredible journeys through the criminal underworld. And indigenous people fight for the return of their sacred objects. People always ask me what they can do to help. I say, learn more and raise awareness.” The team believes that participating in Antiquities Trafficking and Art Crime is a good start.

The course stems from the work of the Trafficking Culture project which, for the past four years, has explored the criminal networks that loot, smuggle and sell antiquities from across the globe. The team’s on-the-ground work studying such topics as statue smuggling networks in Cambodia, the looting of Maya tombs in Guatemala and Belize, and how communities effectively reclaim their stolen cultural treasures in Bolivia and New Zealand, have been converted into case studies, videos and activities. These will range from a discussion on the return of the Elgin marbles to a game of “guess the fake”.

“Our goal was to make this important research accessible to everyone: absolutely anyone can take this course, no specialist knowledge is needed,” says Yates. “It’s a fun, sometimes wild topic, that’s a reason that Hollywood loves art crime! But there is real academic research behind the hype: white-collar crime, organized crime, international smuggling… This course keeps the intrigue but mixes in the knowledge about art and antiquities crime that researchers have been developing in recent years.”

More than 7000 people from around the world have already signed up to participate, ranging from university students and retired teachers to novelists, archaeologists and even a former FBI officer.

For the record, art crime usually doesn’t pay. As participants in Antiquities Trafficking and Art Crime will learn, both the Mona Lisa and The Scream were recovered by the police and the thieves were arrested. They were unable to find buyers for such well-known artworks. That said, the stories of these heists reveal a lot about both the black market for art and how we value culture as a society.

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Link to course sign-up:  https://www.futurelearn.com/courses/art-crime/
(includes video trailer featuring a simulated antiquity theft)More about the Trafficking Culture Project: http://traffickingculture.org/
The University of Glasgow will also offer a Postgraduate Certificate (PGCert) in Antiquities Trafficking and Art Crime from September http://traffickingculture.org/projects/pgcerantiquities-trafficking-and-art-crime/

Dr Donna Yates’s blog on the development of the free online course: http://www.anonymousswisscollector.com/2015/08/antiquities-trafficking-and-art-crime-im-developing-a-free-online-course.html

Follow the course, the Trafficking Culture project and Dr Yates on Twitter: @UofGArtCrime @CultureTraffic @DrDonnaYates

Trafficking Culture is the world’s only academic team devoted to multidisciplinary research into the theft, trafficking, and illicit sale of stolen cultural property.

The Scottish Centre for Crime and Justice Research is a partnership between Glasgow, Edinburgh, Stirling and Glasgow Caledonian universities. Its core purpose is to carry out high-quality, internationally recognised research in relation to crime and criminal justice.

AUTISM AND ART: COLORS AND EMOTIONS AROUND THE GHOST BUS. SCENES FROM AN EXPERIENCE

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Videoclip by Roberto Alborghetti; Soundtrack: “Day One” by Audiomachine. Scenes from a creative experience which involved autistic and disabled kids in Aprilia, Latina (Rome area, Italy). Led by teacher Patrizia Sapri, they worked to reproduce the abstract photos taken by Roberto Alborghetti around the old and rusty bus at Bartons Plc (Beeston – Nottingham, UK) for the Ghost Bus Project, “A visual adventure in the Land of Robin Hood” by Roberto Alborghetti, Bartons Plc and ACT Group. Next project: “Taking the Blue Moon” basing on the drawing by Mitrani Yarden for Hopes Project.

Drawings for The Ghost Bus

Drawings for The Ghost Bus

1 YEAR ABOARD THE GHOST BUS / FROM NOTTINGHAM TO TUSCANY: A STORY FROM THE LAST ISSUE OF “BEESTONIAN” MAG

THE BEESTONIAN magazine - December 2015

From the last issue of THE BEESTONIAN magazine (December 2015): story by Christopher Frost about “The Ghost Bus” project, from Nottingham (UK) to Tuscany (Italy).