I’ll be presenting a short paper on the Ka-Nefer-Nefer forfeiture case at the Society for American Archaeology Annual meeting this Saturday morning. Our panel is scheduled from 8-10.15 A.M. in the Golden Gate 4 room of the Hilton San Francisco Union Square.
Here are the other scheduled papers:
Antiquities, drugs, guns, diamonds, wildlife: toward a theory of transnational criminal markets in illicit goods
The Kapoor Case: International collaboration on antiquities provenance research
Alternative Strategies in Confronting Looting and Trafficking in Defense of Peruvian Portable Heritage
The Ka Nefer Nefer and Federal Intervention in the Illicit Antiquities Trade
Geospatial strategies for mapping large scale archaeological site destruction: The case from Egypt
Bones of Contention: Further Investigation into the Online Trade in Archaeological and Ethnographic Human Remains
Duncan Chappell & Damien Huffer
The ruin of the Maya heartland: successes, failures, and consequences of four decades of antiquities trafficking regulation
Syria: Cultural Property Protection Policy Failure?
Morag Kersel will also be presenting a paper on her project Follow the Pots
I argue in a Saturday Op-Ed that one way to think about the iconoclasm of so-called Islamic State militants is to value the art they would destroy:
The Islamic State militants destroy art to send a powerful and destructive message: that learning, beauty and the transformational power of art has no place in any so-called Islamic State. We can expose the lie in this message in one simple way: by supporting ancient and contemporary art from the region.
Our city demonstrates how effective an ambassador art can be. Houston stands proud as one of America’s emerging cities for terrific art from all over the world, especially art from the Middle East. Works of art that formed the Houston-based FotoFest 2014 Biennial are currently on display at the Emirates Palace Gallery in Abu Dhabi. Also, the Museum of Fine Arts, Houston (MFAH) has an outstanding collection of Islamic art spanning the 9th to early 20th centuries; beautiful calligraphy and other decorative art that demonstrates the region’s commitment to learning and beauty.
We should encourage the MFA and other museums to responsibly display more works of Islamic art from this troubled region. By countering the vile message of the Islamic State by consuming and valuing Islamic art, we value and preserve what they would destroy.