M.S. Economic and Management of Art and Cultural Activities, Universta Ca’ Forscari of Venice
Federica’s thesis, Alceo Dossena and the problem of twentieth-century Rome, analyzes the problem of illegal exportation in Italy dating back to the beginning of the twentieth century, with the treatise of the Italian legislation. Informed by her research at the Archivio Centrale di Stato in Rome, Federica’s inquiry focuses on the case and biographical history of Alceo Dossena (1878-1937), whose story – and notoriety – are bound up in the sale of his sculptures and reliefs to American museums, including the Metropolitan Museum of New York, the Frick Collection and the Museum of Fine Arts, Boston. Through an in-depth study of 20 high profile sales of his work made between 1920 and 1930, this dissertation attempts to ascertain the provenance of these works and to reconstruct the chronology of events. In particular, through the study and citation of private letters of the directors and curators of these museums, this thesis aims to reveal the hidden history of the modes of acquisition, installation and removal of these important works.
Ph.D. Candidate, University of Melbourne’s Center for Cultural Materials Conservation, Australia
Felicity’s thesis, [Re]framing the crime: the case for the collection and exhibition of art forgery, argues that the public perception of art forgery has long been dominated by popular culture representations and subject to simplification in the media. This is a domestic and international problem with implications for the policing and regulation of the art market. Research indicates that the mythology surrounding an art forger is further propagated in fiction and non-fictionalized accounts, and influences how the public discusses issues relating to art forgery. Moreover, the unregulated art marketplace and the opacity of its dealings tend to make negative results of forgery in the art market almost impossible to quantify. This thesis explores an art historical intervention in the form of the exhibition and collection of inauthentic objects, and assesses this approach’s potential to help combat some of the cultural heritage issues and market based concerns in the Australian context.