Provenance and the Antiquities Trade

Those who are involved in the trade of antiquities need to learn the history of ownership of an object, known as its provenance, to ensure that they are not buying a stolen or looted object. We now live in a world in which provenance is almost more important than the artifact itself.

In 1970 it became illegal to export antiquities from many countries. Therefore, if an antiquity arrived in the US before 1970, and that can be proven, then it’s in the US legally and there is little need to worry about a foreign government claiming it.

But what should happen to the hundreds of thousands of antiquities whose provenance is completely unknown or only partly known? Many of these items do not have a good provenance for several reasons.

First, until the 1990s or even later, most collectors cared much more about the quality and beauty of an item than the line of succession of its previous owners. Second, dealers, for business reasons, did not want collectors to know the name of the previous owner to prevent collectors from going directly to them. Third, owners are now so afraid of running afoul of government restrictions that they no longer want their names associated with their artifacts, so the new owners are only told incomplete information, such as “from a Los Angeles collector, acquired in the fifties.” Fourth, while owners do usually keep a bill of sale for their most expensive pieces, many owners either do not keep or their heirs discard documentation of moderately priced items.

Some in the archaeological world want all artifacts sent back to their countries of origin, despite the fact that several countries can claim the same artifact, that some countries don’t have the money or space to house them, and that volatile countries have had museums and storehouses looted in times of unrest.

The only way to maintain the world’s artifacts is to have them as broadly dispersed as possible, between the native countries, museums and private collectors, who frequently donate altruistically or selfishly to museums. Otherwise, we may find ourselves in a situation in which major and minor artifacts are donated only to the museums of countries whose requirements are not as strict as our U.S. ones.

Some archaeologists would like to abolish the sale of antiquities in the hopes of preserving archaeological contexts - the place where an item was found and the other objects it was found with. However, a ban would just drive the trade underground.

Scandalous Ain’t

Scandalous, the new musical about the life and work of Aimee Semple McPherson, written by sweet Kathie Lee Gifford, is really rather tame (ho hum). The songs are energetic but second rate and so operatic that the musical rarely has time to stop to examine the issues of the heroine’s life in any depth. The saving grace of the performance was the singing of lead actress Carolee Carmello.

Aimee’s relationship to her second husband and two children lack detail. We are told but not shown. Her natural need for sexual love is viewed as a fault she must overcome rather than as an obvious part of her life. Even her evil deed to save herself has justification in a very corrupt and hypocritical world.

If our heroine is scandalous, it is only to the people of her own time, the early twentieth century.

About ten minutes after the show ended, an unannounced talkback began led by writer and lyricist Kathie Lee Gifford with musical composers David Pomeranz and David Friedman. Gifford explained her vision of a modern woman in an intolerant and corrupt era in American history. Her Aimee was sweet and had a calling to help people, to which she only eventually yielded. She tried to remain pure after her divorce to her second husband but temptation was everywhere. Finally, I understood that Gifford’s portrayal of Aimee was in reality a depiction of herself.

If you are a religious Christian, this show will probably appeal to you. Otherwise, it’s probably best to stay away. This is a Broadway show to which even Will H. Hayes, the official censor of Hollywood movies from the 1920s, to the 1940s, would have given his approval.

Posted in Review, Theatre | Tagged Aimee Semple McPherson, , Carolee Carmello, corruption, David Friedman, David Pomeranz, Hollywood, Kathie Lee Gifford, musical, Scandalous, Will H. Hayes | Leave a reply

Flight: A Review

Writer John Gatins and Director Robert Zemeckis of Flight

Flight is not the movie you think it will be. At first it appears to be a heroic movie about a pilot attempting to save his passengers. Only later do we realize that the film is about the flight of an alcoholic toward and away from his addiction.

In a talkback after the film, director Robert Zemeckis stated that he and star Denzel Washington worked for free because the film was too important not to be made.

Denzel Washington is Whip the larger than life pilot; it doesn’t feel like he’s acting. John Goodman as a coke snorting drug dealer is hilarious. Don Cheadle of “House of Lies” fame is brilliant as the oily, devilish lawyer, while Tamara Tunie and Bruce Greenwood are perfect as Whip’s long-suffering friends.

The first hour is gripping. Whip, the pilot, having drunk himself silly, takes his plane up in a driving rain while experiencing severe turbulence. Drunk he may be, but he’s the coolest cucumber on the plane. His experience gets them through only to have a mechanical failure at 30,000 feet. In one of the most exciting scenes I’ve ever seen, he manages to land a free-falling plane by turning it upside down to slow its downward momentum. The crash landing was so scary I got a cramp in my leg. It’s definitely a movie to see on the big screen.

And this is only the beginning. Whip’s attempt to both deny and control his addiction is a rollercoaster ride that equals the tension of the plane crash. His cockiness and bravado mask his inner turmoil.

While the ending is perhaps a bit too pat, the flight and the journey of the pilot are riveting. A moralistic film in its better sense, it resonated with the recovering addicts in the audience, whose comments and questions indicated Denzel’s was a spot-on performance.

Posted in Film, Review | Tagged addiction, alcoholism, Bruce Greenwood, Denzel Washington, Don Cheadle, Flight, heroism, House of Lies, John Gatins, John Goodman, Robert Zemeckis, Tamara Tunie | Leave a reply

Deschain – Sea of Trees Forest of Gallows

I first spotted this album on my favorite music web site (which must go unnamed), where the band had it uploaded to the vanity house section. The quality of the vanity house albums vary, so I was skeptical to begin with, and then I saw that the album contained only two songs. Normally when one sees a full length album with only two songs, both over the fifteen minute mark, it is safe to assume that the album is a pretentious mess of unfiltered ideas. Thankfully, with Sea Of Trees Forest of Gallows, Deschain decided to prove me wrong, and introduced me to one of my favorite albums.

Sea Of Trees Forest of Gallows feels like a very personal, almost emotional atmospheric black metal album. One will quickly notice that it is quite melodic compared to most other black metal, which would rather bask in dissonance. The dual guitars here create melodies that enrich the songs with a vast atmosphere, without any aid from a keyboard. Some melodies are so heady that I found myself humming and whistling them to myself long after the album stopped. The vocals on the album are high and raspy, screeching at you as if they are a dying old man’s last words that must be heard. The drums fire away rapidly as if in a machine gun procession, only to die out and come back in as the slow pounding of a breakdown. The bass is audible during the slower parts of songs and does its part well.

Deschain reminds me of Agalloch and Wolves In The Throne Room, and their so called brand of hipster black metal. You should definitely listen to this album if you are a fan of these two bands.

The first song of the album is “Sea of Trees (Petrified as Shadows)”, and the second is “Forest of Gallows (Cast Down the Sun)”. Both can be listened to below:

Posted in Black Metal, Music, Review | Tagged Agalloch, atmospheric black metal, , Deschain, Forest of Gallows (Cast Down the Sun), hipster black metal, Sea of Trees (Petrified as Shadows), Sea of Trees Forest of Gallows, vanity house, Wolves In The Throne Room | Leave a reply