Art

Bully your rich friends into commissioning more art – Vox.com

Published

2 years ago

July 27, 2022

For millennia, societies have attempted to solve the problem of how to pay their artists, and for much of that history, this has been the province of the wealthy. At times, that power has belonged to institutions — the Catholic Church in the Middle Ages, for instance, or arts foundations with large trusts — or of newly moneyed merchant classes, as in the Italian Renaissance. Governments use taxpayer dollars to fund public art, such as the Public Works of Art Project as part of FDR’s New Deal, or, say, Sesame Street. Over the past decade, however, that power has increasingly transferred to a radically different kind of curator: the algorithm.

Artists who make money on social media — and there is a growing number of them — rely on corporately owned platforms for exposure, for sponsorship deals, and for commissions. It’s no secret, though, that the vast majority don’t make enough to live on from their craft alone, be it fine art, music, filmmaking, writing, photography, dance, theater, or, if we’re willing to categorize the nebulous designation of “content creation” as an art form, influencing. Therein lies a problem: Artists and creators who are the most likely to succeed in this system are the ones with the most mass appeal, which, to an algorithm, likely means that they appeal to viewers’ basest, lowest common denominator impulses of what human beings want to look at. In short, the kind of art that algorithms pick for us usually isn’t very good.

So what’s a society to do? Kate Compton, a futurist and computer science professor at Northwestern University, posited a solution earlier this summer: “Someone with a FAANG [Facebook, Apple, Amazon, Netflix, Google] salary could literally commission their own opera once per year, so we should do that,” she began in a now-viral Twitter thread. “The Renaissance was a notable cultural era not because of good marble or new paint but because a bunch of newly-rich Florentine wool merchants discovered Spite Patronage” (more on that in a minute).

The idea that the wealthy can and should fund the arts is not new. What is new is the sheer number of wealthy people we have. The US has one of the highest rates of wealth and income inequality of all developed nations; it has more billionaires than any other (735 of them), a class that added $5 trillion to its wealth — more than the previous 14 years combined — during the first 18 months of the pandemic. The donor class, or ultra one percenters who spend a sizable portion of their income in donations to philanthropic and arts foundations (and often receive massive tax benefits in the process), is growing, and with a political system that seems unlikely to successfully levy meaningful new taxes on billionaires, the least that rich people can do is spend some of it on things that are not superyachts.

Many people, ultrarich or otherwise, already do this. In fact, in exposing so many people to each other in such a short period of time, social media and merchant platforms like Etsy have allowed many designers, painters, and other craftspeople to make a living by selling their wares to their followers. But while older wealthy people have long histories of donating to big arts endowments that do the legwork of finding artists to grant money for them, it’s easy to imagine newly rich millennial and Gen Z tech and finance workers opting for flashier ways to support the arts: Their name listed as an executive producer on a film or play, or the ability to shape the art itself.

Perhaps Compton’s most compelling point is that there is a long history of what she calls “spite patronage,” or rich people paying for works of art that flatter them in comparison to their professional nemeses. The art doesn’t even have to be all that innovative or meaningful in itself, it just has to be seen and displayed. “One issue is that y’all degenerates *are* paying for full body furry commissions (good for you!) but keeping it private. That’s no way to create cultural impact,” she writes. “Rent a gallery and host an art show; buy a chapel and have them paint a ceiling; sculpt it in marble on your mausoleum. Rich people realizing that Great Artists can be rented for pennies + proudly displaying both revenge and cringe commissions = world-changing art movement.”

There are some obvious downsides here. For one, it’s never a good sign when a society relies on the ultrarich to shoulder a responsibility better suited for an institution that answers to its citizens (like, say, the government). Unfortunately, one of the aftereffects of 40 years of tax breaks for corporations and government budget cuts is that right now, we do. As my colleague Whizy Kim argues, tech billionaires have helped to elect Joe Biden in the name of democracy, and have the potential ability to do the same for abortion rights. Second, for artists without an agent or manager to handle business dealings for them, it’s easy to imagine scenarios where they’re paid unfairly or otherwise exploited by the inherent power dynamic at play.

But I’d also argue that wealthy arts patrons could commission art that is at least slightly more interesting than what an algorithm might surface, while also giving artists more freedom to create works that don’t necessarily cater to social media platforms’ demands. “The winner-take-all dynamics of this algorithmically optimized stream will generate a few winners — superstar influencers whose every post will be served to millions of users,” writes Cal Newport in his piece on whether the internet can support creative work with the “1,000 True Fans” theory.

He’s talking about content creators, or the 7.1 million Americans who earned money on social media platforms in 2021. This increasingly crowded field — it is at least three times more than the number of artists or lawyers or doctors or farmers or military members, according to the US Bureau of Labor Statistics — can’t survive if it continues to rely on, say, $5 monthly donations from Patreon subscriptions or small-time brand deals. And if creators keep having to bend their content to what the algorithm demands of them, no one’s going to want to pay for it anyway. As the mother of Don Draper’s second wife tells her in season five of Mad Men: “Not every little girl gets to do what they want. The world couldn’t support that many ballerinas.”

By creating a culture of commissions en masse among wealthy young people, perhaps it could — or at least it could widen the pool of artists making livable wages. Inequality is terrible, inflation is bad, and whether or not we’re due for a recession, it certainly feels like we are. But there are winners in this economy, and for now, one way the creatively inclined have-nots can use it to our advantage is by bullying our rich friends into funding some weird art. Plus, imagine being some rich guy and having the option to commission an off-Broadway show about literally anything you want, whenever you want! Imagine not doing that!

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

Published

13 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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