Art

5 Art Accounts to Follow on Instagram Now – The New York Times

Published

4 years ago

October 1, 2020

As the pandemic continues to devastate countries around the world, natural disasters bear down and Election Day draws nearer, I find myself struggling with opposite impulses: I want to keep up with the news, and I want to escape into pleasure and imagination. Instagram offers both. Some accounts help me process current events, others provide aesthetic wonder, and still others manage the two at once. This list covers all the points on that spectrum. Consider it a creative coping mechanism for staying engaged during a trying time.

Piotr Szyhalski/Labor Camp
@laborcamp

Many artists who started projects while on lockdown in March have stopped posting about them on Instagram, but Piotr Szyhalski is still going strong with his “Daily Covid-19 “Labor Camp Reports.” (“Labor Camp” is the framework within which Mr. Szyhalski has made art since 1998.) The series consists of black-and-white drawings that use the style and language of propaganda posters to capture the pain and absurdity of the pandemic, with heavy doses of sarcasm and rage at the federal government’s response. Some are direct, like one with a hand pointed at the viewer that implores “You! (Do Something)”; others are more abstract, like a sparse drawing of silhouetted birds above the words “Limitless Melancholy.” Either way, the works are meticulous but piercing, like a carefully released primal scream.

Patience Zalanga
@patiencezalanga

The work of Patience Zalanga, a freelance photojournalist who often covers the Movement for Black Lives, has a gripping, quiet intensity. She tends to forgo the drama of big action for the intimacy of portraits and smaller moments. For instance, a photo of young men inside a ransacked Office Depot seems to hit pause on the scene, as a hooded figure stops to check his phone; through that mundane gesture, Ms. Zalanga creates a feeling of familiarity, even tenderness. There’s also a welcome honesty to her captions, which include a mix of information about the images, personal comments and thoughts on the ethics of documentary photography. Ms. Zalanga, whose work has been featured in The Guardian, Minnesota Public Radio and Time, among other places, and who got her start in Ferguson, Mo., after the killing of Michael Brown, doesn’t pretend to be an all-knowing, objective observer, but lets her followers in on her process and works in community.

Jamie Lee Curtis Taete
@jamieleecurtistaete

If Ms. Zalanga’s images speak to an experience of being Black in the United States, Jamie Lee Curtis Taete’s showcase a culture of whiteness. The Los Angeles–based photographer has an eye for distinctly American forms of consumerism and, and over the past few months he’s brought it to bear on events like pro-Trump rallies and coronavirus lockdown protests. Many of his pictures carry a tension between the ironic distance of the viewer and the subjects’ earnestness, encapsulated by a proudly carried sign or boldly emblazoned T-shirt. In one of my favorites, a yelling blond woman holds an American flag and a poster reading “Give me liberty or give me death,” while standing outside a Baskin Robbins. The intensity of her crusade of victimhood is palpable. As with so many of Mr. Taete’s photographs, I’m not sure whether to laugh or cry.

Tiffany Jaeyeon Shin
@fff00slut

Part of what I love about the artist Tiffany Jaeyeon Shin’s account is that when I come upon her posts, I don’t necessarily know what I’m looking at. Maybe it’s an almost abstract image of bubbles, or maybe a pair of hands holding dirt, but I’m still wondering: Why this dirt? What’s she doing with it? Such murkiness is appropriate, since Ms. Shin is interested in processes we can’t see, like brewing, fermentation and the cultivation of mold, and how they reflect the complexities of society. It’s a delight to come across one of her photographs and be awed by the extent of the natural, and largely invisible, world. Her captions offer limited explanations — the dirt contained hyphae nuggets, which she brought home to feed — but just as quickly generate new questions, like what are hyphae? (The answer: parts of fungi.)

The Flag Art Foundation
@flagartfoundation

What does an exhibition look like when it doesn’t comprise objects in a gallery? The pandemic has prompted a variety of answers to this question, from bland online viewing rooms to printable PDF shows. The Flag Art Foundation’s inventive response has been to post “impossible exhibitions” on Instagram. Each one takes the form of a slide show, with a title, curatorial statement and checklist. What makes them “impossible” is that they can include anything available in image form, even if it no longer exists or is physically inaccessible. Eliminating the logistical aspect of curating has freed up people’s imaginations in intriguing ways. The miniature shows are cross-cultural, richly associative and sometimes deeply evocative. The curator Amy Smith-Stewart’s “In this short Life,” for example, is titled after an Emily Dickinson poem and in just nine slides evokes a spiritual sense of the fleetingness of life.

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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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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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