Art
Art that integrates data visualizations can help bridge the US political divide over climate change – Phys.org
Communicating science to a general audience can be challenging. Successfully conveying research on polarizing topics such as climate change can be even more difficult.
But a new study from University of Wisconsin–Madison researcher Nan Li shows that intentionally integrating art with data visualizations can help non-expert audiences more meaningfully engage with climate change while also bridging political divides in ways that data alone cannot. In fact, data graphs on their own can exacerbate political division on climate change.
As an assistant professor in the Department of Life Sciences Communication, Li studies how innovative visual representations of science can shape people’s understanding and opinions about various scientific issues. Li teamed up with Isabel Villanueva, Thomas Jilk and Dominique Brossard from UW–Madison and Brianna Rae Van Matre from EcoAgriculture Partners to survey the responses of people across the political spectrum to a painting by Diane Burko entitled “Summer Heat, 2020.”
The painting depicts red, orange and blue motifs of wildfires and melting glaciers that overlap with maps that appear to drip over a graph of global atmospheric carbon dioxide levels. It’s not just art and science side-by-side or pretty colors added to a graph; the two are combined to tell a larger story that makes people stop and think about climate change.
Li thinks this intentional integration of the data into the piece of art is part of its success.
“In order for art to maximize its potential as a tool for public engagement, you really need to use it as a catalyst for triggering self-reflection,” Li says. “People use this piece of art as a starting point to think about what this all means to themselves.”
For the study, published in Communications Earth & Environment, 671 survey participants from across the U.S. were divided into groups and shown four different presentations of the painting and data it contains: the original painting, a detailed version of the graph it includes, a simplified version of that same graph and an edited version of the painting with a detailed graph.
In the first iteration of the survey, participants were instructed ahead of time to reflect on the meaning of and emotions evoked by the visuals. Survey participants who saw the paintings reported stronger positive emotions—like happiness, awe, inspiration and hope—than participants who were shown just the graphs.
The researchers then used a digital editing tool to represent what it would look like if “Summer Heat, 2020” and other visuals were posted to an Instagram feed. The caption contained more details about the painting and facts about climate change.
Participants felt the artwork post was as credible a source of information as the data graphs post. Li says this finding supports the idea that galleries aren’t the only way these kinds of artwork can be successful, but that bringing them to a larger audience through social media is beneficial as well.
In general, when people see graphs about climate change, whether they identify as liberal or conservative influences how they perceive the relevance of the issue. But in the new study, Li’s team saw that the gap between political affiliations was reduced when survey participants saw the painting in a social media format. In other words, when liberals and conservatives both see artistic representations of climate data rather than data alone, they are more likely to share the perception that climate change is relevant to them.
Another iteration of the survey did not instruct participants to reflect on the meaning and emotions the visuals inspired before seeing them. Participants viewed the simulated Instagram posts and then later reported their perceived relevance of climate change. This time, participants’ perceived relevance of climate change was equally polarized along their political ideology despite the different visuals they were shown. To Li, this suggests that priming people for introspection is important for breaking down political barriers.
While the findings are exciting, Li also recognizes this case study is very specific. The study is limited to the use of one painting in one style from one artist.
Moving forward, she and her team hope to complete additional studies that tease out what element of a piece makes communicating the scientific information more successful. They want to expand the study to consider reactions to other styles by artists from other backgrounds and survey reactions of people in other countries. Li and her team also highlight that it’s important for scientists and artists to be aware of their audience’s interest level in art and recognize that not everyone will react emotionally or cognitively to a piece in the same way.
Even though communicating these polarizing concepts can be challenging, Li believes in the ability of art to bridge the gap between a lay audience and scientific data.
“When you show art, I think it sort of makes people think, ‘Hey, wait a minute. What is this all about?'” Li says. “It fills in people’s imaginative deficit of what data means without taking a lecturing approach. It actually engages people to explore the meaning themselves.”
More information:
Nan Li et al, Artistic representations of data can help bridge the US political divide over climate change, Communications Earth & Environment (2023). DOI: 10.1038/s43247-023-00856-9
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Art that integrates data visualizations can help bridge the US political divide over climate change (2023, July 8)
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Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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.
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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
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