Art

Refigured: exhibition explores identity through alternate worlds – The Guardian

Published

2 years ago

February 28, 2023

As technology takes an ever more significant role in shaping how we develop and embody our identities, the Whitney presents Refigured, a collection of five installations by artists using digital art to probe intersections of ourselves and our machines.

“I want to create language for a calibration point for where we are in regard to our bodies and technology,” said artist Rachel Rossin, reflecting on her piece The Maw Of, a transmedia work that is spread out across a video screen and a QR code that can activate the artwork on visitor’s mobile devices. As Rossin put it, The Maw Of seeks to “address the black boxes of our bodies and technology”.

Over a soundtrack of new age-y music, Rossin’s animation blends together visceral images of the human nervous system, dismantled code from the Whitney’s own website, imagery that looks stripped from a military campaign, and a central manga figure. The piece’s QR code adds elements from the animation into the camera of a mobile device, while adding other artistic effects and bits of enigmatic text like “into the void” and “why run from disappointment”.

The Maw Of’s layers implicate an idea central to Rossin’s output – how technology has moved away from being a mere tool of humanity and more toward something that blends right into our consciousness. “The idea of technology that we’ve inherited frames it as something that we add to ourselves. And now, what technology actually is becoming is that you begin to find peripherals for our cognition, peripherals for our psychology.”

American Artist - Mother of all Demos III

Echoing Rossin’s concern with how technology has moved steadily into the heart of our identities, the title of American Artist’s the Mother of all Demos III references the epochal moment on 9 December 1968, when Douglas Engelbart and William English introduced the computer mouse and graphic user interface, opening the way for computers to become central to our way of life. Rather than depict the machine that Engelbart and English used for their world-changing demo, Artist instead offers an Apple II computer, debuted in 1977 and part of a wave of home computers that fueled a revolution.

In Mother of all Demos III, Artist, who legally changed their name in order to protect their anonymity and further their artistic ideas around Blackness, labor and visibility, shows a dirt-encrusted Apple II computer disfigured by black asphalt that renders the keyboard inaccessible. That same asphalt also depicts suggestive handprints on either side of the keyboard, making the installation look something like a crime scene.

In the work, the subdued blackness of the Apple II computer terminal – which, as computers have changed, has slowly given way to white-dominated monitors – is juxtaposed with the seeping, gooey asphalt, which seems to suggest that Blackness will not so easily be contained. The whole piece has something of the feel of an archetypical, Promethean moment when things changed forever.

Just as Artist channels age-old tropes through cutting-edge technological developments, so do the other artists on display here, making a major through line of Refigured. For instance, Rossin discussed how she drew from the golem myth to conceptualize how the digital realm breathes life into something inanimate. “What I wanted to make is something that feels like more of a golem myth, the nervous system being projected into this hyperreal space that’s always on in an illusory way.”

Morehshin Allahyari - The Laughing Snake, 2019

Another who reimagined a cultural myth via technology is the Iranian-Kurdish artist Morehshin Allahyari, who drew inspiration for her work from the story of the laughing snake, which she construed as a story about women reclaiming agency. The myth, attributed to a medieval Arabic volume titled The Book of Wonders, tells of a marauding snake that is finally conquered by way of men who use a mirror to turn the snake’s laughter against herself.

For her project, Allahyari turns the parable of the snake into a hypertext narrative, blending elements of Iranian feminism, her personal coming of age, power and autonomy. “I turn around [the snake’s] laughter and death as a position of power, rather than a position of weakness. Her destruction of her own body is her way of taking control of her body agency; her destruction of her body is her way of taking back her image. I connect this story to street harassment, sexual desire, relationship to body and body agency, starting from my personal experiences of growing up in Iran and to then more of the collective experiences, and expanding that to these imaginative stories where I imagine alternative futures for our relationship with our bodies.”

Viewers traverse Allahyari’s hypertext by way of highlighted words, while various evocative black-and-white animations and ethereal sounds create a mysterious ambiance. The artist shares of her own experiences with various forms of sexism and misogyny, from street harassment and various degrees of sexual violation to institutionalized violence against women. The hypertext is at once complex and maze-like, making it easy to feel absorbed by the lasting and visceral power of Allahyari’s words. The Laughing Snake also implicates questions of westernized feminism’s limited scope when confronted with instances of sexual abuse and systemic sexism that occur in a nation like Iran.

Refigured is a compelling exhibition that manages to bring a wealth of diversity of identities, approaches and media with just five pieces. The depth and complexity of each work in Refigured makes it a show in which one can linger, each of these five works proving absorbing and thought-provoking in its own way. It also feels fresh, a reflection of the Whitney going out and finding artists who are newer to its space, and bringing kinds of art less frequently seen there. “Showing at the Whitney is a dream that I’ve had since I was very young,” said Rosin. “I grew up outside of the art world, so I looked at these spaces as imposing. It’s exciting to be showing there.”

Refigured is on show at the Whitney Museum of American Art in New York from 3 March to 3 July

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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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