Vampire Philip Archer and his team of successful art thieves -- black panther shifter Duff, ghost Rob, and Duff's human girlfriend Liddy -- are asked by the handsome Ian Croft, a potential client, to break with tradition and rescue a kidnapped child. When the caper turns out rather differently than expected, Philip is bitterly reminded why he has remained single for so long. Yet, surrounded as he is by loving friends, he is not desperate. This is why, when he meets the newly-made vampire Ephram, he suppresses his attraction and focuses on being a mentor to the Fledgling. Ephram was turned by Virgil Ionescu, an ancient vampire known for casting off his Children before they are ready. Living off the streets, Ephram's future is precarious until he meets Philip. Ephram is immediately attracted to Philip and only too happy to be taken under his wing and taught the skills of surviving in modern New Orleans. But Philip keeps secrets. Ephram can sense it, but he can't penetrate the thousand-year-old Philip's reserve. What will Ephram do when he discovers the big secret his new group of friends are keeping from him? Will his love for Philip trump all, or will he betray them? And, to complicate matters, Ionescu arrives unexpectedly in town, coming to check on his Child.

The world--famous former con artist and bestselling author of Catch Me if You Can now reveals the mind--boggling tricks of the scam trade--with advice that has made him one of America's most sought--after fraud--prevention experts. "I had as much knowledge as any man alive concerning the mechanics of forgery, check swindling, counterfeiting, and other similar crimes. Ever since I'd been released from prison, I'd often felt that if I directed this knowledge into the right channels, I could help people a great deal. Every time I went to the store and wrote a check, I would see two or three mistakes made on the part of the clerk or cashier, mistakes that a flimflam artist would take advantage of. . . . In a certain sense, I'm still a con artist. I'm just putting down a positive con these days, as opposed to the negative con I used in the past. I've merely redirected the talents I've always possessed. I've applied the same relentless attention to working on stopping fraud that I once applied to perpetuating fraud." In Catch Me if You Can, Frank W. Abagnale recounted his youthful career as a master imposter and forger. In The Art of the Steal, Abagnale tells the remarkable story of how he parlayed his knowledge of cons and scams into a successful career as a consultant on preventing financial foul play--while showing you how to identify and outsmart perpetrators of fraud. Technology may have made it easier to track down criminals, but cyberspace has spawned a skyrocketing number of ways to commit crime--much of it untraceable. Businesses are estimated to lose an unprecedented $400 billion a year from fraud of one sort or another. If we were able to do away with fraud for just two years, we'd erase the national debt and pay Social Security for the next one hundred years. However, Abagnale has discovered that punishment for committing fraud, much less recovery of stolen funds, seldom happens: Once you're a victim, you won't get your money back. Prevention is the best form of protection. Drawn from his twenty-five years of experience as an ingenious con artist (whose check scams alone mounted to more than $2 million in stolen funds), Abagnale's The Art of the Steal provides eye-opening stories of true scams, with tips on how they can be prevented. Abagnale takes you deep inside the world and mind of the con artist, showing you just how he pulled off his scams and what you can do to avoid becoming the next victim. You'll hear the stories of notorious swindles, like the mustard squirter trick and the "rock in the box" ploy, and meet the criminals like the famous Vickers Gang who perpetrated them. You'll find out why crooks wash checks and iron credit cards and why a thief brings glue with him to the ATM. And finally, you'll learn how to recognize a bogus check or a counterfeit bill, and why you shouldn't write your grocery list on a deposit slip. A revealing look inside the predatory criminal mind from a former master of the con, The Art of the Steal is the ultimate defense against even the craftiest crook.

The goal of this unique manual is to arm criminal investigators with tools and weapons that are suitable and effective against art theft and forgery. The author, with over 25 years' experience in the art theft investigation field, presents comprehensive techniques, tips, and ideas to help dimish the level of frustration experienced by criminal investigators required to handle the growing number and magnitude of art crimes. The structure of the manual is simple and direct. The first part guides the reader in the use of the text and introduces the art world environment. The second part discusses the investigator's interaction with the victim, including interviewing, crime scene investigation, and identifying and developing suspects. Part three deals with offenders and covers such topics as art theft methods, forgery techniques, methods of distribution, and investigative countermeasures. The final section presents a comprehensive review of solutions and recoveries, including chapters on legal weapons, insurance and rewards, the use of experts, universal and variable contact group classifications, object bulletins, art criminal photo albums, informant development, undercover methods, unidentified victims, and recovery and seizure of stolen or fake art. In addition, the book is complemented by an extensive glossary and bibliographic resources. This exceptionally unique manual is intended to function at an intensely practical level and is intended for both study and immediate reference.

Lessons, demonstrations, definitions, and tips on what to expect in art school, what it means to make art, and how to think like an artist. What is the first thing to learn in art school? “Art can be anything.” The second thing? “Learn to draw.” With 101 Things to Learn in Art School, artist and teacher Kit White delivers and develops such lessons, striking an instructive balance between technical advice and sage concepts. These 101 maxims, meditations, and demonstrations offer both a toolkit of ideas for the art student and a set of guiding principles for the artist. Complementing each of the 101 succinct texts is an equally expressive drawing by the artist, often based on a historical or contemporary work of art, offering a visual correlative to the written thought. “Art can be anything” is illustrated by a drawing of Duchamp's famous urinal; a description of chiaroscuro art is illuminated by an image “after Caravaggio”; a lesson on time and media is accompanied by a view of a Jenny Holzer projection; advice about surviving a critique gains resonance from Piero della Francesca's arrow-pierced Saint Sebastian. 101 Things to Learn in Art School offers advice about the issues artists confront across all artistic media, but this is no simple handbook to making art. It is a guide to understanding art as a description of the world we live in, and it is a guide to using art as a medium for thought. And so this book belongs on the reading list of art students, art teachers, and artists, but it also belongs in the library of everyone who cares about art as a way of understanding life.

This handbook showcases studies on art theft, fraud and forgeries, cultural heritage offences and related legal and ethical challenges. It has been authored by prominent scholars, practitioners and journalists in the field and includes both overviews of particular art crime issues as well as regional and national case studies. It is one of the first scholarly books in the current art crime literature that can be utilised as an immediate authoritative reference source or teaching tool. It also includes a bibliographic guide to the current literature across interdisciplinary boundaries. Apart from legal, criminological, archeological and historical perspectives on theft, fraud and looting, this volume contains chapters on iconoclasm and graffiti, underwater cultural heritage, the trade in human remains and the trade, theft and forgery of papyri. The book thereby hopes to encourage scholars from a wider variety of disciplines to contribute their valuable knowledge to art crime research.

A wildly entertaining and surprisingly educational dive into art history as you've never seen it before, from the host of the beloved ArtCurious podcast We're all familiar with the works of Claude Monet, thanks in no small part to the ubiquitous reproductions of his water lilies on umbrellas, handbags, scarves, and dorm-room posters. But did you also know that Monet and his cohort were trailblazing rebels whose works were originally deemed unbelievably ugly and vulgar? And while you probably know the tale of Vincent van Gogh's suicide, you may not be aware that there's pretty compelling evidence that the artist didn't die by his own hand but was accidentally killed--or even murdered. Or how about the fact that one of Andy Warhol's most enduring legacies involves Caroline Kennedy's moldy birthday cake and a collection of toenail clippings? ArtCurious is a colorful look at the world of art history, revealing some of the strangest, funniest, and most fascinating stories behind the world's great artists and masterpieces. Through these and other incredible, weird, and wonderful tales, ArtCurious presents an engaging look at why art history is, and continues to be, a riveting and relevant world to explore.

The subject of many films and books, art theft is a fascinating topic that continues to capture the popular imagination. However, it is one of many types of art crime that remain under-researched and which require much more academic, empirical investigation. This book examines who is performing, managing, governing and controlling the securitization and policing of art theft in London. Through giving the first map of the policing and securitization of one of the world’s largest centres of art, it helps our understanding of art security at city, national and international levels and offers practical recommendations for those who operate within art security. Providing the first clear single account of the London art security terrain, this book also advances current knowledge of policing, environmental criminology and insurance. Moreover, it adds to the previous research into the traditionally restricted worlds of private policing, public policing and the art world.

Drone Law and Policy describes the drone industry and its evolution, describing the benefits and risks of its exponential growth. It outlines the current and proposed regulatory framework in Australia, the United States, the United Kingdom and Europe, taking into consideration the current and evolving technological and insurance landscape. This book makes recommendations as to additional regulatory and insurance initiatives which the authors believe are necessary to achieve an effective balance between the various competing interests. The 23 chapters are written by global specialists on crucial topics, such as terrorism and security, airport and aircraft safety, maritime deployment, cyber-risks, regulatory oversight, licensing, standards and insurance. This book will provide authoritative reference and expert guidance for regulators and government agencies, legal practitioners, insurance companies and brokers globally, as well as for major organisations utilising drones in industrial applications.