New York Gallery Sues Alaska Airlines Over Damaged Japanese Artwo
· design
Art World’s Unsettling Habit of Blaming the Carrier
The lawsuit against Alaska Airlines and its subsidiary Hawaiian Airlines is the latest in a string of art transportation mishaps. Each incident has its own peculiarities and financial stakes, making it difficult to estimate the total cost – which ranges from $100,000 to $3 million per piece.
Galleries and collectors often expect their artwork to be treated like fragile precious stones, but this expectation is conveniently limited to when it’s convenient for them. When damage occurs during transport, they point fingers at the carrier rather than the shipping company or insurance broker responsible for ensuring safe passage. In the case of Naga Antiques’ destroyed Japanese paintings, Distinguished Programs Insurance is attempting to recoup its payout from Alaska Airlines and Compass Forwarding Co.
Art in transit is a perilous business. Pieces are often jostled around, exposed to varying temperatures and humidity levels, and subject to the whims of airport staff and baggage handlers. The 2009 case of the Brice Marden painting destroyed by Lufthansa Cargo and the 2017 debacle involving a Gerhard Richter work damaged during transport from New York to California on Delta Air Lines highlight a disturbing pattern: rather than examining their own practices and vulnerabilities, art professionals blame external factors for damage.
The trend suggests that the art world’s priorities are more about minimizing risk than taking responsibility. With prices reaching into six figures for single pieces, galleries and collectors have every incentive to minimize risk. Yet when the unthinkable happens, they opt for a scorched-earth approach, leaving behind a trail of lawsuits and recriminations.
The Alaska Airlines incident raises questions about the adequacy of art transport insurance policies. Distinguished Programs Insurance boasts “comprehensive solutions” for art dealers and galleries, but these plans often come with fine print that absolves carriers from liability. It’s unclear whether Naga Antiques’ policy adequately protected against water damage during a downpour in Honolulu.
The art world’s penchant for finger-pointing obscures the more fundamental issue of lack of transparency and accountability in art transport logistics. Rather than lambasting Alaska Airlines, galleries and collectors should be examining their own shipping practices and insurance policies to prevent future losses. The stakes are high – not just financially, but also artistically. The 9th-century Book of Kells manuscript was damaged during flight, its 1,200-year-old pigments compromised by vibration.
Carriers will inevitably be held accountable for damages they didn’t cause. But it’s time for galleries and collectors to take a harder look at their own practices – before the next incident occurs, and the cycle of recrimination begins anew.
Reader Views
- NFNoa F. · graphic designer
It's ironic that art professionals bemoan the lack of attention given to artwork during transport while simultaneously relying on standardized shipping procedures and insurance policies that are often woefully inadequate for high-value pieces. The true issue lies not with Alaska Airlines or any other carrier, but with the systemic failure of the art world to invest in proper logistics and contingency planning. Until galleries and collectors accept some responsibility for their own risks, we'll continue to see a cycle of finger-pointing and financial retribution rather than genuine reform.
- TSThe Studio Desk · editorial
It's high time the art world took responsibility for its own reckless enthusiasm. While Alaska Airlines is being sued for damages, we should be asking why Distinguished Programs Insurance and Compass Forwarding Co. weren't doing their jobs in the first place. The art world's focus on minimizing risk has created a culture of finger-pointing, with carriers taking the fall for damage that's often preventable. Perhaps it's time to revisit shipping protocols and insurance policies to make them more accountable – but also, more realistic about what can be safely transported across continents.
- TDTheo D. · type designer
It's time for the art world to confront its own culpability in these transportation mishaps. The tendency to scapegoat airlines and shippers is a convenient evasion of responsibility. Galleries and collectors should be held accountable for their own logistics and risk management practices. A more nuanced approach would involve reviewing internal protocols, such as crate construction, packaging materials, and shipping schedules, rather than simply assigning blame. By doing so, the art world can create a safer environment for priceless works in transit – not just for liability protection, but for genuine concern about preserving cultural heritage.