The 1970s witnessed a surge in art heists, and a new film, The Mastermind, starring Josh O'Connor, delves into this intriguing era. But why did art thefts explode during this decade? The answer lies in a shift in perception: 'Paintings were suddenly seen as money.'
In May 1972, a daring robbery at the Worcester Art Museum in Massachusetts set the stage for a series of high-profile art heists. Two men, hired by career criminal Florian 'Al' Monday, held students at gunpoint and shot a security guard, making off with four valuable paintings worth $2 million. This brazen act, inspired by a similar theft at the Isabella Stewart Gardner Museum in Boston in 1990, marked a turning point in art crime history.
But here's where it gets controversial: The 1970s art heist phenomenon wasn't just about the allure of stealing priceless masterpieces. It coincided with a booming art market, as art historian Tom Flynn points out. The launch of Antiques Roadshow in 1977 played a significant role in this cultural shift, where art was increasingly viewed as a valuable commodity. And with museums facing funding crises and security cutbacks, criminals saw an opportunity to exploit.
The film The Mastermind challenges the glamorized image of art heists, focusing on the meticulous planning and the characters' motivations. Director Kelly Reichardt, inspired by the Worcester robbery, creates a nuanced portrayal of the mastermind, JB Mooney, a disillusioned art school dropout. As the plot unfolds, the audience is drawn into the complexities of the heist, questioning the very nature of art crime.
The 1970s also saw the emergence of the art robber as a lovable rogue in popular culture, reflecting the anti-authority sentiment of the time. However, art historian Susan Ronald argues that this portrayal masks the reality of art theft as a serious cultural crime. The idea of art heists as 'victimless crimes' is a misconception that needs addressing.
The Mastermind aims to upend these entrenched ideas, presenting a more nuanced perspective on art robbers. Through the eyes of JB's wife and fellow graduate, the audience sees the personal toll of his criminal pursuits. As Flynn suggests, the rarity and non-fungible nature of art objects have made them less appealing to modern-day criminals. Yet, recent funding cuts to museums may expose them to new vulnerabilities, not just from thieves but also from the elements.
The Mastermind invites us to explore the complexities of art crime, challenging our perceptions and sparking important conversations about the value and protection of artistic treasures. Will this film change the way we view art heists? Share your thoughts and join the discussion!
