Art

In the lobby of a D.C. government building, art and identity politics

Published

1 year ago

August 1, 2023

It’s no surprise to find identity politics in Washington galleries. Museums, regional nonprofits and other arts centers have rushed to provide greater access to artists from underrepresented groups, especially institutions that once glossed over race or class entirely. Smart curators put that effort front and center today. Organizations across the country are making the same pivot. D.C. is no different.

But one thing is surprising about identity politics in Washington art: The most strident exhibitions can be found by visiting the most established local institutions.

One example is “Re/envisioning,” a group show with its finger on the pulse. Curated by Nicole Dowd and Allison Nance, the show brings together works by six artists linked by a concern for identity — not merely asserting their own but challenging the rigid systems that might define them as other. There’s no common thread of history or medium to be found, but an undercurrent of radical discontent suffuses this academically minded show. It is on view, oddly enough, in the lobby of a D.C. government building.

The work of Fargo Nissim Tbakhi is the most straightforwardly political. In one video, “Palestine Is a Futurism” (2022), a performer sings phrases that appear on-screen above an installation of textiles. “Sea salt is an internationalism,” “Hunger is a neocolonialism,” “Cactus is a Marxism” and other urgent-sounding yet mystical propositions are sung almost like hymns.

Tbakhi’s pieces suggest more philosophy than art. These phrases are surreal variations on a rhetorical device known as a kritik. In debate or philosophy, a kritik is a tactic for challenging the mind-set of a belief based on critical theory about social structures. A Marxist or neocolonialist or trans-feminist kritik works like a tool to upend the normal parameters of a debate, to push an opponent to affirm or reject these critical theories instead. Tbakhi’s work — both the video and an installation of his poems — is woven through with these didactics.

Some of the work in “Re/envisioning” leans so heavily on social practice that the craft on display can seem a distant afterthought. Adele Yiseol Kenworthy’s “What Is Something You Always Wish I Asked and Knew About You” (2023) features floral bouquets alongside family snapshots whose figures have been cut out. The sense of familial longing in these collages is palpable. Yet the artist has also framed her floral arrangements as an act of political protest or collective action. That’s a different notion altogether, one that makes the collages for “Re/envisioning” seem arbitrary.

Projects by Antonio McAfee and Stephanie J. Williams shine in “Re/envisioning.” McAfee’s “Through the Layers” series (2017-2019) turns Reconstruction-era photographic portraits of Black figures taken from archival collections assembled by author W.E.B. Du Bois and journalist Thomas Calloway into stereoscopic 3D collages. The intentionally imperfect red and cyan visual effect makes it difficult to truly see these portraits, even while wearing 3D glasses — a powerful expression of a theme of invisibility that runs through Black portraiture. Williams’s haunting stop-motion animations also revel in ambiguity. “Hospes” (2022) finds a collection of wormy, misfit puppets trapped inside a circle of doors that keep shutting to them. A viewer might recognize the title as the Latin root for hospitality, but the insight isn’t necessary to understand the video. Her work makes the viewer feel deeply the stifling body horror of being misperceived.

All the wall text in “Re/envisioning” prevents the works from speaking for themselves, even when their meaning is clear — or, more importantly, when the possibilities are many. “Sonic Fracture” (2023) is a piece from an ongoing performance series by Stephanie Mercedes in which the artist melts bullet casings and guns in a foundry and recasts the metal as simple bells. It’s a swords-to-plowshares project, resonant and accessible, that results in small, imperfect minimalist sculptures. Her work points to Richard Serra and Lynda Benglis, artists who revolutionized cast sculptures by flinging and pouring molten materials; more literally, these bells speak to the toll of gun violence in the District.

Yet a placard describing Mercedes’s project frames it in terms of critical theory, not material or process. It includes a quote from political and social theorist Nancy J. Hirschmann: “The hostility frequently expressed against … queer individuals is a function of fear of the undecidability of the [queer] body.”

That’s a heavy quote to hang beside any artwork, and not because Mercedes’s project doesn’t stand up to scrutiny. Rather, it’s hard to say who the curators imagine the viewers of “Re/envisioning” to be, or how they think the audience is supposed to navigate the thick soup of critical theory. Is this academic exercise really for people who happen to stop by on their way to the D.C. Child and Family Services Agency?

The office building is also home to the D.C. Commission on the Arts and Humanities, so it’s not like the show is out of place. But the government affiliation is suspect for an exhibition that urges liberation from capitalism. That could be a subversive gesture by the curators, but it might also be a cynical posture by the agency: to retreat from criticism to the relative safety of the kritik in an overwhelmingly progressive town.

The commission isn’t the only local arts institution to embrace praxis as a mission statement. Consider the Washington Project for the Arts — a venerated local visual arts nonprofit since 1975 — which has all but abandoned showcasing artworks, despite having fought long and hard to open a permanent space on the U Street corridor in 2015. Currently, the WPA is hosting its sixth “artist-organizer in residence” since 2021: Ama BE, who is studying foodways and medicines of local African immigrants. This residency isn’t accessible to the public or necessarily destined to produce visual craft. Which is fine: There’s room in Washington for an experimental progressive incubator. But this tectonic shift in programming stands in contrast to the organization’s annual benefit auction, a gala in which the WPA asks local artists to donate proceeds from sales of paintings, photographs and sculptures — the kind of work the gallery hardly supports.

“Re/envisioning” points to a broader phenomenon, a flattening that happens when curators embrace a dialectical framework over other factors involved with making or seeing art. Elevating discourse may seem like it’s required by the moment. It may seem like the only move that’s relevant or even possible. (Or fundable.) But art offers so many other ways of negotiating the world that also matter. The artists in this show made pointed artworks; the show re-envisions them as political bullet points.

Re/envisioning

D.C. Commission on the Arts and Humanities, 200 I St. SE. reenvisioningexhibit.com.

Dates: Through Aug. 18.

Prices: Free.

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Art

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

Published

5 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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