Art

A path to restitution: Armenian Genocide looted art

How might efforts to recover Nazi looted art from the Holocaust inform efforts to recover art looted during the Armenian Genocide? Law professor Michael Bazyler and historian Taner Akçam explored that question during a series of East Coast lectures in early May. The presentation, titled “Nazi Looted Art Recovery as a Model for Recovery of AGLA: Armenian Genocide Looted Art,” was held in New York City, Fair Lawn, N.J., and Boston. It was hosted by the Armenian Genocide Research Program (A

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Rosie (Toumanian) Nisanyan

Rosie (Toumanian) Nisanyan (she/her) is the Arts and Culture Multimedia Correspondent for The Armenian Weekly. She reports on arts and cultural events, reviews performances, and interviews artists and cultural researchers of the diverse Armenian Diaspora. She grew up in the vibrant Armenian communities of Chicago, Ill. and Orange County, Calif. before moving to New York to work in Broadway advertising. From writing for her high school newspaper to crafting consumer trend reports, Rosie has been a writer all her life. Her writing portfolio also spans poetry, screenplays and humor pieces.

One Comment

  1. At the earlier NAASR event: Michael Bazyler, grinning mouth-full of fake white teeth, rolled-up suit sleeves to appear hip, wearing purple-tinted “John Lennon” sunglasses to match his purple bow-tie, proclaiming “litigation is the last solution” then proudly announcing “suing is what Americans do best” and citing example after example of such litigation and their associated “hero” lawyers engaged in “restitution” for their own ultimate enrichment. Astonishingly, he actually cited the NY Life Insurance case as an example to follow despite that one ending simply as an exercise in enriching all the lawyers involved.
    In 1984, during the first of what was to become yearly visits to explore Turkey’s Armenian past, I visited Adana’s archaeological museum and remember seeing a display case full of coins, neatly laid out in chronological order from Hellenistic times to the late Ottoman Empire era. Notable was the complete omission of all coins belonging to the Armenian Kingdom of Cilicia. As time progressed I found this situation paralleled throughout Turkey – there was nothing identified as Armenian in Turkish museums located either within the territory of historical Armenia or within areas historically inhabited by Armenians. AGLA is a virtue-signalling vanity project whose agenda walks hand-in-hand with Turkey’s genocide-denial and cultural genocide agendas. Armenian culture is inextricably linked in important and revealing ways to wider cultures dating from the Classical-era down to the present day and this requires artefacts from Armenia to be held and be accurately presented in the collections of important museums and galleries. Modern Armenia also gains political advantage by having Armenian objects proving Armenia’s importance on public display in the World’s major museums. To actually boast about creating a hit list of Armenian objects to be appropriated from American collections is more than an attack on history, on the concept of museum collections, and on academic research – it is an attack on Armenia.

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