Art

2 Art Gallery Shows to Explore From Home – The New York Times

Published

4 years ago

April 9, 2020

‘How Can We Think of Art at a Time Like This?’

The title of this online exhibition is a question I’ve been asking myself the last few weeks. A pandemic rages; people are dying — who cares about virtual viewing rooms?

And yet, culture is sustaining many of us as we stay home and try to ward off anxiety and dread. It offers comfort and distraction, and can help us feel less alone.

What I like about “How Can We Think of Art at a Time Like This?” is that it’s less of a definitive statement about this challenging time and more of an open-ended platform. Its curators, Barbara Pollack (who has written for The New York Times) and Anne Verhallen, have invited artists to submit images of relevant, though not necessarily new, work as well as an accompanying statement. A new entry has been posted every day since March 17. The process gives us a glimpse of how others respond creatively to crisis.

Highlights so far include Lynn Hershman Leeson’s hauntingly prescient video “Seduction of a Cyborg” (1996); Deborah Kass’s “Emergency” (2019), which marries Modernist monochromes and neon signage to sound the alarm; and Miao Ying’s “Hardcore Digital Detox” (2018), an interactive web collage that wryly comments on censorship and privacy. Amir H. Fallah’s paintings of cloaked figures in sumptuous interiors celebrate the possibilities of domesticity. Dread Scott and Jenny Polak shared a digital sketch that reads “Redistribute Health” alongside a list of principles and calls to action for surviving Covid-19. Art ranks 36th — necessary, they allow, but not the most important thing.
JILLIAN STEINHAUER

‘The Inaugural Exhibition’

Through April 15. Fergus McCaffrey; exclusively online at fergusmccaffrey.com.

Fergus McCaffrey’s principal location is in Chelsea, though the gallery also has outposts in Tokyo and on the French Caribbean island of St. Barts. (Now more than ever, I am thinking St. Barts needs an art critic in residence.) Just recently McCaffrey opened a “fourth location,” called FM Virtual, that places paintings and sculptures in an architectural rendering that will remind you of real estate and interior design websites. In a curious blend of the concrete and the dreamlike, McCaffrey has promoted the digital effort as a “near-physical 3,600-square-foot gallery space” with “warm 24-hour north/south facing natural light.”

I had trouble getting FM Virtual to load in my Chrome browser, though it started without incident in Safari, both on desktop and on mobile. Eventually I found its first show, which places strenuous paintings by Sadamasa Motonaga, Martha Jungwirth and Marcia Hafif, along with punk-classical sculptures by Barry X Ball, within an enfilade of “galleries” styled to please art lovers worldwide: white walls, frosted glass. These are not photographs of an exhibition, but renderings in which scans of the artworks can be plopped. Mr. Ball’s “Saint Bartholomew Flayed,” for example, an 8-foot-tall statue of the skinned saint in red striated marble, is actually installed at the moment at the Nasher Sculpture Center in Dallas.

The renderings-in-space are handsome, and I admit it’s nifty that the gallery can now “show” the same sculpture or painting in multiple circumstances. But these are ultimately insufficient; while you can pivot 360 degrees around a set vantage point in each room, you can’t scrutinize the sculptures from all the angles you’d like. The presentation also lacks proper documentation of each individual work, and does not permit you to zoom in with anything like the closeness you’d want before dropping more than $2 million sight unseen on Motonaga’s abstract composition of drippy ellipses.

I can complain more about glitches, but those are venial problems. The real question is: Who is this for? Ahead of exhibitions or fairs, galleries routinely send their best clients a PDF of works for sale, from which collectors can plan their attack. If a gallery’s “virtual experience” is to be nothing more than the sales PDF translated into a Corcoran walk-through, better to spend the money on research.
JASON FARAGO

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Art

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

Published

15 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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Art

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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