The art of risk management: the crucial role of the global art insurance industry in enabling risk and security

Kerr, John

doi:10.1080/13669877.2014.971337

Cited by 6 publications

(9 citation statements)

References 16 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The interviews were semi-structured in the sense that they were shaped by key themes: Threats to heritage and cultural property; Security challenges; Who is involved in this policing; How is this policing done; Private sector involvement; Motivations in the policing; The involvement of insurance; The future. The themes were influenced by previous research that had examined art crime policing, especially work that has considered who is involved in this area of policing (Block, 2011; Chappell and Hufnagel, 2014; Kerr, [2014] 2016, 2015). For example, the themes share similarities with those in the interview schedule employed in research on policing of art theft in London (Kerr, [2014] 2016).…”

Section: Methodsmentioning

confidence: 99%

The state of heritage and cultural property policing in England & Wales, France and Italy

Kerr

2018

European Journal of Criminology

Self Cite

View full text Add to dashboard Cite

Presenting a large threat to irreplaceable heritage, property, cultural knowledge and cultural economies across the world, heritage and cultural property crimes offer case studies through which to consider the challenges, choices and practices that shape 21st-century policing. This article uses empirical research conducted in England & Wales, France and Italy to examine heritage and cultural property policing. It considers the threat before investigating three crucial questions. First, who is involved in this policing? Second, how are they involved in this policing? Third, why are they involved? This last question is the most important and is central to the article as it examines why, in an era of severe economic challenges for the governments in the case studies, the public sector would choose to lead policing.

show abstract

Section: Methodsmentioning

confidence: 99%

The state of heritage and cultural property policing in England & Wales, France and Italy

Kerr

2018

European Journal of Criminology

Self Cite

View full text Add to dashboard Cite

show abstract

“…The purpose of the visits was to note the visible security measures employed at the sites. Following an approach employed by the author when conducting previous research on the same sites (Kerr 2014), the field notes taken in the visits in March and July were varied and recorded aspects potentially related to security, including features that, at first, might not appear wholly relevant. However, in the visits in July, while this approach was still utilized, some specific aspects were the main focus.…”

Section: Data Sourcesmentioning

confidence: 99%

The Art of Violent Protest and Crime Prevention

Kerr

2018

Arts

Self Cite

View full text Add to dashboard Cite

This article examines violent protest in art museums. There is a long history of art museums being used as sites of protest. As spaces full of meaning, they represent ideal locations for people to try to shape the present and the future. From peaceful demonstrations to terrorist attacks, the current risks of protest to art museums is high. Motivated by ideological, political and social reasons, these protests include those that specifically target art objects within the art museums, as well as others that use the sites as stages on which to protest. This article is based predominantly on secondary sources; however, it also uses empirical research data collected by the author during observation research at art museums in London in March 2017 and July 2017. The article begins by considering why art museums attract so many protests. It argues that as ‘sites of persuasion’, art museums can be battlegrounds on which people look to shape how society is constructed and perceived. It then examines contemporary and historical case studies in Brazil and the UK to help our understanding of violent protests and the challenges they pose to art museums. Following this, the article proposes that as art museums are important sites of persuasion, there must be more awareness of the threats they face from violent protests in order to shape crime prevention approaches. The article finishes by arguing that although protests can be highly problematic for people involved with art museums, the ongoing appeal of these spaces as sites of protest shows the significance of art museums as important locations of cultural meaning.

show abstract

“…Consequently, these respondents are not held accountable by any entity with powers of indemnification, to adopt any guardianship measures or simply cannot afford them. Admittedly, Kerr (2016) maintains that those institutions that own fine art that are not insured still benefit from the art insurance industry's influence regarding guardianship. For example, Kerr (2016) contends that due to the insurance industry constantly improving their methods of assessments and improving security technology, art collectors, dealers, etc.…”

Section: Theoretical Measuresmentioning

confidence: 99%

“…Admittedly, Kerr (2016) maintains that those institutions that own fine art that are not insured still benefit from the art insurance industry's influence regarding guardianship. For example, Kerr (2016) contends that due to the insurance industry constantly improving their methods of assessments and improving security technology, art collectors, dealers, etc. benefit from due diligence/security methods and security/new technological product availability by acquiring theses risk reduction measures without the assistance of an insurance representative.…”

Section: Theoretical Measuresmentioning

confidence: 99%

“…A question should have been included as whether or not the respondent's collection was insured and if so what percentage, as well as the value of an institution's collection and the value of the work that was stolen/vandalized. Kerr (2016) during an interview with a Loss Adjuster in 2009 it was revealed that "objects with a lower value of £10,000 -£50,000 could be most at risk from theft" (p. 336). This researcher was unable to acquire any updated similar data from the insurance industry.…”

Section: Limitations Of the Studymentioning

confidence: 99%

See 1 more Smart Citation

Art theft, art vandalism, and guardianship in U.S. art institutions.

Salomon¹

View full text Add to dashboard Cite

wisely said, "You gain strength, courage, and confidence by every experience in which you really stop to look fear in the face. You're able to say to yourself, 'I've lived through this horror, I can take the next thing that comes along.'" This quote aptly captures the essence of my doctoral studies journey. More important than absorbing the finer points of multivariate statistics, critically thinking about theoretical constructs, or even adopting a scholarly prose, I learned the importance of resilience. This skill supersedes any subject taught within a course curriculum or degree proffered by academic success. There are many people to acknowledge and thank who have been a part of this tumultuous path to the completion of my dissertation. First and foremost, I would like to thank John Begley and Peter Morrin for sticking by my side the past ten years and for their never-ending wisdom and comfort. I learned more about the art world and museology from them than I could from any book. I am also extremely grateful to my Chair, Dr. Ryan Schroeder, for taking on this unique project with enthusiasm, donating precious time reading my long-winded chapters/emails, and having the utmost patience for a high-strung doctoral student. Additionally, this dissertation would not be complete without the brilliance of Dr. David Roelfs. He jumped right in at the twelfth hour numerous times with academic passion, a smile, and kind words. The remaining member of my "dissertation team" is Dr. Paul DeMarco. This entire process never would have iv ever transpired if he had not taken a chance on a non-traditional student with offbeat project ideas. His flexibility allowed for many calamities to be either avoided or remedied. Outside of the immediate dissertation unit are a host of others who played a significant role in this journey. It began with Dr. Deborah Keeling, who I truly am grateful for all that she sacrificed and contributed to my success for many, many years. I also thank Dr. Kristin Swartz for helping me become conversant in all things "Cohen and Felson." Dr. Blythe Bowman Balestrieri, thank you for guiding me through the art crime world and keeping me on your team all these years. I also thank Dr. Bonnie Magness-Gardner for all of her knowledge and valuable information about the FBI's art crime team. Amy Elam-Krizan and John Enochs, you guys are my best buds from college who cheered me on from the side sidelines, offered advice and a shoulder to whine on, as well as a stiff drink when needed. Dr. Ida Dickie, I cannot thank you enough for everythingyour unconditional friendship, kindness, expertise, and willingness to join in on all my outrageous adventures and projects over the years. Jennifer Hancock, you are always there in a crisis and up for a concert. Dr. Maggie Stone, you have been there as a friend, advocate, and scholar extraordinaire; especially in the last few months when I needed your presence most. I am honored to be your friend. Lastly, I thank my parents and Ying Kit Chan for their support and love over the past ...

show abstract

The art of risk management: the crucial role of the global art insurance industry in enabling risk and security

Cited by 6 publications

References 16 publications

The state of heritage and cultural property policing in England & Wales, France and Italy

The state of heritage and cultural property policing in England & Wales, France and Italy

The Art of Violent Protest and Crime Prevention

Art theft, art vandalism, and guardianship in U.S. art institutions.

Contact Info

Product

Resources

About