Art

In Netflix’s ‘Beef,’ the Art World Is a Battleground Riven by Class Disparities

Published

1 year ago

April 7, 2023

On the propulsive new Netflix series Beef, an incident of mutual road rage sets off a rivalry between an economically embattled contractor and a well-to-do plant business owner. It also initiates a new understanding of class in the art world that ends up impacting just about everyone around them.

At first, the art on the show melts into the background. Speckled, ridged ceramics can be seen in the Los Angeles store managed by Amy Lau Nakai (Ali Wong), whose minimalist pedestals hold these works alongside neatly trimmed shrubs. The ceramics are by her husband George (Joseph Cho), himself the descendant of an artist with serious art-world clout, a nepo baby as it were.

George’s sculptures hang in the background at first, as though they were nothing but Ken Price–like window dressing. (Per Netflix, the ceramics were produced by the in-house art department.) Then, by the show’s halfway point, these creations are at the center of Beef, the first five episodes of which were reviewed for this article.

An attempt to steal the ceramics by those in the orbit of Danny Cho (Steven Yeun), the contractor whose truck Amy nearly hits with her SUV, ends up bringing these blobby artworks to the forefront. Two of Danny’s cousin’s friends enter Amy’s darkened home to steal one work by George recalling reddish slugs sliding over one another. “It’s on some Beetlejuice shit,” one says. “It looks like herpes poopooed,” the other responds.

George’s mother, Fumi (Patti Yasutake), winds up accidentally bearing witness to this heist because she is in her son’s house to take something of her own: a highly valuable mint-colored chair created by her late husband. The form of the chair, known as a Tamago, was based on the shape of her backend, and she plans to sell the the stylish seat to dig his estate out of debt. No surprise here: neither theft goes as planned.

At the core of Beef is an interest in how difficult it is to be successful in the US and how easy it is for all that success to implode when life intervenes. In Lee Sung Jin’s show, artworks—gleaming, rarefied objects that sell for exorbitant prices—end up being the locus for all these anxieties surrounding stability and class.

Witness a scene in which Amy and George have an argument at a show of 65 chairs arrayed around a gallery. George accidentally makes a remark that threatens to undo a deal nearly struck between Amy’s store and Jordan, a Gwyneth Paltrow–like entrepreneur played by Maria Bello. The couple begins bickering in hushed tones in this clinically lit art space.

“You are obsessed with money. That’s all you ever talk about anymore,” George says.

“George, I didn’t grew up the way you did,” Amy snaps back. “Did you ever notice how it’s only people who have money who think money isn’t important? You know the Buddha is only the Buddha because he was a prince first, right? He had stuff to renounce!” Later, she says, “We can’t renounce because all your dad left us is tables and chairs.”

Feeling exhausted from this conversation, Amy plops down on a plainspoken chair. A white guard comes over and scolds her for sitting on the art. She swiftly gets up and apologizes. Not even an object meant to provide support can offer her much comfort.

An Asian man and woman in opposite cars pulled up next to each other in opposite directions. — Ali Wong and Steven Yeun in *Beef*.

Courtesy Netflix

If art is commonly thought to provide aesthetic pleasure, it provides little in the way of visual nourishment for characters on Beef, who are often too busy trying to get by to pore over abstract sculptures. This can at times recall the way that the grifters of Bong Joon-ho’s 2019 film Parasite think about a scholar’s rock. At first, the object is treated as something to be contemplated—a metaphor, even. Then, by that film’s end, the metaphor comes down on someone’s head and gets used as a weapon in a larger class struggle.

At one point in Beef, Danny visits George and Amy’s home in an attempt to find ways to take vengeance on Amy. George has met Danny while biking, but he has no idea who this man really is. George puts Danny on the spot, asking Danny to explain what he thinks of the ceramics around the house.

“I don’t know if this is right, but it kind of makes me feel sad,” Danny says. “It gives me a sticky feeling inside, like in my chest, my legs. I don’t know, I’m just going off the top of my head.” As he fumbles his way through this impromptu critique, Danny seems less interested in speaking thoughtfully than he does in simply getting out of there unscathed.

Beef’s big art-related secret, if it can be said to have one, is that its cast includes an artist: David Choe, who plays Danny’s cousin, the mastermind behind the heist of George’s art. He’s done murals for Facebook’s headquarters, and he even had an FX TV series of his own, The David Choe Show, which the New York Times once described as “part interview, part performance art and part therapy session.”

Choe’s paintings of mangled, abstracted bodily forms appear in the title cards for every episode of Beef. They appear and disappear before audiences can make much sense of what relation they bare to each of the show’s installments. Appropriately for a show that is about who really gets to contemplate and love art, the series provides its viewers with brief glimpses of Choe’s art before quickly snatching it away.

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Art

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

Published

10 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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