Kota Ezawa at MCASB

By now we are used to the glamorization of art theft in the movies, where big stars often play the clever criminal, and the entire operation is understood sympathetically as a “caper.” In a fascinating exhibition at the Museum of Contemporary Art Santa Barbara, Oakland-based artist Kota Ezawa plays with this familiar trope in a new way, bringing his skill with digital tools to bear not only on the history of art theft and art vandalism in the 20th century but also on the more nebulous concept that gives the show its title: The Crime of Art.

Using a digital tablet and stylus, Ezawa creates renderings of stolen or vandalized masterpieces for a variety of media, but primarily the light box. The galleries at the MCASB have been carefully prepared to produce the maximum possible impact for these glowing jewels and the additional animated videos that accompany them. Although each work is simplified by the process out of necessity, Ezawa’s remarkable commitment to the aesthetic integrity of his adaptations renders his flattened copies of intense interest in their own right. He clearly must solve complex problems with color and tone in order to achieve these glowing results.

The main suite of works on display in light-box form replicates the 13 items stolen from the Isabella Stewart Gardner Museum in 1990. This unsolved crime remains the most significant art theft in history. The paintings stolen were valued at $500 million, and due to the unusual nature of the Gardner Museum’s exhibition plan, they have not been replaced. Empty frames now hang where these valuable works once were, giving the crime a kind of permanent collection status. Ezawa’s versions, which include works by Rembrandt, Degas, Manet, and Vermeer, are clustered together on the large far wall of the main gallery, shining with the dubious aura of mechanical reproduction.