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Milo Cleveland Beach

(b Bombay, 1902; d New York, 1971).

American dealer of Indian birth. Following the decline of the family textile business, his father, Munchersa Heeramaneck, became an antiquities dealer and shrewdly developed a speciality in Chinese ceramics. As a youth, Nasli was assigned to the New Delhi office, but in 1922 he was sent to Paris to study and open a branch. He soon moved to New York, which became the final location for Heeramaneck Galleries. In 1939 Heeramaneck married Alice Arvine, an American portrait painter from New Haven, and she became an active partner in the business. They were responsible for the acquisition of many great works of Indian, Tibetan and Nepali sculpture, Mughal and Rajput painting, Ancient Near Eastern and Islamic art, and Central Asian (including nomadic) art by major American museums. They also formed a comprehensive private collection of South Asian art, including superlative paintings and sculptures from the Himalayan regions, and a smaller collection of ancient Near Eastern and Islamic art, both purchased by the ...

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Rhana Devenport

(b Taichung, Feb 16, 1964).

Taiwanese conceptual artist, active also in the USA. From the age of six, Lee Mingwei spent six summers training and living under the care of a Ch’an Buddhist monk in the mountains near Taichung. These experiences of quietude, compassionate behavior, and attentiveness to the quotidian aspects of life were formative in his development as an artist. Lee studied biology and architecture before completing a BFA Hons (Textile Art) from California College of Arts in 1993, and a MFA (Sculpture) from Yale University Graduate School of Fine Arts in 1997. Lee’s first major public presence, a solo exhibition at the Whitney Museum of American Art in New York in 1998, received acclaim, and he soon began presenting projects in biennales and museums throughout Australia, Asia, the United States, the United Kingdom, and Europe. His first major survey was presented by Mori Art Museum in 2015 and toured to Taipei and Auckland....

Article

Noémie Goldman and Kim Oosterlinck

Term for the return of lost or looted cultural objects to their country of origin, former owners, or their heirs. The loss of the object may happen in a variety of contexts (armed conflicts, war, colonialism, imperialism, or genocide), and the nature of the looted cultural objects may also vary, ranging from artworks, such as paintings and sculptures, to human remains, books, manuscripts, and religious artefacts. An essential part of the process of restitution is the seemingly unavoidable conflict around the transfer of the objects in question from the current to the former owners. Ownership disputes of this nature raise legal, ethical, and diplomatic issues. The heightened tensions in the process arise because the looting of cultural objects challenges, if not breaks down, relationships between peoples, territories, cultures, and heritages.

The history of plundering and art imperialism may be traced back to ancient times. Looting has been documented in many instances from the sack by the Romans of the Etruscan city of Veii in ...