Ben Tufnell is a recognised expert on Land art. Formerly at Tate Britain, where he curated Hamish Fulton’s retrospective in 2003, and Haunch of Venison, where he worked closely with Richard Long, Nancy Holt and Giuseppe Penone, his publications include In Land: Writings around Land Art and its Legacies (2019). Tufnell is the director of the London gallery Parafin, currently showing the work of Tania Kovats, who explores the ways in which art can speak to our critical climate crisis. Tufnell has selected five must-read books on art and the environment.
Overlay: Contemporary Art and the Art of Prehistory (1983) by Lucy Lippard
“Extraordinary in the breadth of its enquiry, Overlay looks both backwards and forwards to position the emergent Land art within a vast cultural continuum. It also highlights many important female artists who were not given their due in subsequent accounts of the genre.”
Robert Smithson: The Collected Writings, (1996), edited by Jack Flam
“The term ‘visionary’ is overused, but Smithson’s writing really does have a visionary—as in hallucinatory, speculative, poetic, obsessive, genre-bending, dreamlike—quality to it. ‘Entropy and The New Monuments’ (1966), ‘Incidents of Mirror-Travel In The Yucatan’ (1969) and ‘The Spiral Jetty’ (1972) are urtexts for a new way of thinking creatively about art, land and environment.”
Installation view of Ends of the Earth: Land Art to 1974, May 27 – September 3, 2012 at The Geffen Contemporary at MOCA, courtesy of The Museum of Contemporary Art, Los Angeles. photo by Brian Forrest
Ends Of The Earth: Land Art to 1974 (2012), edited by Philipp Kaiser and Miwon Kwon
“There are several excellent surveys of Land art but most focus on the genre’s emergent phase and the (mostly male) American practitioners. This show was—remarkably—the first-large scale museum survey of the movement and, while it had a narrow chronological focus, it valuably expanded the geographical narrative to include South America, Eastern Europe, Scandinavia and Japan.”
Being Ecological (2018) by Timothy Morton
“Playfully referencing all points from Talking Heads to Olafur Eliasson (but not Smithson), Morton entertainingly argues that ‘being ecological’ is about breaking down the boundaries between human and non-human, and about seeing the world as a kind of ontological continuum: ‘You don’t have to be ecological. Because you are ecological.’”
Future Library 2014-2114 Katie Paterson
Future Library (2014-2114) by Katie Paterson
“Future Library is currently a forest in Norway. Every year a writer contributes a text, which no one will read until 2114, when the trees will be used to make paper to print them. To see the young trees is a profoundly moving experience. Paterson’s project encapsulates many of the key ideas in Land art: time, duration, site, ideas, experience. Most importantly, it is an—ahem—visionary work for the future.”
• Tania Kovats: Oceanic, Parafin, London, until 20 November
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.
