Art
Is AI art sacrilegious?
AI generated art has proven a contentious concept, and as it continues to rise in ubiquity thanks to the advent of new tools including Adobe Firefly and OpenAI’s Sora, questions surrounding ethics, copyright and the existential threat to creativity continue to surround the tech.
Many designers wouldn’t hesitate to call AI art sacrilegious. But what about when it comes to ‘sacred’ art? In the era of the infamous Pope in a puffer jacket, it’s clear that not even religious imagery is safe from the rise of AI. We caught up with theologian and art historian Robin M. Jensen to talk about the impact of technology on religious art, and whether AI art can indeed be considered sacrilegious.
Is using technology and AI in the creation of religious artwork sacrilegious?
To some, the term ‘sacrilegious’ might seem like an overstatement when discussing AI in the realm of art. It’s important to note that many artists incorporate machine-generated images into their work, drawing inspiration from them or using machines to create unique pieces. Moreover, many examples of “sacred art” can be viewed as heretical and even blasphemous in some eyes while not in others. Thus, the category “sacrilegious” is complicated by the fact that viewers will have different responses. Thus, the greater question may be best centered around the issue of how viewers respond if they believe the work is robot-generated rather than human-made. This focuses on the work’s reception and not on the manner of its creation. Whether the artwork is produced by humans or generated by AI, what matters most in answering this question is its impact on the viewer’s personal spiritual experience.
In honour of Facebook being shut down, here is a collection of images that I grabbed yesterday when the algo decided I needed Jesus AI fan art. pic.twitter.com/OOrWXgn2X5March 5, 2024
How does the way religious art is developed and positioned impact how people experience it?
The development and placement of religious art significantly influences one’s engagement and the way they are affected by it. Whether displayed in a church, museum or virtual space, the setting can profoundly alter how viewers perceive its spiritual significance and the depth of their experience. For instance, if you take a sacred painting from a church, move it to a football stadium and display it in a digital format on the Jumbotron, will you experience that art differently? In a study we recently conducted with funding from Templeton Religion Trust, the results highlighted the importance of environmental factors in shaping viewers’; engagement with and memory of the artworks. This suggests that the setting in which religious art is displayed can significantly impact the viewer’s perception and interpretation of its spiritual significance.
Are certain types of religious art more favorable to spiritual experiences than others?
Both traditional and abstract religious art can engage viewers in unique ways. Non- representational art tends to stimulate cognitive engagement and personal interpretation, fostering a contemplative experience. Representational art, on the other hand, evokes a strong emotional response, providing a culturally anchored connection to religious traditions. Through our research, we are finding that subjects spend more time looking at abstract objects and report a stronger effect than more traditional pieces. What has surprised us is that people have a better memory of nonfigurative objects than pictorial ones. The aesthetic qualities and stylistic features of religious art, regardless of its subject matter (or lack thereof), play a crucial role in shaping the individualized spiritual experiences of viewers.
How is technology utilised in determining how religious art is experienced and understood?
Technology facilitates the exploration of how viewers perceive, understand, and emotionally respond to religious art. It offers valuable insights into the spiritual significance of art and deepens our understanding of its impact on individuals. For instance, virtual reality (VR) technology can be used to create immersive experiences for viewers encountering religious art by simulating different spatial contexts and presenting artworks in virtual environments. Through our research, we can track people’s eye movements when they look at a piece of art, to study how they attend to different elements in a composition. We can then put those pieces of art in different locations from a church to a museum – even a casino or a fast-food restaurant, and we can see whether people examine those pieces differently in non-congruent contexts. Technology serves as a powerful tool for enhancing the study of religious art and deepening our understanding of its impact on individuals and how they engage with it.
How has the role of ‘authenticity’ changed for art as a result of these technological advances?
A valid concern arises regarding the authenticity of AI-generated art, in particular questions about whether AI could be viewed as a form of plagiarism for using existing art without crediting the original sources. Moreover, the way we define authenticity – and even art, for that matter – has changed drastically over the years, moving beyond merely framed, rectangular items hanging on walls. Artists’ work can incorporate a wide variety of expressive media and may be collaborative, performative, or purely conceptual. It might be meant to last for ages or only for a few minutes. Viewers may encounter art in a vast array of places, forms, and events. Authenticity is, therefore, a difficult category to define or judge. Technology has redefined our interpretation of authenticity, emphasizing the immersive and interactive nature of viewer experiences. It associates the impact and depth of engagement with the artwork, rather than its physical authenticity. I have a passion for uncovering the intersection of spirituality, art and people’s religious experiences through the context in which they worship, and technology helps to uncover this connection.
Robin M. Jensen is the Patrick O’Brien Professor of Theology at the University of Notre Dame (USA) where she also holds faculty positions in Art History and Classics. Her research focuses on the intersections of early Christian theology, ritual practices, and material culture. Among her published books are Understanding Early Christian Art (Routledge, 2024), Face to Face: Portraits of the Divine in Early Christianity (Fortress, 2004), The Substance of Things Seen: Art, Faith, and the Christian Community (Eerdmans, 2004), Living Water: Images, Symbols, and Settings of Early Christian Baptism (Brill 2011), Christianity in Roman Africa: The Development of Its Practices and Beliefs (Eerdmans, 2014), The Cross: History, Art, and Controversy (Harvard University Press, 2017), and From Idols to Icons: The Emergence of Christian Devotional Art in Late Antiquity (University of California, 2022).
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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