Art

Let the Gospel Reframe Your Art Making

Published

1 year ago

July 16, 2023

The entire room was captivated by the early-morning performance of a Buddhist offering made by way of Tibetan water bowls. I picked at my oatmeal and raisins, listening to the published author explain the offering’s ability to express gratitude and minimize selfishness. I was immersed in a weekend of writing workshops for young adults, where I’d later hear various seminars on art’s place as a vehicle for human rights advocacy—namely abortion, the acceptance of all gender identities, and the inclusivity of all religions.

As I sat in that room, surrounded by varying ideologies, I was saddened by the desperate search for meaning represented by the attempt to produce art for identity’s sake. It led me to ponder how the gospel offers a better vision for artists and creatives: a correct view of humanity, a love of the transcendentals, and the call to be chaos organizers rather than chaos makers.

Anthropological Anomaly

The question of identity colors every aspect of Western culture today. From birth, we’re set on a great quest to pave our own expressive path of purpose and value. What a burden this is. Thankfully, the gospel frees us from the crushing weight of discovering, expressing, and justifying our unique identities.

The gospel frees us from the crushing weight of discovering, expressing, and justifying our own unique identities.

Christ’s imputed righteousness saves us from finding ultimate purpose, value, and acceptance within ourselves or anything outside of our Creator. The fact that “God created man in his own image” (Gen. 1:27) also frees us from having to prove our worth. We’re valuable simply because we bear the imago Dei—reflecting God and glorifying him.

From the moment Adam and Eve sinned, the human race began its quest to become God rather than being a vessel of worship that reflects glory back to God. Instead of obeying God’s command to “fill the earth and subdue it” (Gen. 1:28), we’ve sinfully embraced chaos and the lie that destruction is beautiful. The story of redemption, by which God foreordained the coming of a second Adam who would perfectly fulfill every duty in which the first Adam had failed, is the restoration of humanity. By God’s grace alone, we’re restored as image-bearers, worshipers, and lovers of the one true God.

Truth That Transcends

One distinction between humanity and other life-forms is our longing for what’s true, good, and beautiful. As creators, the gospel radically transforms the way we view these triadic virtues. God’s redemptive plan for humanity—Christ’s death, burial, resurrection, and ascension—gives profound definition to the true, the good, and the beautiful our hearts desire. This can all be reflected in our artistic pursuits. It’s no longer our truth, our goodness, and our idea of beauty we seek to express, but God’s.

This doesn’t mean our art as Christians should be sanitized and “safe,” avoiding anything unsettling or difficult. One way the gospel shapes our creativity is by giving us a willingness to not hide our places of brokenness or ignore our original state of total depravity. The cracks in our lives make the light of Christ shine all the more brightly.

Tolstoy’s Anna Karenina is beautiful, in part because its characters are utterly lost in their patterns of sin, so clearly in need of redemption. Some of Vincent van Gogh’s self-portraits feature his missing earlobe, a physical mark of his own brokenness, which makes the images more beautiful for their honesty. Mozart composed the Requiem in D Minor for a funeral, while facing the reality of death himself. Without the recognition of our utter wickedness, our lost and confused state, and the reality of death, we’d have no need for a Savior.

Formation in a Fallen World

Realism about sin isn’t the only way the gospel motivates Christian creativity. The resurrection should give our creative efforts a sense of confident hope. Scripture begins with creation in Genesis 1 and ends with re-creation in Revelation 21 (“Behold, I am making all things new,” v. 5). In a world of tears, pain, and suffering, the gospel leads us always in the direction of resurrection hope. As Christ died with the weight of our sins on his shoulders, he was raised to life on the third day.

The resurrection should give our creative efforts a sense of confident hope.

If we’ve been made new in Christ, our former reality of chaos and confusion has passed away (2 Cor. 5:17), giving way to more and more order and clarity. With confidence we can move forward, leaving honest glimpses of our journey in our words, paintings, songs, and actions. Even if we’re still in process and our creative expressions explore the struggle of sanctification, the gospel means our posture is always one of eschatological hope: we’re new creations, being made new by the power of the Spirit within us.

Command for Creators

I left that weekend of writing workshops with a few books signed by their authors, a better understanding of the culture around me, and a passion to use art as a way to share the gospel. The world is broken and in need of a Savior who will give life to the lost, hope to the powerless, and comfort to the sufferer.

Gospel-shaped art should honestly express the realities of a broken world, even as it offers meaning and hope after suffering and death. And gospel-shaped art has a purpose beyond self-expression. For Christians, the canvas is more than a mirror; it’s a magnifying lens—one that makes the glory of Christ abundantly clear to a watching world.

Caroline Clark is a college student at the University of Central Florida, studying English. She recently completed her studies at Reformation Bible College and hopes to combine her love of theology and writing to further God’s kingdom.

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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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