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Photography of Alana Kushnir by Justin Ridler.

For more information about Guest Work Agency, please visit GWA's website.
To learn more about the Legal Lab Report, please visit Serpentine Legal Lab's website.

Show Notes:

2:30 Alana’s inspiration to merge curatorial and legal work into a single agency

5:50 Goldsmiths, University of London

9:30 curator and attorney Daniel McClean played a role in her creation of GWA

10:15 Daniel McClean’s books Dear Images: Art, Copyright and Culture and The Trials of Art

12:00 2017 exhibition Travelers: Stepping Into the Unknown at Osaka’s National Museum of Art

16:00 The Legal Bookshop

17:30 Traveler’s exhibition rose from exploration of how law is impacting contemporary art

19:00 book project Cooking Sections by Daniel Fernández Pascual and Alon Schwabe that celebrated their public installation in London titled The Empire Remains Book Store.

21:00 Cooking Sections' franchising heads of agreement 

22:20 collaborations

24:00 Serpentine Legal Lab’s project

28:00 Victoria Ivanova developed Serpentine’s R&D platform circa 2018-2019

28:45 Serpentine’s arts technologies department

29:45 Serpentine’s legal lab, block chain lab, creative AI lab and science lab

31:00 Serpentine’s chief tech officer Ben Vickers

32:20 Serpentine’s 2019 summit 

35:45 Marie Potel-Saville, Founder & CEO of Amurabi: Legal Innovation by Design

37:15 Three-prong research process for quantitative and qualitative research

42:00 Legal design defined as an approach to legal thinking and legal practice to promote access to justice

42:30 pioneer of legal design Margaret Hagen at Stanford Law School’s Legal Design Lab 

44:00 Legal design’s user-oriented research and user’s pain points

48:00 Cross-disciplinary advisory panel to address action points raised in Legal Lab Report 1

50:45 Serpentine’s affiliation with University College London

52:20 Serpentine’s future creation of a Model Code

54:20 Those interested in contributing can reach out via [email protected]

54:50 Kushnir’s article The Legal Ambiguities of Art Collaborations and their Compatibility with NFTs

57:30 research of NFT platform’s website terms of use with GWA paralegal Mia Schaumann 

59:20 The Mars House controversy

1:04:30 Advice to those pursuing art law

1:06:05 Guest Club

1:09:00 Transparency in collecting

1:12:20 Turkish Artist Rafik Anadol’s Quantum Memories series 

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Music by Toulme.

To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at [email protected].

Thanks so much for listening!

© Stephanie Drawdy [2025]

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For more information about the Paintings, Politics and the Monuments Men exhibition, please visit the Cincinnati Art Museum's website.

Show Notes:

04:00 Inspiration for Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America

05:15 How issues surrounding post-WWII exhibition of Berlin 202 are addressed

07:50 Prizes of war or protection mission for German patrimony per Truman Administration

11:30 Reasoning for Weisbaden Manifesto

12:00 “Art & Injustice”

15:30 Design process of the exhibition 

18:00 Legacy of Weisbaden Collecting Point Director Captain Walter Farmer

18:30 Red background inspired by Army tour’s exhibition catalog

19:30 Oskar Kokoshka painting in 1937 Degenerate Art Exhibition and sent to Lucerne auction

20:30 Botticelli’s Ideal Portrait of a Woman

21:45 Self-Portrait by Moravian painter Martin Quadal

22:15 Madonna and Child from Jacques Goudstikker’s collection

24:20 Reactions of visitors

26:15 Message of the exhibition 

28:50 why does it matter who takes care of artwork, where they travel and how they are used?

29:30 archival material in exhibition 

31:10 The Berlin Masterpieces catalog

33:00 the fundamental importance of provenance research 

35:25 Advice to those interested in a career as a provenance researcher and/or curator

37:20 ‘web of connections’ in art history

37:45 Book recommendation: Rape of Europa

39:15 Worcester Museum’s current exhibition as a case study on Nazi looted art

40:00 Symposium will include keynote speaker Dr. Richard Kurin, Under Secretary for History, Art, and Culture and Ambassador at large for the Smithsonian Institution

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

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© Stephanie Drawdy [2025]

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To learn more, please visit MARI's website.

Show Notes

4:00 German culture of memory

5:00 MARI-first collaboration between German public institutions and Holocaust victims

7:00 Historical question addressed about Rudolph Mosse as art lover

8:50 location of objects related to politicians and individuals in culture scene of Mosse’s day 

11:00 Hanns Fechner’s portrait of German writer Theodor Fontane held by daughter of Nazi finance Minister Hjalmar Schacht

16:00 Venus Chasing Cupid-sculpture localized during first phase of MARI

17:00 sculpture not included in Nazi arranged auction of Mosse collection

19:00 MARI contact with those believed to hold works from Mosse Collection

20:30 Tel Aviv Museum – tapastries and Jozef Israels’ From Darkness to Light

25:00 Historical justice achieved by making history visible  

26:00 MARI’s impact-to prompt scrutiny of provenance of collections

27:30 size of Mosse’s collection

28:30 MARI’s first phase began in early 2017

31:00 MARI’s staff assignment

34:00 Hoffmann’s work on Gurlitt project as researcher and task force member

35:00 portal database for MARI – starts with resources not objects

40:00 Hoffmann began first academic training program for provenance research in 2011

41:30 Adolph Menzel painting – no trace since 1934 auction

43:15 expertize outside of MARI for Eyptian antiquities and Benin Bronzes

46:30 Gurlitt work

50:00 Frie University’s degenerate art program

52:30 Hoffman’s work as Brücke Museum curator

54:40 International Circle of Provenance Research member

59:50 exhibitions that show provenance research

1:02:00 Artist Maria Eichhorn 

1:03:00 Hoffmann curated 2019 exhibition Escape Into Art? 

1:06:00 future of degenerate artists 

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at [email protected].

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© Stephanie Drawdy [2025]

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To learn more, please visit The Last Cyclist's website.

SHOW NOTES:

3:30 background in Holocaust studies

6:00 Jana Šedová’s essay referenced The Last Cyclist

9:00 Terezin March used in 1995 version of The Last Cyclist created by Patz

12:00 Svenk died in death march

14:00 title of The Last Cyclist rooted in bitter joke

16:30 Jana Šedová

21:00 The Last Cyclist underscored prisoners’ resilience and spiritual resistance 

24:00 Holocaust was a shaky topic under Communists 

27:30 The Lost Food Card

30:00 Verdi’s Requiem Mass brought to Terezin by Rafael Schächter

35:00 Emperor of Atlantis

36:45 Brundibar

39:00 Lullaby from The Last Cyclist survived but not in current version

40:45 4-part documentary is in process

42:45 The Last Cyclist is also a film 

45:30 Director Edward Einhorn

46:25 Terezin Music Foundation

47:30 Composer Stephen Feigenbaum

48:00 Artwork by Mark Podwal

48:45 The Last Cyclist’s ongoing relevance to address bigotry and bullying

49:40 justice facilitated by The Last Cyclist

Please share your comments and/or questions at [email protected]

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at [email protected].

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© Stephanie Drawdy [2025]

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To learn more, please visit Vertigo Graffiti's website.

Show Notes:

2:00 relationship with public space changes when art is placed in it

4:00 nature of graffiti; Vertigo blog’s proposal to leave graffiti in Bogotá’s transit system

10:00 focus of Vertigo’s graffiti on universal issues of tolerance, acceptance and diversity

15:00 ‘Kiss of the Invisibles’ mural

23:00 graffiti’s ability to help create empathy for others

25:30 reaction to public murals

31:00 advise to graffiti artists to doubt everything 

33:30 self-sensorship

39:00 ‘Shared Glance’ mural 

47:30 legal spaces for graffiti

52:00 Grandmother series

1:04:00 thoughts for those who doubt the importance of graffiti

Please share your comments and/or questions at [email protected]

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at [email protected].

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© Stephanie Drawdy [2025]

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For more information, please visit the Defiant Requiem Foundation's website.

3:30 Maestro Murry Sidlin’s creation of  concert-drama Defiant Requiem: Verdi at Terezín 

6:00  Eizenstat’s contribution to formation of Defiant Requiem foundation

8:00 Rafael Schächter’s background and work before being interned at Terezín

10:40 Schächter’s decision to pack the Czech opera, Bedrich Smetana’s Bartered Bride

11:50 Schächter’s decision to pack Verdi’s Requiem Mass 

14:30 Terezín Commandants, including SS First Lieutenant Karl Rahm

16:45 Terezín became a hotbed of arts and humanities

19:00 Schächter taught Verdi’s Requiem Mass
to approximately 150 singers by rote

20:20 Edgar Krasa’s recollection of Schächter as “merciless” in rehearsals because they “could not afford for any minds to wander”

21:15 Verdi’s Requiem Mass was performed 16 times at Terezín

21:45 Edith Steiner Kraus’ recollection that the chorus led by Schächter in Terezín would make one proud “in any urban setting” and the singers were “so far inside the music that we’d returned to Verdi’s desk”

24:00 Edgar Krasa’s recollection about  controversy between  Jewish Council and Schächter over performing Verdi’s Requiem Mass

31:15 Jewish Council’s concern that Requiem Mass had Catholic origin

36:50 Sidlin’s one act “speculative history” drama  Mass Appeal 1943 based on Schächter’s meeting with Jewish Council

38:00 Schächter’s use of Verdi’s Requiem as an act of defiance and to uplift prisoners

39:30 Jewish Council’s censorship of Ullmann’s Der Kaiser von Atlantis and Kael Švenk’s The Last Cyclist

44:00 Performance of Defiant Requiem at Terezín 

48:30 composer Ilsa Weber at Terezín 

49:55 Inspiration for Foundation’s concert, Hours of Freedom: The Story of the Terezín Composer that includes work by composers such as Victor Ullmann, Pavel Haas, Gideon Klein, Hans Krasa, James Simon, Zikmund Schul, Rudolf Karel and others

54:00 Pianist and Composer James Simon’s background and work

56:15 Simon’s colleague Violinist Alma Rosé 

59:00 Pavel Haas and Karel Ančerl

1:00:20 Conductor Karel Ančerl 

1:01:30 Phillip Silver’s contribution to Hours of Freedom

1:04:10 Hours of Freedom arranged by chapters that include Longing, Hope, etc.

1:05:00 Composer, Conductor, Pianist, Singer Karel Berman created Terezín Suite that includes Auschwitz Corpse Factory 

1:06:20 10-minute memorial by Martinů

1:09:00 Maestro Sidlin’s challenge to a description of Ullmann as ‘finding his voice’ in Terezín and his thoughts on Ullmann’s critical essay that described his experience at Terezín 

1:13:45 cloud over many composers was their background training in the law

1:16:10 misconception that Gideon Klein learned to compose at Terezín

1:16:50 Strauss’ unsuccessful efforts to have daughter-in-law’s grandmother released from Terezín

1:20:00 Maestro Sidlin as messenger 

Please share your comments and/or questions at [email protected]

Music by Toulme.

To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at [email protected].

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© Stephanie Drawdy [2025]

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Please visit the website devoted to Arthur Szyk to learn more.

SHOW NOTES:

3:00 Ungar’s introduction to Szyk

10:15 Byron Sherwin’s involvement with creating a solo show Justice Illuminated: The Art of Arthur Szyk in Chicago with the Spertus Institute of Jewish Studies 

15:25 2000 Library of Congress exhibition, Artist for Freedom

21:00 2002 U.S. Holocaust Memorial Museum’s exhibition, The Art and Politics of Arthur Szyk

23:25 Biography of Szyk by Joseph Ansell entitled Arthur Szyk: Artist, Jew, Pole

25:20 Exhibitions in Poland

32:45 2008 Deutshes Historiches museum exhibition

42:00 2017 New York Historical Society exhibition Soldier In Art

50:50 Bergson Group

55:50 McCarthyism & Szyk’s Thomas Jefferson’s Oath: “I have sworn upon the altar of God eternal hostility against every form of tyranny over the mind of man. 

1:07:15 2017 Ungar’s book Arthur Szyk: Soldier In Art won 2017 National Jewish Book Award

1:13:20 Wagner

1:22:30 Comparison of Chagall’s White Crucifixion, Picasso’s Guernica and Szyk’s De Profundis

1:30:25 Japanese Historian Rinjiro Sodei’s book illustrated with Szyk’s work, Representing Hirohito in Wartime: The Art of Arthur Szyk

1:44:45 Book in progress to list the thirty institutions that hold Szyk’s work

1:46:35 Ungar’s memoir, Reviving An Artist’s Fame: My Life With Arthur Szyk

1:48:00 Short documentaries about Szyk 

Please share your comments and/or questions at [email protected]

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at [email protected].

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© Stephanie Drawdy [2025]

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The following is a link to the Nelson-Atkins Museum's Discriminating Thieves Exhibition.

4:15 How Discriminating Thieves exhibition came about

6:20 Title of Discriminating Thieves exhibition came from correspondence by Nelson-Atkins’ first director Paul Gardner

7:30 One of the four works in the exhibition: painting by German Expressionist Emil Nolde titled Masks 

8:50 Karl Buchholz held Masks for a decade until 1948 when he sent it to dealer Curt Valentin 

11:30 Nolde was a member of Nazi party but still targeted by Nazis

15:00 Pitfalls of researching women

18:00 Marguerite Stern’s ownership of Jean – Francois Ducis’ 1779 Bust of Augustin Pajou 

19:50 Pierre Bonnard’s Still life with Guelder Roses

21:30 Nicolas de Largillière’s Augustus the Strong – erroneously listed on property card as portrait of King Frederick of Denmark 

25:00 2019 Collecting and Provenance: A Multidisciplinary Approach by Jane Milosch, Nick Pearce

25:50 German-American Provenance Research Exchange with the Smithsonian Provenance Research Initiative and Prussian Cultural Heritage Foundation was a “game changer”

35:35 Guest speaker for Discriminating Thieves Exhibition was Corine Wegener, Director of the Smithsonian Cultural Rescue Initiative

42:00 The process of provenance research is never finished as new resources become available 

44:30 Importance of research in museum setting by individuals with specialized knowledge

46:30 Cincinnati Art Museum’s exhibition Paintings, Politics and the Monuments Men: The Berlin Masterpieces in America

47:30 Nelson-Atkins’ first curator of European Art Patrick Kelleher was one of the signatories of the Weisbaden Manifesto

Please share your comments and/or questions at [email protected]

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at [email protected].

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© Stephanie Drawdy [2025]

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Below is the email for Dr. Jacques Schuhmacher:
[email protected]

The following is a link for more information on the Victoria & Albert Museum's Concealed Histories Exhibit.

SHOW NOTES

 3:30 importance of provenance research regarding potential for Nazi-looted art in collections outside of countries that had been occupied by the Nazis

 7:35 provenance gaps in Gilbert Collection didn’t raise concerns when the Gilberts were acquiring the collection; 

 9:40 Nazi-looted art found in U.S. collections in the 1990s, making this an issue for the international art market 

 10:55 Unclear provenance of snuffbox from Gutmann Collection 

 15:50 massive red flags raised by some objects like the Louis XVI enameled gold snuffbox looted from Maximilian von Goldschmidt-Rothschild

18:30 Decisions about restitution of looted art are not made by UK museums but by a panel of experts

19:45 The only restitution to date by the V&A has been of Meissen pieces.

22:05 even after Monuments Men joined the museum, an unbroken chain in provenance was not necessary; acquisition protocol in the U.K. didn’t change until 1998

23:40 Deaccession laws in the UK under the Heritage Act were changed with the U.K.’s Holocaust Act 2009 

35:30 no claims for works in the Gilbert Collection

37:35 Victoria & Albert Musuem’s Concealed Histories. 

38:38 Magdala1868 exhibition of Ethiopian cultural objects inspired V&A’sConcealed Histories.

41:35 MacKenzie Mallon with the Nelson-Atkins Museum had put on the Discriminating Thieves exhibition, which was a huge inspiration for V&A’s Concealed Histories. 

 42:50 Provenance research into Nazi-looted art detached from other types of provenance research

 44:45 Ethiopian Embassy negotiations for return of objects looted during Colonial era

 45:00 Long-term loans used to return work that is subject to deaccession laws; example being long term loan of silver item stolen during church festival in Spain

46:45 In 1999, discovered that V&A had bought in 1950s a silver item without realizing it was stolen in the 1890s in Spain; object has been on long-term loan since 2005

48:25 Gilbert collection is on 100+ years long term loan

50:00 Museum Association guidelines for restitution claims being updated

 51:15 Virtual loans

52:49 Notion of digital restitution 

54:30 upcoming provenance research handbook for researchers in English-speaking countries 

57:30  idea of a mega-website arose from the 1998 Washington Conference to allow cross-referencing to identify objects

58:35 no replacement for archival research

1:01:50  provenance research  includes newly acquired objects, loaned objects and objects for which questions are raised

1:05:15 He studied history and did PhD in German/Allied war crimes then worked at London’s Commission for Looted Art

1:07:50 Student inquiries about provenance research welcome

Please share your comments and/or questions at [email protected]

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To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at [email protected].

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© Stephanie Drawdy [2025]

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To view available rewards for supporting the podcast, please visit Warfare's Patreon page.

Show Notes:

3:55 Marc Chagall's Passion imagery led the way for other artists

8:00 Lea Grundig

9:30 Francis Bacon

12:20 Mark Rothko

15:15 Picasso

20:05 Robert Morris

22:55 Jean Fautrier

25:25 Naftali Bezem; Igael Tumarkin

27:35 Lea Grundig

32:25 Hans Grundig

32:50  Zoran Music

35:45 Artists in Terezin: Bedrich Fritta and Leo Hassin 

44:00 Sculptors Jacques Lipschitz and Leonard Baskin 

52:20 Artists not in Holocaust who integrated Holocaust iconography

55:45 Anselm Kiefer

56:55 Death Fugue by Holocaust survivor Paul Celan 

58:00 Kiefer’s Margarethe and Shulamith series

Please share your comments and/or questions at [email protected]

Music by Toulme.

To hear more episodes, please visit Warfare of Art and Law podcast's website.

To leave questions or comments about this or other episodes of the podcast and/or for information about joining the 2ND Saturday discussion on art, culture and justice, please message me at [email protected].

Thanks so much for listening!

© Stephanie Drawdy [2025]