Art

Separating the art from the artist, now that we know more than ever – University of Virginia The Cavalier Daily

Published

3 years ago

October 18, 2021

Many of us are familiar with the sinking feeling of discovering your favorite artist is actually a terrible person. Sometimes shocking, sometimes predictable, it is always uncomfortable.

With the overwhelming accessibility of information granted by modern technology, it is more difficult than ever to conveniently ignore the harm done by individuals who create great art. We have been grappling with the complex relationship between art and artist for hundreds of years, but as we become increasingly aware of the people behind the art we love, and increasingly concerned with our potential complicity in all they represent, we question ourselves with heightened urgency. If we know of an artist’s offenses but continue to appreciate their work anyway, does this approval of the art extend to an implied approval of the artist? Can the two be distinguished, and if so, how?

Some advocate a total disavowal of the art of any condemnable artist, while others, equally vocal, prescribe a detached mode of analysis that privileges the work itself and minimizes its context. The question of separating the art from the artist has no simple answer, but there are many factors that can help us to critically engage with art once we know of the transgressions of its creator.

One consideration in answering the question of separating the art from the artist is the extent to which an artist’s reprehensible qualities are exhibited in their work. The racial slur by which American writer H.P. Lovecraft referred to his cat is not a peripheral detail, but simply one real-life example of the racism deeply embedded in his work, including a reference to the “primitive half-ape savagery” of non-white characters in “The Horror of Red Hook.”

Another consideration is the extent to which engaging with art directly benefits its creator. When an English teacher reads “The Tell-Tale Heart” in class, it is unlikely that this action functions to normalize the author Edgar Allan Poe’s marriage to his 13-year-old first cousin. However, when Roman Polanski wins a Cesar award for best director despite being wanted in the United States for the rape of a 13-year-old, this acknowledgement is difficult to justify.

A final consideration, one more instinctive than logical, is the way in which knowledge of an artist informs an audience’s feelings towards their work. While working on “The Shining,” Stanley Kubrick famously forced Shelly Duvall to work to the point of exhaustion and reflect on personal pain to further the authenticity of the onscreen horror. Can you truly appreciate Duvall’s performance when you are aware of the genuine terror behind her expressive eyes? Many can. However, if this insight makes you uncomfortable, your response is as legitimate as any critical conversation surrounding the film’s artistic merits, or indeed any debate of the ethics of celebrating the film despite Kubrick’s mistreatment of his leading actress.

Stripping the initial question of its complex connotations, the answer is, of course, no. Art does not exist in a vacuum, and an artist inevitably leaves traces of their personhood on even the most impersonal of works.

Still, it’s essential that the critical consumption of art is not confused with simple denial of all we find objectionable. There are ways to engage with the work of a morally questionable artist without ignoring their unfortunate qualities, or punishing yourself for your appreciation of their work.

If you are aware of an artist’s offending characteristics, proceed with cognizance. For example, if you know of a writer’s personal misogyny, take note when you encounter a negative portrayal of a female character in his work. How does this character link to what you know about his real-life relationships to and thoughts about women? Does this character serve an agenda? To what extent can she be considered an individual case versus an allegorical relic of a patriarchal society, or the artist’s beliefs about gender? The answers to these questions may vary, but the act of asking them helps you to reckon with the ways in which the artist is reflected in their own work.

Furthermore, be wary of the impact of the art you consume. If you spend your whole life absorbing images and words created by terrible people, these things will shape you, particularly if you accept them uncritically and with a complete dismissal of the role of the terrible artist in your experience of their art. Art is a powerful tool of persuasion in part because the source is somewhat obscured and your subconscious experience is engaged. You may be resistant to persuasive messaging when it comes out of the mouth of a politician, but when you laugh at a hateful joke on a sitcom, your guard is down. Don’t think you are immune.

It is impossible to completely distinguish the art from the artist, but it is also unnecessary. In fact, if you want to continue consuming the art of a controversial figure, it is crucial that you don’t deny their moral complexity. Instead, when you discover the offenses of the artist behind a beloved work, take a moment to reflect. Think about how this aligns with or departs from your expectations of who they are based on their art. When you experience their art, take note of the elements that stand out to you now that you have a better understanding of the person who created it. Discuss and debate this with other ambivalent audience members. Ultimately, you have to trust your own instincts.

The vital thing is not to reject every work of art created by a reprehensible artist. It is to honestly engage with the subtle and sinister manifestations of prejudice, violence and hatred in our culture, and to either affirm or reject works of art within their context.

Adblock test (Why?)

Source link

Art

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

Published

6 days 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

[unable to retrieve full-text content]

Ukrainian sells art in Essex while stuck in a warzone BBC.com

Source link

Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

1 month 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.

Source link