Art

Leonard Abrams, 68, Chronicler of 1980s East Village Art Boom, Dies

Published

1 year ago

April 13, 2023

His newspaper, the East Village Eye, was as scrappy and iconoclastic as the young maverick stars its pages brought to life.

Leonard Abrams, the founder of the East Village Eye, a community newspaper dripping with attitude that captured in newsprint the do-it-yourself post-punk ethos that ignited the explosion of groundbreaking art, music and fashion in downtown Manhattan in the 1980s, died on April 1 in New Jersey. He was 68.

The cause was a heart attack at a rest stop on the New Jersey Turnpike on his way home from a business trip, said Arthur Fournier, a close friend and longtime colleague.

The Eye, a monthly publication that Mr. Abrams published and edited from 1979 to 1987, scarcely made a dent above 14th Street in Manhattan — to many the traditional dividing line of “downtown.” But to those who lived a short stroll from Tompkins Square Park, it functioned as a house organ for the graffiti artists, New Wave (and No Wave) bands and maverick fashion designers who came together in the 1980s to create one of New York’s storied cultural flowerings.

“There were performances, there was art, there was rock ‘n’ roll, and people were just showing up and meeting each other,” Mr. Abrams recalled in a 2005 interview with the website Gothamist. “These people who would work together, party together, have sex or maybe be at each other’s throats were all just getting together and forming the East Village scene.”

In an era of affordable railroad apartments and storefront gallery spaces, the Eye chronicled the doings and musings of era-defining stars like Keith Haring and Barbara Kruger, musicians like Iggy Pop and the Beastie Boys, and fashion designers like Patricia Field and Betsey Johnson. The punk savant Richard Hell cataloged his thoughts on music and bohemian culture in a column called “Slum Journal.” Glenn O’Brien, a former editor of Interview magazine, opined on the New York sports landscape.

Despite its downtown focus, the Eye also cast a glance uptown and beyond to chronicle the world of hip-hop as it hurtled toward the mainstream. It ran early feature articles about Afrika Bambaataa, Run-DMC and the graffiti artist Fab 5 Freddy.

Indeed, Mr. Abrams and others associated with the Eye long claimed that it was the first publication to print a comprehensive definition of hip-hop, with a parenthetical in a January 1982 interview with Mr. Bambaataa by the writer Michael Holman that summarized the term as “the all-inclusive tag for the rapping, breaking, graffiti-writing, crew-fashion-wearing street subculture.”

In 1987, Mr. Abrams emerged from his editor’s desk to oversee an influential regular hip-hop party on the Lower East Side called Hotel Amazon, featuring performances by up-and-coming acts like De La Soul, Queen Latifah and A Tribe Called Quest, as well as more established acts like Public Enemy.

“Dude did a lot to make NYC move and think,” Chuck D, the frontman of Public Enemy, wrote on Twitter on Sunday. In 2008, Chuck D narrated “Quilimbo Country,” a documentary written and directed by Mr. Abrams about the continuing struggles of villages in Brazil that had been founded by fugitive slaves.

The Eye, which lured a national and even international readership, functioned to both feed and deflate the swelling mythology surrounding the scene. “If all the hype and nonsense theories I’ve heard about the East Village were one big throat,” the celebrated artist (and occasional Eye contributor) David Wojnarowicz said in a 1984 interview with the newspaper, “I’d volunteer to strangle it.”

The first issue of the East Village Eye, published in the spring of 1979, featured the musician James White on the front page.via Gallery 98

Mr. Abrams was born on Dec. 19, 1954, in Brooklyn, the youngest of four children of Nathan Abrams, a furrier who later became a securities trader, and Adele (Fleischman) Abrams, a bank executive.

In 1976, after studying literature at Fordham University, Mr. Abrams got a job as a bicycle messenger and moved to the East Village, a gritty neighborhood still filled with bargain apartments. “It took me two days a month — as a bicycle messenger — to pay my share of the rent on my apartment,” he said in a recent interview on the podcast “FAQ NYC.”

He moved to Colorado for a while, but he returned to New York on New Year’s Day 1979 and discovered a creative outpouring that seemed to beg for its own publication. Before long, the Eye was chronicling the misfits and geniuses — often one and the same — who were making the neighborhood a creative cauldron.

“In the Eye, you could read about iconoclastic performers like Diamanda Galás or Kembra Pfahler, funky boutiques like Manic Panic and Patricia Field, or quirky clubs and spaces like King Tut’s Wah Wah Hut and 8 BC,” Michael Musto, the longtime Village Voice columnist and downtown fixture, recalled in an email.

But Mr. Abrams was no cheerleader. Under his watch, the Eye chronicled the ravages of crack cocaine, the devastation of AIDS and the rising tide of gentrification, all of which would ultimately help splinter the scene.

The Eye peaked in influence in the early 1980s, Mr. Musto said, filling a relative gap between the ’70s heyday of the Soho Weekly News, which shuttered in 1982, and the rise of the original Details magazine, which started that same year and covered the same general turf, but with a glossier approach.

Within five years, however, Mr. Abrams had folded the paper, wearied by the grind, the soaring real estate values that were pushing out the hungry young artists, and the lack of revenue for the paper, which even in good times only had enough money to pay a few staff members, Mr. Fournier said.

Mr. Abrams is survived by his brother, Lawrence; his sisters, Debbie King and Bethany Haye; and his partner, Angela Sloan.

Following the demise of the Eye, Mr. Abrams poured his energies into his club, his documentary and, in later years, a business importing religious products from Mexico. For decades, the legacy of the Eye was largely kept alive in the yellowing copies that Mr. Abrams kept in a storage locker in Queens. That changed in November, when the New York Public Library added those 72 issues to its archive, the culmination of a long campaign by Mr. Abrams and Mr. Fournier.

In an article in The New Yorker in February about the library’s acquisition, Mr. Abrams, unassuming in most circumstances, allowed himself a rare moment of self-approbation.

“I had a nose for news,” he said, “and the news I had a nose for was 10 years ahead.”

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

Published

4 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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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.

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