Art
STUDY: Asphalt Art Decreases Vulnerable Road User Crashes By 50 Percent – Streetsblog
Turns out, paint can be protection, at least when it’s done right.
Installing asphalt art on roads and intersection can cut crashes between motorists and other road users by a staggering 50 percent, a new study finds — and the experts behind it say its time for policymakers to treat this life-saving traffic-safety treatment as more than just a frill.
In a new report from Bloomberg Philanthropies, researchers analyzed crash rates and driver behavior before and after traffic-calming art projects were added to the 17 U.S. roads and intersections for which the best possible data and imagery was available. Those projects included colorful crosswalks and curb-extending murals that visually shorten a pedestrian’s crossing distance, among other innovative designs — and notably, most of them didn’t incorporate any other hard-infrastructure improvements at the time they were painted.
Not only did the projects slash crashes involving vulnerable road users in half, they also lessened injury-causing crashes by an average of 37 percent, and cut overall crashes by 17 percent, too. Drivers even yielded to pedestrians in colorful crosswalks 27 percent more often, even though many intersections featured high-visibility paint before.
This is SUCH HUGE NEWS. I used to do a lot of writing about public art and public transit, and there was really such a lack of studies showing something we all know to be true – public art can save liveshttps://t.co/xTOlGZTpZs
— Isabella Segalovich (@isa_segalovich) April 21, 2022
Those stats might seem surprising, given how rare asphalt art is in U.S. cities — and the fact that the Manual of Uniform Traffic Control Devices proposes banning it because of dubious safety concerns.
Many city transportation leaders, however, have touted the benefits of treating the street as a canvas for years, even if those benefits weren’t quantified until now.
“When I was commissioner [of the New York City Department of Transportation] under Mike Bloomberg, we built lots of miles of bike lanes and lots of pedestrian spaces and lots of bus lines,” said Janette Sadik-Khan, principal at Bloomberg Associates. “But no matter how groundbreaking that work was, it was always unexpected and colorful urban art that really generated the most excitement.”
Sadik-Khan stresses that researchers are just beginning to understand the power of public art to transform public safety — and that the cost of trying it is shockingly low.
As part of Bloomberg’s larger Asphalt Art Initiative, she and her team have helped install 42 asphalt artworks throughout the U.S. with grants of $25,000 each; one especially effective project in Kansas City, MO, helped cut driver speeds by 45 percent, and helped inspire the safety analysis.
“These projects were never just about pretty pictures,” she added. “And cities can deliver these real results for just pennies on the dollar.”
Unfortunately, not all transportation professionals regard asphalt art as a smart investment, and some have even questioned whether non-standard markings will confuse drivers — or the autonomous vehicles that someday may replace them.
The most recent proposed edition of the Manual of Uniform Traffic Control Devices — the document which sets the standard for most of the signs, signals and street markings that annotate the right of way— warned against colorful crosswalks, in part, advocates say, because existing AV technology struggles to recognize them as places where people walk. Following tens of thousands of comments from advocates, the manual is undergoing revisions, but its recommendations about asphalt art likely won’t be published until 2023.
“It’s probably flipping things to say that we should plan our street designs around AVs rather than design our AVs around streets,” said Mike Flynn, national director of transportation planning for the transportation firm Sam Schwartz, which conducted the study.
Flynn says there’s more reason to be concerned that low-vision pedestrians won’t be able to navigate crosswalks that aren’t bright white, and that more study is needed to determine which styles of asphalt art are best at curbing traffic violence among people of varying abilities. Maintaining mobility-enhancing masterpieces is another challenge — especially since cities struggle to repaint even the simplest thermoplastic lane markings when they fade.
Still, he thinks transportation leaders will solve the problems — and it will pay off when they do.
“There’s a reason people have always loved art through human history,” Flynn added. “Even if its hard to quantify, it’s real — because otherwise we wouldn’t do it…. And now we’ve discovered, hey, in certain situations it could also slow down traffic and save lives. For certain policymakers, that’s gonna resonate more than those intangible benefits.”
Sadik-Khan also is optimistic that the artist’s paintbrush will someday become a bigger part of the transportation-safety tool kit — and an opportunity for DOTs to break down silos and join forces with their local creatives. She says Bloomberg’s initiative provides a blueprint that cities around the world can follow, and hopes the safety study will fuel more such art.
“We want to make transformative projects like these as close to plug and paint as possible, because everything in these pages is possible in every city,” she added. “Streets really are the ultimate gallery; they’re the place where art and life can come together.”
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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