Ebony Bellamy Nicole Cardoza Ebony Bellamy Nicole Cardoza

Tell museums to replace stolen artifacts.

It's Friday! Last week's newsletter on art generated a lot of discussion. Ebony continued her research to unpack how the art industry is reckoning with its history of colonialism. Her newsletter today unpacks why many museums are sending artifacts back to their home countries. It's a good reminder that in order to do this work, we must change our actions moving forward while acknowledging and repairing the past, as best we can. 

Tomorrow is Study Hall, where we reflect on the key topics from this week and any questions from the community. Share your questions and insights by replying to this email, and I'll do my best to answer them!

As always, your contributions are so appreciated! You can give on our website, PayPal, or Venmo (@nicoleacardoza), or subscribe monthly on our Patreon.

Nicole

TAKE ACTION

The next time you visit a museum (even virtually), do the following:

  • Research how artifacts on display were brought to the museum

  • Look for stories of that museum participating in repatriation

  • Ask: How does the museum verify how objects from collectors and dealers are obtained?

 

Consider how your desire to support museums contributes to stolen artifacts being on display.

GET EDUCATED

By Ebony Bellamy

In 2013, the Metropolitan Museum of Art made headlines after announcing plans to return two statues to Cambodia. This announcement came after Cambodian officials were able to prove the two 10th-century Khmer statues, which were donated to the museum as separate gifts between 1987 and 1992, were smuggled out of a remote jungle temple around the time of the country’s civil war in the 1970s (New York Times). 

This isn’t the first time a museum has been accused of acquiring stolen artifacts. The most notable is the British Museum, which displays various well-known artifacts from marginalized communities. The British Museum, along with museums in the UK, Germany, Austria, and the US, have bronze sculptures on display that were stolen in 1897 after British troops invaded the Kingdom of Benin, which is now southwestern Nigeria (History.com). 

Nigeria has repeatedly asked the UK to return the sculptures, and in 2018 the two countries agreed to a deal that required the British Museum to send a few sculptures to Nigeria for the Royal Museum they plan to open in 2021 (History.com). However, the British Museum claims the bronze sculptures are on loan and expect Nigeria to return them. 

In a 2007 United Nations Educational, Scientific, and Cultural Organization (UNESCO) forum, they found that between 90% to 95% of sub-Saharan cultural artifacts are housed outside Africa (NPR). Many, like the bronze sculptures from Nigeria, were taken during the colonial period and now reside in museums across Europe and the US. 

The British Museum is notorious for refusing to return artifacts to their country of origin. In 2016, Australia asked for the Gwaegal shield to be repatriated, which is the process of returning something or someone to their country of origin (Merriam-Webster). The shield was stolen from Australian Aboriginal people in the late 18th century by the British (History.com). Instead of returning the shield, the British Museum let Australia borrow it with the expectation that it will be returned to them, which it was. And the list of stolen artifacts the British Museum refuses to give back is long and includes Egypt’s Rosetta Stone, Easter Island’s Hoa Hakananai’a statue, and Greece’s Parthenon marbles (History.com).

Despite us knowing the origins of these famous artifacts, it’s extremely difficult to pinpoint the provenance of most items because once they’re removed from their original home, they’re sold to private collectors who sell them to museums and claim the items were legally acquired (The Verge). The Archaeological Institute of America estimates that roughly 85 to 90 percent of classical and various other types of artifacts don’t have a documented place of origin (The Verge).

This makes it extremely difficult to determine which artifacts should be considered for repatriation because there is no specific way to decide whether or not an artifact was stolen or acquired legally. To deal with this, the UN created the 1970 convention, which was designed to end the export of stolen artifacts and allow countries to file repatriation claims and pay to have their items returned to them. But, a 2012 UN report showed that the 1970 convention had “serious weakness,” such as a lack of staff and limited international laws to support its mission (The Verge). So, the UN committee was created and it has presided over six successful restitution cases in the last 40 years (The Verge). 

UNESCO and Interpol have also been helping maintain watch lists for artifacts that are reported stolen (The Verge). But, despite all their efforts, when it comes to American museums, repatriation occurs on a case-by-case basis, normally when foreign governments provide museum officials with solid evidence that an artifact was stolen (The Verge). 

As a result, there’s no adequate way to keep track of how many repatriation claims have been filed over the years. Within the US alone, both the Association of Art Museum Directors (AAMD) and the American Alliance of Museums (AAM) admitted they don’t keep records of repatriation claims and returns (The Verge). Despite the lack of records, museums are still actively returning stolen artifacts to their countries of origin. 

Last year, the Metropolitan Museum of Art returned a stolen 2,100-year-old coffin to Egypt after officials discovered it was looted and smuggled from the country in 2011 (BBC News). In 2010, the Brooklyn Museum parted ways with 4,500 pre-Columbian artifacts that were stolen a century ago. They offered these pieces to the National Museum of Costa Rica for $59,000 because the Brooklyn Museum’s closets were “overstuffed with items acquired during an era when it aimed to become the biggest museum in the world” (New York Times).

In 2018, French President Emmanuel Macron announced that 26 bronze artifacts, which were “looted during General Dodd’s bloody siege on the Béhanzin palace in 1892,” will be returned to the country of Benin (artnet News). This a part of a five-year plan to “enact a permanent restitution agenda for all art taken ‘without consent’ from Africa during the colonial era” (artnet News). This means that all museums in France will have to return all or most of their African artifacts. 

To implement Macron’s vision, a study was performed, which recommended: “the restitution of any objects taken by force or presumed to be acquired through inequitable conditions by the army, scientific explorers or administrators during the French colonial period in Africa, which lasted from the late 19th century until 1960” (The Guardian). Once this was released, museums across Europe raced to develop new policies on restitution and repatriation, so they wouldn’t have to forfeit artifacts they’ve had at their museums for years (The Guardian). 

This response shows museums’ blatant disregard for the history they’re trying so hard to preserve. Yes, these artifacts are valuable pieces of history that should be available for everyone to see. But, they should also be accessible to the nations and countries they were stolen from. Those places deserve to have ownership of essential pieces of their heritage and culture. They didn’t ask to have their history stolen or their people enslaved and murdered. 

So, we as a society, we should acknowledge our theft of artifacts and culture and work to make marginalized communities and countries feel seen and appreciated. 

key takeaways

  • Repatriation is the process of identifying a stolen artifact and returning it to its country of origin.

  • It’s difficult to pinpoint the provenance of an artifact because private collectors can claim the items were legally acquired with forged documents.

  • The 1970 convention, UN committee, Interpol, and UNESCO help prevent the export of stolen artifacts and allow countries to file repatriation claims.

  • In American museums, repatriation occurs on a case-by-case basis, normally when foreign governments provide museum officials with solid evidence that an artifact was stolen.

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