Art
In the U.K., Climate Protesters Are Gluing Themselves to Art – The New York Times
Activists are gluing themselves to the frames of iconic paintings. They say it does not matter whether their actions are popular — only whether they are noticed.
LONDON — Room 34 of the National Gallery in London was jammed with tourists Monday afternoon studying the masterpieces of British art on its walls, including J.M.W. Turner’s “The Fighting Temeraire,” which depicts a warship being towed to a breaker’s yard, and George Stubbs’s “Whistlejacket,” a huge painting of a horse rearing skyward.
Then, suddenly, two visitors broke the reverential mood. At 2:15 p.m., Eben Lazarus, 22, a music student, pulled three posters from a tube. Then, with the help of Hannah Hunt, 23, a psychology student, he stuck them over John Constable’s “The Hay Wain,” a famed 19th-century painting, transforming its bucolic landscape into one with airplanes, fire-ravaged trees and a rusty car.
The couple then removed their jackets to reveal T-shirts bearing the slogan “Just Stop Oil,” glued themselves to the painting’s frame and shouted about the need for action on climate change. “Art is important,” Lazarus said, his voice booming around the gallery. But it was “not more important than the lives of my siblings and every generation that we are condemning to an unlivable future.”
Nearby, a school group was midway through discussing another painting. Clare MacDonnell, the teacher, seemed unperturbed. “Oh my, I think it’s a climate protest,” she said. “How exciting!”
A surprising trend has emerged at British museums over the past week: climate activists gluing themselves to artworks.
On Friday, two other supporters of Just Stop Oil, a group seeking to stop the British government from licensing new oil and gas projects, glued themselves to a 19th-century landscape in the Kelvingrove Art Gallery and Museum in Glasgow. Since then, group members have also glued themselves to Vincent Van Gogh’s “Peach Trees in Blossom” at the Courtauld Gallery in London and another Turner work at the Manchester Art Gallery in northern England.
On Tuesday, the group staged its fifth museum protest, with activists glued to a 16th-century copy of Leonardo da Vinci’s “The Last Supper” at The Royal Academy, one of London’s major art museums. They spray-painted “No new oil” beneath the work.
Over the past four years, disruptive climate protesters have become an everyday phenomenon in Britain, after the emergence of Extinction Rebellion, an activist group that sees mass nonviolent protest as the most effective way to secure change. Some of its members are happy to be arrested, using their trials to speak about climate issues.
In 2019, hundreds of its supporters repeatedly occupied roads and bridges around Britain’s Parliament, effectively shutting down that part of the capital.
Last year, Insulate Britain, a related group, began occupying freeways, while Just Stop Oil have this year blocked fuel depots and over the weekend ran onto the track at the British Grand Prix, a major motor sport event.
The past week’s events suggest that the protesters now see art as a useful prop, although it is far from the first time museums here have faced political protests. In 1914, the suffragist Mary Richardson walked into the National Gallery with a hatchet concealed in her muff, then slashed a Velázquez nude in protest against the imprisonment of Emmeline Pankhurst. In more recent years, the British Museum, Science Museum and the Tate group of art museums have contended with theatrical protests denouncing their acceptance of sponsorship from oil companies. (BP ended its sponsorship of the Tate museums in 2016.) But activists gluing themselves to artworks is a new tactic.
Sarah Pickard, a lecturer at the Université Sorbonne Nouvelle in France who has studied Extinction Rebellion and its offshoots, said in a telephone interview that the museums were not so much a target in themselves as a means of getting publicity. The groups’ “whole strategy” is to take action that get news media attention, “then move onto the next thing that creates a spark,” she said.
During the past week’s events, Just Stop Oil said some of the paintings were chosen for specific reasons, such as their importance or because they highlighted issues associated with climate change.
Pickard said the protesters may say they have reasons for targeting specific paintings, but she said their choices were largely “irrelevant,” because the “whole point is to be disruptive” to create discussion of what they see as an existential crisis. Events in Britain had the potential to be copied elsewhere, Pickard added, as protesters in France had copied British actions before.
At the Louvre in Paris in May, a man smeared what appeared to be cake over the glass protecting the Mona Lisa then yelled that he was acting against “people who were destroying the planet.”
Mel Carrington, a spokeswoman for Just Stop Oil, said in a telephone interview that the targeting of museums was a way of “putting psychological pressure on the government” through publicity. The Van Gogh protest had received news coverage worldwide, she said, whereas previous actions at oil terminals had not. Carrington said the protesters did not mind if people disliked their actions; they were not trying to win friends.
None of the paintings appear to have been damaged. A spokeswoman for the National Gallery said in an emailed statement that the Constable landscape “suffered minor damage to its frame and there was also some disruption to the surface of the varnish on the painting.” It returned to display on Tuesday.
Simon Gillespie, a fine art restorer, said in a telephone interview that solvents could dissolve the glues that protesters had used on the frames. “Thank goodness they haven’t chosen to glue themselves to the oil paint film, because undoing that would be very difficult,” he added.
Applying pressure to the paintings to apply posters could also cause damage, he said, but the protesters appeared to have worked to limit any harm. “They’ve been respectful,” he said.
When Extinction Rebellion appeared in 2018, it won widespread sympathy in Britain, where environmental concerns have long been high on the public agenda. Yet the group’s disruptive tactics have since become an annoyance for many. In recent surveys by the polling organization YouGov, about 15 percent of respondents said they supported the group, with 45 percent opposed.
Nadine Dorries, Britain’s culture minister, wrote in a tweet this week that the painting protesters were “attention seekers” who “aren’t helping anything other than their own selfish egos.”
The two National Gallery protesters were arrested on Monday. The Metropolitan Police said in an email on Wednesday that they had been conditionally released pending further inquiries.
At the museum on Monday after the protest, nine visitors said in interviews they did not support the targeting of paintings. Luciana Pezzotti, 65, a retired teacher visiting from Italy, said she cared about climate change and endorsed protest, but “why bother the art with that?”
Among the visiting crowds, though, at least one young person expressed support for it. Emma Baconnet, an art student from Lyon, France, said it was “very important” for climate protesters to be provocative to get their message heard. “Sometimes it’s a little bit too much,” she said. “But if we just speak, governments don’t listen.”
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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