Art

What Is the Art Renewal Center Really About? – Hyperallergic

Published

3 years ago

February 22, 2022

In the early 1970s, the great and melodramatic artistic debates of the 20th century were petering out: abstraction versus representation, skill versus theory, popular versus elite. But for New Jersey-based food manufacturer, art collector, and millionaire Fred Ross, the debates never ended. He represents an art historical fork in the road, away from the mainstream.

Mr. Ross is the chairman of an organization called the Art Renewal Center (ARC) that serves as one of the largest nodes in the Classical Realist movement. Founded in 1999, they connect thousands of artists, teachers, and collectors. They hold annual juried exhibitions and honor living artists with titles, like in the days of yore. At a glance, it seems like a multi-level marketing scheme, with its membership fees and tiered ranking system. However, it’s not, at least not any more than the conventional art world is.

I met up with Ross and his daughter Kara to discuss the origins of the ARC, and to see what I could learn about that decisive, though largely forgotten, moment. For Mr. Ross, it began with an encounter in 1977 at the Clark Art Institute, where he saw William Adolphe Bouguereau’s “Nymphs and Satyr” (1873) for the first time. He had already been collecting old master works, and held a MA in art education from Columbia. That he had never seen or heard of Bouguereau before this moment awoke him to the perceived scam of modern art. He saw Modernism and its mutations as a price-fixing scheme run by a small but powerful elite group of gatekeepers, that had severed Western man’s ties to meaningful traditions and values, primarily expressed through figurative painting and sculpture.

Fred Ross in his home (2022) (photo by the author)

There was also a growing public discourse along the same lines. In 1975, Tom Wolfe published The Painted Word, a book of reactionary art criticism mourning the death of the image and the rise of theory. It was successful and critically acclaimed by readers outside of the art world. It captured the feelings of a populist, silent majority, those too embarrassed to admit that they didn’t get “it.” Wolfe was partly taking aim at fellow conservative Hilton Kramer, who in his review of the 1974 exhibition Seven Realists at Yale University, claimed that, “Though realism flourishes, it continues to do so in an intellectual void,” and “lacks a persuasive theory.” Although the art world unanimously dismissed the text, the popularity of its central ideas have never gone away.

Another pivotal moment happened for Mr. Ross at the same time. The Metropolitan Museum of Art inaugurated the newly constructed Andre Meyer’s galleries in 1980. The new galleries were large enough to include an edge-to-edge survey of the Met’s collection of European works, including the salon paintings of the 19th-century academy that had been in storage for most of the 20th century. Academic postmodernism, it seems, had become an unlikely ally of Mr. Ross’s premodernism. In the New York Times Hilton Kramer wrote that those paintings should “remain buried,” for “it is the destiny of corpses, after all.” Kramer goes on to blame the “post-modernist dispensation.” He says, “No art is so dead that an art historian cannot be found to detect some simulacrum of life in its moldering remains.” Taking a cue from Wolfe, Mr. Ross intervened, and took out his own Times advertisement.

Fred Ross’s advertisement rebuttal to Hilton Kramer in the *New York Times* (photograph by Fred Ross)

This voice became Mr. Ross’s signature style, and by the time the ARC was online in 2002 his cranky and wholesome 19th-century parlor rhetoric became a key component to the viral popularity of ARC’s message. I remember how quotes from his essays, like the “Great 20th Century Art Scam,” were a common sight in the mid 2000s on forums such as conceptart.org where many isolated artists found themselves in community for the first time. Many of those artists were students in the growing atelier system.

Ateliers are (usually) non-accredited art schools that are much cheaper than traditional four year colleges and focus mostly on technical training in drawing, painting, or sculpture. Since the ARC began to form its atelier network in 2002, the number of ateliers operating globally has grown from 15 to over 80. Today, internal surveys from some of the larger schools, like the Florence Academy of Art, have found that 20% of their student body discover them via the ARC website.

With this information I wondered what the impact of the ARC was on the (still?) trending moment of figurative painting in the mainstream contemporary art market. I asked Mr. Ross if he had any thoughts on this, and what he made of superstar figurative painters like Lisa Yuskavage or John Currin. (He wasn’t familiar with their work.)

Fred Ross, “Opening the Car Door ” (1996) oil on canvas (photo by the author)

When I asked what the future of the ARC looked like, they told me that the biggest thing was Kara Ross taking a leadership position at the organization. She intends to bring fresh energy and drive to the project, which has a new collaboration with Sotheby’s. Their twinned goals are to reach auction prices for contemporary realist masters that will shock the market and earn them the respect and attention of the art world at large.

Although there is much that I don’t agree with in ARC’s ideology, I have come to appreciate it on principle. There’s something weird and special about taking bold and concrete positions, and defining yourself as uncompromising. If they are successful in penetrating the higher-end market of collectors, I hope that they don’t lose sight of their roots.

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Art

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

Published

3 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

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

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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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