American architectural firm started by Arthur Gensler Drue Gensler, and Jim Follett in 1965 in San Francisco, CA. M. Arthur Gensler jr (b Brooklyn, New York, 1935) attended Cornell University to study architecture (BArch, 1957). The firm began doing build-outs for retail stores and corporate offices, and initially established itself in the unglamorous area of interior architecture. Thirty years later and without mergers or acquisitions, it had grown to become one of the largest architecture firms in the world, having pioneered the global consultancy firm specializing in coordinated rollouts of multi-site building programmes. By 2012 the firm had over 3000 employees in over 40 offices. From the beginning, Art Gensler conceived of a global firm with multiple offices serving corporate clients whose businesses were becoming more international. Instead of the ‘starchitect’ model of his contemporaries such as I. M. Pei or Paul Rudolph, Gensler wanted an ego-free office that existed to serve client needs, not pursue a designer’s aesthetic agenda at the client’s expense. By adopting new web-based computing technologies and integrated design software in the early 1990s, the firm stayed well connected across their many offices and were more able than their competitors to manage large multi-site projects. Expanding from the services a traditional architecture firm offers, the company pushed into new areas well suited to their information technology and interiors expertise, such as organizational design, project management, and strategic facilities planning....
The market for ‘tribal art’ emerged in the first decades of the 20th century. By way of avant-garde artists and pioneering dealers, African and Oceanic art slowly became accepted as ‘art’—with its inclusion in the Musée du Louvre in Paris in 2000 as a decisive endorsement. Initially, it was referred to as ‘primitive art’—alluding to an early ‘primitive’ stage in human development; later replaced by the equally biased ‘tribal art’. While still used widely among dealers and collectors (for want of a better word and being conveniently short), the term ‘tribe’, or its derivative ‘tribal’, is frowned upon by the scholarly community.
The foundations of the tribal art market were laid at the turn of the 20th century. European powers colonized large overseas territories in both Africa and Oceania and, along with other commodities, there arrived ethnographic artefacts. Europeans had conducted coastal trade with many African regions over centuries, but systematic explorations of the continental hinterland did sometimes not take place until the first decades of the 20th century. These resulted in the discovery of previously unknown cultures whose ritual objects, such as masks, were displayed during world’s fairs and colonial exhibitions. Many of these objects ended up in newly established museums, such as the Royal Museum for Central Africa in Tervuren, outside Brussels. Vigorous competitors in the collection of ethnographic objects in both Africa and Oceania, these museums became the leading players in the early phases of the tribal art market’s development. Next to these large-scale official collecting activities, colonial, military, or missionary personnel also brought home exotic objects....
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 ...