Art

The crypto art community is having a sustainability reckoning – NBC News

Published

3 years ago

March 24, 2021

Blockchain technology’s many features have made it a hit in the art world, most notably the ability to stop forgeries and give artists a cut of future sales.

But one of blockchain’s less heralded features has caused something of a rift in the art world: its carbon footprint.

Crypto art, which had been viewed as a space for artists seeking stronger resale rights and protections from copyright infringement, as well as a more inclusive scene than traditional art world institutions, is at the center of a fiery debate over its impact on the environment. And many in the community are heeding the call to abolish existing processes for greener alternatives.

“Every single artist that I’ve spoken to doesn’t want to destroy the environment,” said Stuart Campbell, an Australian artist who goes by Sutu. “That’s a great place to come to the conversation at.”

Sutu is the moderator of a group on the chat app Discord called Clean-NFTs, a channel that kicked off in the last few weeks to talk about the ecological impact of crypto art, which now has more than 1,000 members. Sutu said his investigation of crypto art’s environmental impact began when a fan of his artwork replied to one of his tweets by vowing to no longer follow anyone in the community because of the environmental toll of NFT art.

In simple terms, crypto art is digital art but on the blockchain. That crucial difference creates an incorruptible platform to sell and collect digital art. That’s because each work of art is minted with a unique nonfungible token, known as an NFT — a sort of digital certificate of authenticity, or “proof of work.”

The crypto art world has boomed in recent months, with a piece of art and its NFT recently selling at a Christie’s auction for $69 million. The artist Grimes sold $6 million of NFT-backed art.

But the physical processes many platforms use to encode the artwork onto the blockchain use electricity — and plenty of it. Artist and computer scientist Memo Akten wrote a blog post on Medium in December detailing “how ludicrously energy consuming and ecologically destructive some blockchain based activities are.”

March 6, 202103:42

The post took off online — not just in the art community, but also among environmentalists and technologists — pushing artists and consumers to re-evaluate how they approach the crypto art space. Akten followed up his posts and his carbon emissions calculator (which was recently taken offline because of abuse and harassment) with a guide to eco-friendly crypto art.

Akten said he thinks the community is split. Some artists and fans are disengaging entirely until sustainable solutions are created. And then there are those who deny the energy-consuming reality altogether.

“There is very strong misinformation-based propaganda in the crypto world in general to deny the ecological impact of proof-of-work-based blockchains,” Akten said. “It is reminiscent of the oil and tobacco industries.” Akten said there are also “many whataboutisms, comparing the figures to the carbon footprint of the banking industry, fast fashion, McDonald’s, etc.”

But there’s also a push to find more energy-efficient systems that preserve the upsides of crypto art.

Proof-of-work is the computing process that the crypto art marketplace has laid its foundation on, but the process uses a large amount of computing power. Sutu and others have instead pointed to proof-of-stake, a far more efficient process, as a better way forward.

Unlike proof-of-work, which guzzles electricity as computers crunch through extremely complex puzzles as “proofs” to verify transactions, proof-of-stake promotes reliability with a financial incentive — users deposit some of their cryptocurrency as proof that they own it and that they have a personal stake in the system’s accuracy.

While engineers work toward moving to proof-of-stake, “what the community itself needs is to take some ownership on what we can do in the short and medium term,” said Jason Bailey, who started the art analytics and digital art blog Artnome.

Bailey said he noticed that artists who have degrees or day jobs in tech were, in some cases, shaming artists who come from less privileged backgrounds and lean on the new crypto art marketplace to feed themselves and their families rather than as a side hustle.

“I don’t dislike either side of those groups, and it bothered me that I saw so much emotional energy and human energy being burnt up without a lot of progress being made,” he said.

And so Bailey launched Green NFTs, a bounty system for creating more eco-friendly NFT systems by encouraging people to donate money for a shared cause. For this bounty, some of the money will go to creating a consolidated body of research for artists and collectors and some will go to developers creating open-source solutions. The grant has raised more than $34,000.

Panels are also forming in response to the discourse. Sutu moderated the conversation “Eco-friendly NFTs: Are they bulls—?” on the social audio app Clubhouse last month and moderated a panel about the community response this month on Twitter Spaces.

It’s not uncommon for viral outrage to fade, but the discourse around NFTs’ environmental damage shows no signs of slowing. And it’s not inherently a doomerism mindset — it’s a turning point in which artists and gatekeepers can ask for and create more energy-efficient systems without stamping out the ethos of the decentralized creator economy.

Sutu said that while the art world might only be a small part of the broader blockchain community, it still has the opportunity to take responsibility and show a better way forward.

“We still can lead when we see an opportunity to lead within our industry,” he said. “We’ve seen alternatives available to be more energy-efficient. Why not jump on that now, why not lead the way, why not show how the art community can influence those other industries to follow suit, especially if they are interacting with the blockchain?”

Melanie Ehrenkranz

Melanie Ehrenkranz is a reporter focused on technology and culture.

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

Published

7 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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