Ideal Ownership of the Prehistoric Art Works

Thematic Writing- Ideal Ownership of the Prehistoric Art Works
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Generally, the ideal ownership or the natural right to the various ancient artworks is still a controversial context surrounded by repatriation, initial owner, cultural heritage erosion, the place of art historians in these antiquities' ideal ownership, and various related aspects. Clemency Coggins, Rod-are, Matsuda, Cuno, and Merryman, among others in most of our past weeks' readings, have all raised similar or related arguments. Although the mentioned museums and even some private collectors have been significant strongholds of these artworks' preservation and even cultural promotion, most of the modern era's events suggest otherwise, considering the works within these facilities/locations have also been lost and destroyed and even reclaimed. Other arguments may associate the western approach of an institution that has arguably prevented or promoted the world from the ideal understanding of the meaning or cultural aspects of this context. Thus, these professionals ask whether these single western cultures/nation (s) possess the inherent ownership of these items from their origin that most often pre-date the modern state's existence. Do some of these cultural institutions and persons' purposes allow them to overlook the various cultural ownership claims? This paper indirectly addresses such controversies and questions by summarizing Coggin's, Rod-are, Matsuda, and Merryman's thoughts regarding this overall context.
Clemency C. Coggins' Perspectives and the Art/Black Market
Coggins generally strives to uncover the drivers of the black market that also act as the vital suppliers of multiple private collectors and museums across the globe. The same market is also aided by the devastating antiquities origin's economies and various aspects of these archeologically-rich nations. Coggins emphasizes the invaluable nature of these archeological finds to the locals, let alone within the national economy. When hired by middlemen or employed for a specific wage to 'dispose' of these culturally rich finds, these looters can only find economic value from these artifacts. Most of Coggin's perceptions associate the drivers of the artworks' black market to the significant desires of the private collectors, the dealer's unsatisfied supply, devastating artifact origins' economies, and other reasons. Generally, this black market has then been linked to being more of the current global antiquities market alongside the various national controls. Since the renaissance era and others, the black market has grown from the collectors and dealers' cherishing the various artworks, especially the pre-Columbian art and modern antiquarians/art collectors. They cannot be ideally defined as historians or archeologists due to some of these issues. While the exploited Mediterranean-archeologically-rich shores are still exploited today, Coggins highlights some of the vital international regulations, UNESCO convention policies, and other US legislations, among others that strive to curb this looting.[Coggins, Clemency Chase. "Observations of a Combatant." Who Owns the Past? Cultural Policy, Cultural Property, and the Law (2005): 232.] [Coggins...