Art

Capturing the Moment review – not a serious exhibition

Published

1 year ago

June 18, 2023

Peter, fully dressed, looks down at a boy in white trunks swimming a length of the pool below. Turquoise hills stretch away into sunlight behind them. David Hockney’s stunning diagram of LA heat and cool blue water, frozen in stylised ripples, appears perfectly lucid in its equipoise of figure, hue and geometry, yet also tense and mysterious. What is the relationship between the two men: the swimmer submerged and unaware, the sentinel watching unseen from above?

Portrait of an Artist (Pool with Two Figures) was painted in 1972. This monumental masterpiece has changed hands several times since, but never so conspicuously as in the winter of 2018, when it sold at Christie’s for $90m (£71m), breaking records for the most expensive work by a living artist.

The buyer was Pierre Chen, a Taiwanese multibillionaire in his late 60s, whose electronics company, Yageo, is a global leader in the passive components required for mobiles, laptops, desktops and cars. Chen founded the company in 1977, before he was even 21. In 1999 he also established the not-for-profit Yageo Foundation, which holds, or administers (or is it owns?), his massive art collection, a substantial tranche of which is now on display in Capturing the Moment at Tate Modern.

The first thing to say about this questionable enterprise is that Chen/Yageo owns some tremendous works of modern and contemporary art. He has the zeal and wealth of the titanic collector; and the advice, for more than 20 years, of a former Christie’s executive.

Andy Warhol, Self Portrait 1966-7. Yageo Foundation Collection

He owns an upside-down Georg Baselitz, several Picasso portraits and one of Francis Bacon’s screaming popes. He owns a quartet of Andy Warhol self-portraits in fading primary colours, and an eerie Warhol Double Marlon [Brando], silkscreened in sinister black on taupe.

He collects the enormous photographs of the German artist Thomas Struth: crowds overwhelmed by Géricault’s Raft of the Medusa in the Louvre, or simply flitting past like ephemeral ghosts before the deathless magnificence of Titian’s Assumption of the Virgin in Venice. These are all on show at Tate Modern, along with paintings by Gerhard Richter, Marlene Dumas, John Currin and Peter Doig.

The last, not incidentally, is one of Doig’s earliest and most valuable canoe paintings: in arsenical greens, the blond on board drifting an unsuspecting hand through ominous waters, based directly on a still from the horror film Friday the 13th.

So the promised connection between photography and painting is there in one fundamental sense. Namely that Chen buys both. It is also true that some of what he collects is painting based on photography (Warhol, Dumas, Doig), or photography that looks at painting (Struth, self-evidently). And in addition, he has some extraordinary works that unseat the imagery of both camera and brush by Richter.

Two landscapes by the German painter question the supposed truth of the original photographs to such an extent that one wonders whether these scenes – a Bavarian hillside, the motionless Venetian lagoon – contain hidden secrets. Richter’s transcriptions are neither sharp of focus nor rendering, his sporadic sfumato blurs implying that the world beyond the painted surface really is entirely lost to us.

A third painting shows the face of a long-dead woman: Richter’s Aunt Marianne, forever young and blond as she props baby Gerhard on a pillow in the 1930s. The silver-grey paint unites the two figures in hazy horizontal brushstrokes; something like distortion, or a memory one cannot bring into focus, or a presence that cannot be summoned from a photograph. Marianne was later sterilised and then murdered by the Nazis.

It is possible that visitors might make a connection back to another historic image four galleries earlier: Dorothea Lange’s immortal photograph of a destitute mother in a US pea-croppers’ camp in 1936, but I doubt it. This show is far too rambling and chaotic. To bolster Chen’s collection, Tate Modern includes ill-assorted works from its own, including strident new acquisitions by Christina Quarles and Laura Owens, and venerable portraits by Lucian Freud – including a deeply moving image of his mother painted by her deathbed – and Alice Neel, at least part of whose electrifying gifts as a painter come from living proximity to her New York subjects.

Migrant Mother, Nipomo, California, 1936 by Dorothea Lange, printed c.1950. Tate

So the premise feels like nonsense. But worse still is the alignment of images. Did Lange take that heroic photograph – which resulted in emergency government aid – just to be hung in the same room as Bacon and Picasso as part of some vague talk about emotion and expression in 20th-century art? What has Neel got to do with Freud? Why are Hiroshi Sugimoto’s photographs of seas, touching on light, dark and the nature of infinity, related to abstract paintings?

The wall texts are almost comically simplistic. “While photographers grapple with the mechanics of the camera, painters work with the surface of the canvas and the texture of paint.” There is no thesis, no catalogue, no developed argument, barely a single striking idea on the subject of either painting or photography, let alone their relationship, even though this is art history 101.

It would have cost nothing to have shown the Hockney in a room of its own with the photos from which it derives (first serendipitously, and then by fascinating design) to open minds and eyes to the kind of visual knowledge the artist himself so much prizes. But all or any of this was too much trouble, unaccountably, for an exhibition running all the way through to the end of next January.

Why are the walls of one of our foremost public art museums being given to a private collector in this way? You may argue that this is a rare chance to see such great works here – though some are remarkably familiar from other loan shows – before they end up in someone else’s collection. For Pierre Chen follows the blue-chip market, after all.

Capturing the Moment is not a serious exhibition. To draw connections of any sort between the works feels ultimately specious. Some stuff we borrowed (I hope for free, given the burnishing effect of display in Tate Modern, though tickets are £20 a head) and some stuff we already owned. A more complacent exhibition cannot be imagined.

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Art

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

Published

2 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

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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