Since Tuesday, a series of wildfires have raged through the LA area, driven by strong winds and bone-dry conditions. The flames, burning in the Pacific Palisades, quickly enveloped neighboring Malibu and rushed forward with alarming speed, defying all efforts to stop them. Videos of destroyed skies and raging flames have flooded social media, showing the chaos as nearly 200,000 residents have been forced to evacuate. Among the most guarded is the iconic Getty Villa, surrounded by the Pacific Ocean, its irreplaceable wealth hanging in the balance.
Photos circulating online Tuesday afternoon captured flames moving dangerously close to the brush surrounding the Getty. However, officials assured the public that the building, along with its valuable collection of 44,000 artifacts dating back to 6,500 BCE, is safe. Still, lingering questions swirl about the effect of fluctuating temperatures and smoky air on the artifacts, even after the museum’s director confirmed that air handling systems had sealed them from damage. Meanwhile, the fire has claimed other cultural and historical landmarks including the Pasadena Jewish Temple and Center, Theater Palisades, Pierson Playhouse and the Palisades Branch Library which has reportedly been reduced to ashes.
In just 48 hours, infernos burned in Pacific Palisades, Altadena, Pasadena, Sepulveda Basin and Sylmar, leaving devastation in their wake. Ten people have been reported dead as of press time, and the scale of the destruction is staggering: more than 10,000 buildings have been destroyed, tens of thousands of residents have been left homeless, and many businesses, galleries and cultural centers have been closed.
Among the dead was Alto Beta, an art gallery in Altadena that was engulfed in flames just days after opening an exhibition of new works by Los Angeles artist Mary-Anna Pomonis. Unfortunately, all the pieces were lost in the fire, as confirmed by a sad video posted on Instagram. Altadena also saw the complete destruction of the Zorthian Ranch, a community art center founded by Armenian American artist Jirayr Zorthian. According to an update on the GoFundMe page shared by one of its managers, 95 percent of the property was destroyed. (ARTNews reports that many artists are already raising money for future rebuilding efforts.)
How LA’s museums and art galleries responded to the emergency
On Thursday, the wildfire disaster had brought the Los Angeles art scene to a standstill, with all galleries closing their doors and postponing their reopening indefinitely or for days to come. The Night Gallery, which was scheduled to open Cathleen Clarke’s first solo exhibition this weekend, has extended its opening until January 15, but the gallery remains closed until further notice. Regen Projects rescheduled the launch of a new Doug Aitken show to January 18, while Gagosian’s Beverly Hills venue postponed the latest Alex Israel show without setting a new date. Vielmetter Los Angeles has delayed the opening of the first exhibition of Nate Lewis, as well as Kyle Dunn and Kim Dacres, both scheduled for January 8. The gallery has been posting daily updates about its decision to remain closed as the fire rages. The Sean Kelly Gallery released a statement confirming that it will remain closed “in partnership with our partners, loved ones and all those affected.”
Los Angeles’ leading museums have followed suit. The Museum of Contemporary Art (MOCA) closed both its Grand Avenue and Geffen Contemporary locations over the weekend, joining The Broad, Hammer Museum and LACMA in suspending operations. The UCLA Fowler Museum has also postponed the opening of an upcoming exhibition with an eerily timely theme: “Fire Relations: Southern California Native Ecology and Art” will explore how Native Californians continue to live with the challenges brought on by this fiery world.
The frequency of wildfires has increased dramatically in recent years, but they are often confined to the rugged hills of Southern California. This time, however, fueled by strong Santa Ana winds and a prolonged lack of rain, the flames raged out of control, encroaching on Los Angeles itself and causing the most destructive wildfires in the city’s history. The massacre is a dire warning about the effects of climate change, although the idea continues to be downplayed by some in the public, who have instead criticized recent political decisions made by Los Angeles Mayor Karen Bass. Bass, who has faced mounting criticism for being abroad in Ghana when the fire broke out, has added to criticism for his prolonged silence during the crisis.
As a fire broke out in the Hollywood Hills on Wednesday night, threatening the affluent neighborhood and the city’s landmark, social media was flooded with photos and videos purported to show the Los Angeles area in flames. However, many of these images were revealed to be AI-generated, sparking debates about how such technology perpetuates fake news and undermines the credibility of documents during crises of this nature.
The challenges of insuring art in a turbulent climate
Among the areas affected by the wildfires are some of Los Angeles’ most affluent neighborhoods, home to luxury homes and mansions that often double as storage facilities for important art collections. These buildings, now vulnerable to encroaching flames and deteriorating air quality, add another dimension to the growing loss. Earlier estimates reported by Bloomberg put the cost of the fires to insurers at $20 billion as of yesterday (Jan. 9), with JP Morgan warning that the number could rise further if the fires continue to spread. With state laws preventing insurers from raising home insurance rates, many companies have stopped issuing new policies in California such as the risk of wildfires and other natural disasters.
The Observer interviewed Anne Rappa, leader of the Fine Art Practice at the Marsh McLennan Agency, to gain insight into how art collectors and insurers are dealing with the increasingly common tragedies. “The focus during a crisis is life safety—people over things,” Rappa emphasized. “The key is to have a plan in place early on that includes risk assessment, mitigation and possible evacuations.” His measured advice emphasizes the importance of being prepared in an era when devastating events are unpredictable or unprecedented.
As climate change causes an increase in natural disasters such as wildfires, hurricanes and floods, collectors must reconsider ways to insure their art collection and, most importantly, develop a contingency plan. “Although many, including myself, fear days like this, quick measures to protect property can prevent possible damage if drastic measures are taken in this time of crisis,” said Rappa.
Most art insurance policies under “all perils” cover physical loss or damage from disasters such as fire, but they come with exclusions. These generally include nuclear accidents, government actions, war or military conflict, contamination or deterioration and damage caused by birds, vermin, rodents or insects, as well as wear and tear, loss of use and damage incurred during repairs, restoration, retouching or framing. .
“With the increase in extreme weather and natural events, insurers have and will continue to need more information to cover high-value art collections, and this will not be limited to disaster-prone areas,” Rappa noted. These increased assessments reflect the increasing growth risk collectors are experiencing across the board.
Determining how much a policy will cover depends on the policyholder’s analysis methods and context. Rates vary greatly depending on whether the insured is a museum operating under a “Museum Fine Art form,” a private owner who includes his art in home insurance or a gallery using an “Art Dealer/Gallery form.” For museums, appraisals typically reflect “Fair Market” or “Current Value,” based on the price a willing buyer and seller would agree on on the open market. These thoughtful valuation methods emphasize the importance of understanding the specific terms and protections of an art insurance policy.
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In galleries, works of art are usually the selling price of the gallery minus 20 percent or expenses plus 30 percent. If the piece is sent by a private collector or other art dealer, the insurer will assess the amount issued plus 10 percent, which accounts for the gallery’s efforts to present and market the work. For sold works awaiting delivery, the price includes the selling price and associated costs.
“For art collectors, the main goal is always to know what you have, to say what you have, and to know the value of what you have,” said Rappa.. “It is important to establish a relationship with a reliable resource and work with a dealer who is knowledgeable about fine art hazards, such as disaster mitigation and response and fine art loss repair.”
While the Los Angeles wildfires are a terrifying and unprecedented disaster, they also present a difficult lesson for art collectors and institutions as climate-related disasters become more frequent and terrifying. Education, Rappa adds, is very important. “All of us, including those in the insurance industry, learn a lot after each disaster. That information and advice applies to the next event as well. For example, what we learned from September 11, Hurricane Katrina and Sandy, we used as advice for the future. After a disaster, it’s a time when people outside of those affected are more receptive to advice.”
