Art

Eco-art, design and architecture can be agents of environmental change in the public realm – The Conversation CA

Published

3 years ago

October 18, 2021

Many of us are aware of the environmental crisis, and the need to change how we operate. On a daily basis, a variety of media offer images that depict the effects of climate change to help us understand the extent of environmental damage — for example, in the form of scientists’ endless data and metrics presented in graphs or in news photographs.

Visual imagery has been central to how people develop a sense of the meaning of the Anthropocene — the era we are living in, the first time that human activity is the dominant influence on climate.

In the past few decades, new practices of art, design and architecture in the public realm have helped raise awareness about ubiquitous waste, pollution and global warming, and their associated social injustices.

With my colleagues, I am cataloguing public art, design and architecture projects in Canada that aim to teach about the environmental crisis, to reveal what eco-lessons are conveyed to the public and what the public can learn. Our work is informed by drawing on art and design that has helped launch both expert and community dialogue about what kinds of visual imagery and artistic practices might engender positive action for our environment.

Green arithmetic

Environmental historian and professor of sociology Jason W. Moore has explored how environmental researchers and policy makers have aimed to help the public understand how global warming is affecting Earth through data and metrics about environmental change — what he calls “green arithmetic.”

Even if these quantifiable methods of representation have been a powerful model for understanding the “what” of our planetary condition, it’s unclear if people have understood the effects of the present crisis on biological and socio-economic aspects of our interconnected world — or what changes we need to change course.

Graphical charts show exponential damages, but who can understand what a kilogram of carbon dioxide is or what it does to the environment? This format of visual imagery is far too abstract and the information depicted is set at a scale that is difficult for many to imagine.

As T.J. Demos, professor of art history and visual culture, has argued, graphs developed by environmental organizations or researchers rarely motivate people to take positive environmental action.

‘Edward Burtynsky’s ‘Oil Fields #19ab,’ chromogenic color print, taken in Belridge, Calif., in 2003, seen at the Nevada Museum of Art in July 2019.
(rocor/Flickr), CC BY-NC

Sublime images of catastrophe

Some artists have created sublime imagery depicting situations of catastrophe. Photographer Edward Burtynsky and other artists have developed artistic investigations that tell stories that reflect on what environmental transformation means.

Photographer J. Henry Fair is another artist who uses magnificent pictures to document “the hidden costs of consumption.”

This type of art is often placed in museums, which in most cases, isn’t an open public space. And only a small portion of the population ever sets foot into a museum.

However, it is not only museums that exhibit such images. Media outlets reaching the general public sometimes share photos about climate change disasters that they package as “beautiful” and “stunning.”

Such images may indeed be “stunning.” The problem is, however, that such pictures, whether generated by professional artists, photojournalists or by people sharing on creative forums, are often so sublimely produced that audiences want to consume more of them. Yet, there isn’t much certainty that this will help raise awareness of real causes of environmental damage, let alone engender change. These types of artworks, which can become highly popular cultural products, may be counterproductive to the aim of enabling change.

Public eco-art installations

On the other hand, the public art installation Ice Watch by
Icelandic Danish artist Olafur Eliasson, first created in 2014, was a seminal work intended to provoke immediate responses to our ecological crisis.

In the words of the artist, this work saw: “12 large blocks of ice cast off from the Greenland ice sheet are harvested from a fjord outside Nuuk and presented in a clock formation in a prominent public place.”

In its second installation, the work was placed in front of the Place du Pantheon in Paris in 2015, when an international meeting on climate change, COP21, was taking place.

The installation was simple, yet it made climate change immediately felt for those present, as people could see and touch the massive chunks of melting ice. It also connected people all around the world through its Instagram feed.

A statement about the artwork noted that the ice sheet from which these blocks were harvested is “losing the equivalent of 1,000 such blocks of ice per second throughout the year.” There were no graphs showing data about melting glaciers. Yet witnesses had a resonating experience about climate catastrophe.

The installation helped people confront the environmental crisis in a direct and personal way, since people saw, as writer Rebecca Solnit noted, a “beautiful, disturbing, dying monument.” A feeling of dread and eco-anxiety is at the core of this experience, a concept termed “solastalgia,” in 2005 by professor of sustainability Glenn Albrecht.

Public digital art

Another example is Particle Falls, by digital media artist Andrea Polli. This work was first publicly projected in 2010 and has been shown in a variety of places, including Philadelphia in 2013.

Particle Falls projects a visualization of air pollution data of the surrounding area and projects this as a waterfall. When the waterfall is calm, the air pollution is low. When pollution is high, the waterfall resembles an agitated boiling sludge seeping down the side of the building. Anyone walking on the city streets can encounter this visualization and be directly affected since it displays real-time data that can be seen and acted on.

Particle Falls projected in Philadelphia.

Getting to systemic change

These public works are successful in their capacity to make catastrophic situations, which are invisible to most people, visible. They may even activate some small behaviour changes.

Are such creations successful in empowering systemic change? Combining real-time data with visceral experiences in public spaces is a first step. Perhaps the ability to also deeply engage civic society in these public works may enable the necessary transformational changes.

Eco-art and design projects in public spaces are about offering powerful experiences to passersby and where they become witnesses to a devastating world situation. Through these experiences, people move a step closer to situations they may otherwise not have been able to imagine. And, having imagined these situations, people may then perhaps be motivated to solve them.

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

16 hours ago

September 13, 2024

Harry Miller

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.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

August 18, 2024

Harry Miller

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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