Who owns antiquity

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Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of archaeological sites, countries such as Italy, Greece, Egypt, Turkey, and China have claimed ancient artifacts as state property, called for their return from museums around the world, and passed laws against their future export.

But in Who Owns Antiquity? Cuno argues that nationalistic retention and reclamation policies impede common access to this common heritage and encourage a dubious and dangerous politicization of antiquities--and of culture itself. JavaScript seems to be disabled in your browser. You must have JavaScript enabled in your browser to utilize the functionality of this website. This website requires cookies to provide all of its features.

For more information on what data is contained in the cookies, please see our Cookie Notice. To accept cookies from this site, please click the Allow Cookies button below. Allow Cookies. Whatever one makes of Cuno's thesis, it brings into focus some urgent questions—for museums and for archaeology—that have yet to be given much attention. The crux of his argument is that modern nation-states have at best a tenuous connection with the ancient cultures in question, and their interests are political rather than scientific Cuno advocates instead a universal, humanistic approach to the world's shared cultural treasures Cuno's pleas for a more expansive approach to cultural artifacts must be taken seriously.

Trade in antiquities should be dictated not by politics, but by the demands of conservation, knowledge, and access. The argument presented here is thought-provoking. Cuno may be over-optimistic. But you can't help feeling that he is right. In Who Owns Antiquity? Cuno answers his own question this way: All of us do. Collectors, museum directors, archeologists, dealers and even nations are in dispute. The battle line is drawn between those who believe that national policies should prevent the looting of archeology sites and those—including a very outspoken Cuno—who think that such policies don't prevent plundering and should be changed to ensure artifacts are globally shared.

His is a cogent and powerful argument that he expresses with personal conviction. Many of his arguments are persuasive. It's difficult to disagree with the idea that people benefit when antiquities of other countries can be seen in museums around the world.

And the virtues of partage also seem clear. As Cuno points out, the collections at the great museums of the world could not have been put together under our current system of cultural property laws, and the millions of people who have marveled at these collections would be poorer for not having seen them.