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Eco-activist Attacks at Art Museums Ask us to Decide What We Value – University of Guelph News



By Dr. Sally Hickson, School of Fine Art and Music 

This article is republished from The Conversation Canada under a Creative Commons licence. Read the original article.

In the last few weeks, climate change activists have perpetrated various acts of reversible vandalism against famous works of art in public galleries.

In the latest incident on Oct. 27, two men entered the Mauritshuis gallery in the Hague. After taking off their jackets to reveal t-shirts printed with anti-oil slogans, one proceeded to glue his head to glass overtop Johannes Vermeer’s Girl with a Pearl Earring, while the other bathed the head of his partner-in-crime with what appeared to be tinned tomatoes before gluing his own hand to the wall adjacent to the painting.

This was just the latest in a series of similar art attacks that have peppered the news.

The motivation of the eco-activists involved is to draw attention to the crisis of climate change, the role of big oil in hastening the deterioration of the environment and the necessity to save our planet.

By attacking a famous and high-value cultural target like Vermeer’s Girl with a Pearl Earring — it even starred in its own movie — the protesters are asking us to examine our values.

Big oil protests

Close-up of Dr. Sally Hickson
Dr. Sally Hickson

The first Vermeer painting to come to auction for almost 80 years sold for almost $40 million in 2004. Today a Vermeer (there are not that many) could easily be valued at twice that. Whether you like Vermeer or not, the monetary value of the targets under attack enhances the sheer audacity and shock value of the current art attacks.

The eco-activists want to appear to desecrate something that people associate with value and with culture. Their point is that if we don’t have a planet, we’ll lose all the things in it that we seem to value more.

As activist Phoebe Plummer of Just Stop Oil told NPR after being involved in the attack on Van Gogh’s Sunflowers at London’s National Gallery:

“Since October, we have been engaging in disruptive acts all around London because right now what is missing to make this change is political will. So our action in particular was a media-grabbing action to get people talking, not just about what we did, but why we did it.”

Note, the idea is disruption, not destruction. As acts designed for shock value, the activists did draw immediate public attention.

Attacking art

By staging their attacks in public galleries, where the majority of visitors carry cell phones, activists could be assured film and photos of the incidents would draw immediate attention. By sticking to non-corrosive substances and mitigating damage to the works under attack, they don’t draw the kind of public ire that wilful destruction would evoke.

In recent news, attacking art as a form of public protest has largely been limited to public monuments outside the gallery space, like the destruction and removal of Confederate or colonial statues.

But it’s also true that works of museum art have come under attack before. Over the course of its history, Rembrandt’s Night Watch in the Rijksmuseum in Amsterdam was stabbed in two separate incidents in 1911 and 1975; in 1990, it was sprayed with acid; but all of those attacks were ascribed to individuals with unclear and less clearly rational motives.

I see a few issues at stake with assessing what these recent art attacks could mean.

1. How effective is the messaging?

The activists have been articulate about their objectives, but those objectives haven’t been obvious to everyone who sees via social media, but doesn’t stick around to hear the explanation. When a broad range of media outlets all perceive the need to publish editorials on why eco activists are targeting art, something is getting lost in translation.

People see the endangerment of the works of art, but may ascribe that to the activists, not to the planetary erosion wrought by climate change. I don’t think everyone is getting the message.

2. Possible misplaced outrage

The incidents up until now have been pretty effective and harmless acts. But what if something is irreparably damaged? People will be outraged, but they’ll still be outraged about the art, not about the planet.

And while there will be a call for stiff prison sentences, precedent suggests that’s an unlikely outcome.

A man who damaged a Picasso valued at $26 million USD at the Tate Modern in London in 2020 was sentenced to 18 months in jail.

3. Violation of public trust

The third effect is what I consider a violation of the public trust, and this gives me pause. Works of art, even the most famous ones, lead precarious lives of constant endangerment; war, weather, fire, floods. The protesters are destabilizing the idea that public galleries are “safe” spaces for works of art, held in public trust.

As fari nzinga, inaugural curator of academic engagement and special projects at the Speed Art Museum in Louisville, KY, pointed out in a 2016 paper:

“The museum doesn’t serve the public trust simply by displaying art for its members, it does so by keeping and caring for the art on behalf of a greater community of members and non¬members alike, preserving it for future generations to study and enjoy.”

Right now these acts, no matter how well-intentioned, could lead to increased security and more limited access, making galleries prisons for art rather than places for people.

At the same time, part of the activsts’ point is that economy that sustains big oil is entwined with arts infrastructure and the art market.

The pandemic taught us, I think, that art could be the thing we share that saves us; think of people during quarantine in Italy singing opera together from their balconies.

Eco-activists engaged in performance protests ask us to question our public institutions and make us accountable for what they, and we, value. Their climate activism is dedicated to our shared fate.

If you’re willing to fight for the protection of art, maybe you’re willing to fight to protect the planet.

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Home + Away artwork opens in Vancouver’s Hastings Park



A new art installation now towers over Vancouver’s Hastings Park fields in celebration of the city’s history of spectators and sports.

Home + Away is a sculpture by Seattle artists Annie Han and Daniel Mihalyo of Lead Pencil Studio, which opened Monday in the southeast end of the historic park.

It’s a 17-metre-tall structure that resembles a narrow set of bleachers — similar to the stands of the Empire Stadium, which stood on the site of the park from 1954 to 1993 and hosted The Beatles, among many others. It recalls a covered ski jump that stood there in the 1950s and the nearby wooden rollercoaster at the PNE.

The city says the public is invited to walk the stairs and sit on the benches.

“In addition to being visually striking, this artwork is intended to be ascended, sat on and experienced. It offers exciting experiences of height and views and provides 16 rows of seating for up to 49 people, making for a unique spectator experience when watching events at Empire Fields,” the city said in a release Monday.

The idea for the park to include public art was outlined in the Hastings Park “Master Plan,” first adopted by the city in 2010. The city says Han and Mihalyo first presented their design in 2015.

“It’s wonderful to see this piece realized within the context of such a well-used public space,” said Han.

Home + Away was inspired directly by the site history of spectatorship, and we hope it will connect Hastings Park users to that history and the majestic views of the environment for many decades to come,” added Mihalyo.

The artwork features a large light-up sign, in the style of a sports scoreboard, that reads “HOME” and “AWAY.”



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Bill Viola, Video Artist Who Established the Medium as an Integral Part of Contemporary Art, Dies at 73



Bill Viola, whose decades-long engagement with video proved vital in establishing the medium as an integral part of contemporary art, died on July 12 at his home in Long Beach, California. He was at 73 years old. The cause was complications related to Alzheimer’s disease. The news of his passing was confirmed by James Cohan Gallery.

Viola’s works are centered around the idea of human consciousness and such fundamental experiences as birth, death, and spirituality. He delved into mystical traditions from Zen Buddhism to Islamic Sufism, as well as Western devotional art from the Middle Ages and the Renaissance in his videos, which often juxtaposed themes of life and death, light and dark, noise and silence. These explorations were achieved by submerging viewers in both image and sound with cutting-edge technologies for their time.

“I first used the camera and lens as a surrogate eye, to bring things closer, or to magnify them, to experiment with perception, to extend vision and make lengthy observations of simple objects,” Viola said in a 2015 interview. “Once you do that, their essence becomes visible. So I suppose I was always interested in the inner life of the world around me.”

Beginning in the 1970s, Viola created videotapes, architectural video installations, sound environments, electronic music performances, flat panel video pieces, and works for television broadcast—all of which expanded the scope of the medium and established Viola as one of its most notable practitioner.

Video still of a man diving into water that has been reversed. The image is mostly black and teal.

In 2003 the Whitney Museum of American Art in New York; Tate, London; and the Centre Pompidou in Paris jointly acquired Bill Viola’s 2001 three-channel video installation Five Angels for the Millennium.

Photo Kira Perov/©Bill Viola Studio

Bill Viola was born in 1951. He grew up in Queens and Westbury, New York, and attended P.S. 20 in Flushing, before receiving his BFA in experimental studios from Syracuse University in 1973. There, he studied with visual art with the likes of Jack Nelson and electronic music with Franklin Morris.

Following his graduation, between 1973 to 1980, Viola studied and performed with composer David Tudor in the music group Rainforest, which later became known as Composers Inside Electronics. He also worked as technical director at the pioneering video studio Art/tapes/22 in Florence, Italy from 1974 to 1976. During that time he encountered the work of other seminal video artists like Nam June Paik, Bruce Nauman, and Vito Acconci.

Viola was subsequently an artist-in-residence at New York’s WNET Thirteen Television Laboratory between 1976 to 1983, wherein he created a series of works that premiered on television. He traveled to the Solomon Islands, Java, and Indonesia to record traditional performing arts between 1976 and 1977. Later that year, Viola was invited to show work at La Trobe University in Melbourne, Australia, by cultural arts director Kira Perov, with whom he married and began a lifelong collaboration.

He was appointed an instructor in advanced video at the California Institute of the Arts in Valencia, California in 1983. He was the Getty Research Institute scholar-in-residence in Los Angeles in 1998 and was elected to the American Academy of Arts and Sciences in 2000.

In 1985, Viola received with a Guggenheim Fellowship for fine arts, and later that decade, in 1989, he was awarded the MacArthur “Genius” Fellowship. His work was also featured in some of the world’s most notable exhibitions, including Documenta VI in 1977, Documenta XI in 1992, the 1987 and 1993 editions of the Whitney Biennial, and the 2001 Venice Biennale.

In 1995, he represented the United States at the 46th edition of the Venice Biennale. For the pavilion, Viola produced the series of works “Buried Secrets,” including one of his most known works The Greeting, which offers a contemporary interpretation of Pontormo’s oil painting The Visitation (ca.1528–30). The Deutsche Guggenheim Berlin and New York’s Guggenheim Museum commissioned the digital fresco cycle in high-definition video, titled Going Forth By Day, in 2002.

Viola’s work was the subject of a major 25-year survey at the Whitney Museum of American Art in 1997, which subsequently toured internationally. His work has been the subject of major museum retrospectives in the years since, including at the Grand Palais in Paris (in 2014), the Palazzo Strozzi in Florence (2017), the Guggenheim Bilbao in Spain (2017), and the Barnes Foundation in Philadelphia (2019), as well as an exhibition pairing his work with that of Michelangelo at the Royal Academy of Art in London in 2019.

Viola is survived by his wife Kira Perov, who has been the executive director of his studio since 1978, and their two children.

“One thing that’s very exciting about video that has turned me on since I first saw this glowing image way back in 1970 is that it can be so much,” Viola said in a 1995 with Charlie Rose on the occasion of this US Pavilion at the Biennale. “Furthermore, what’s really exciting is I don’t think it’s been since really the Renaissance where artists have been able to use a medium that one could say is the dominant communication form in society.”


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Couple’s winning art projects adorn overpass



Annabelle Harvey and Corbin Elliot are partners: in life, love, and art. Thanks to their creative pursuits, now they are also joined in the recognition of their work along the Lakeshore overpass.

The City of North Bay, in collaboration with the Public Art Advisory Committee (PAAC), recently held an event to acknowledge the successful applicants for the Lakeshore Drive overpass banner project. This initiative features 14 artworks created by local artists, highlighting the ongoing commitment to bringing public art to the community and celebrating local talent. The banners were installed early last week.

On behalf of PAAC, Katie Bevan noted that 71 submissions were received for the banner art project. “Selecting just 14 artworks from such outstanding submissions was no small feat. It truly highlights the incredible creativity within our community — and it’s only growing.”

Bevan acknowledged all who submitted their work and congratulated the 14 winners:

  • Caitlin Daniel
  • Corbin Elliot
  • Adam Fielder
  • Ian Gauthier
  • Ruby Grant
  • Annabelle Harvey
  • Penny Heather
  • Robert Johannsen
  • Robyn Jones
  • Gerry McComb
  • Victoria Primeau
  • Tessa Shank
  • Rana Thomas
  • Claudia Torres

“This is the first time I’ve participated in something city-wide, and I’ve been really interested in getting more involved in the art community,” said Harvey, a teacher by vocation when not helping to beautify North Bay. “I’ve worked a lot with the WKP Kennedy Gallery and I’ve been putting in submissions for some of their group shows. So, this is a cool opportunity to try something new. This is the first time I have done digital work. Usually, I like painting and collage. So I was interested just to try something new.”

In September 2023, public art gained more prominence in North Bay as 12 pieces by eight local artists selected by the Public Art Advisory Committee were placed on aluminum panels mounted onto the public buildings in both Champlain and Sunset parks.

Harvey’s partner Elliot is an emerging artist and a Fine Arts graduate from Nipissing University who says his passion for bringing his vision to life has only grown, thanks, in part, to these public art initiatives.

“There is so much opportunity to have a lot of different public art in different spaces,” he says. “So, when I saw that there was a variety of different artists and voices being accepted, of course, I wanted to have my vision out there in the city, to make my mark and be a part of that kind of trajectory of building the art scene within the city.”

The couple share a studio space, often working on separate projects at the same time while collaborating with encouragement and ideas.

“We are working on different mediums, a lot of the time,” Elliot said. “We have our own corners set up in the studio and I’ll usually be on my easel and Annabelle will be doing something…”

Harvey picked up his thought, “I’m usually at my desk doing pottery, jewellery, collage — I do a lot of different things.”

Couple Annabelle Harvey and Corbin Elliot each earned a spot among the 14 winning banner art projects. Stu Campaigne/BayToday

For Harvey, working so closely together is her “favourite part, especially watching his creative process.”

Elliot added, “I think I’m more non-verbal as I’m creating. I often hear you saying, ‘Oh, I think I like this.'”

Both have active Instagram pages featuring their artwork, Harvey’s can be found here, and Elliot’s here.

Elliot has a show at the WKP Kennedy Gallery, entitled “Upon a Star,” opening Sept. 13. “I’ll have my own solo exhibition. I typically work in painting. I have a big body of work with paintings,” he said.

The City of North Bay and PAAC encourage everyone to take a moment to appreciate these works of art when passing by the overpass.

Harvey and Elliot are thrilled about the banner art project.

“It’s like seeing your vision come to life. We’ve had lots of friends, even before we saw them today say excitedly, ‘I saw your work on the overpass,’ it’s just a proud moment to have so many eyes on our work.”



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