Art

How art helps us make sense of COVID-19's incomprehensible toll – National Geographic

Published

4 years ago

November 18, 2020

“Look at a single flag,” artist Suzanne Brennan Firstenberg asks visitors to her art installation in Washington, D.C., a field with more than 248,000 white flags rippling in the breeze—one for each person who has died from COVID-19 in America.

“Now conjure up a story. Think of it as a school teacher who just lost her life,” Firstenberg says. She paints a picture of all those who would be stricken by the teacher’s death: her family, students, neighbors, co-workers, and the medical professionals who tried to save her. “Try to hold all that grief—and then look up and multiply,” she says, referring to the tens of thousands of flags before them.

The United States is quickly approaching 250,000 deaths from COVID-19, although the true number could be much higher due to missed diagnoses, indirectly related deaths, and other classification issues. As the death toll becomes increasingly difficult to comprehend, people across the country, including artists like Firstenberg, are doing what they can to humanize the statistics and create spaces for mourning. (Here’s where COVID-19 cases are increasing and decreasing.)

Since her exhibition opened on October 23, Firstenberg and a group of volunteers have planted roughly a thousand small surveyor flags daily to keep up with the rising number of deaths. Today, the banners fill the three-and-a-half-acre field across the street from Robert F. Kennedy Memorial Stadium and are now spilling over into nearby medians. Firstenberg has ordered nearly 20,000 more flags in order to have enough by November 30, when the exhibit closes.

“People needed a place to come. Even if they couldn’t come here physically, they needed an emotional place to understand that their loved one was acknowledged,” she explains. “That’s what this art exhibition is all about. It is trying to have us understand that we really are in the midst of the greatest American tragedy most of us have had in our lifetimes.”

Calvin Washington discovered the project weeks ago while on his way to work for the city’s Department of General Services. Nearly every day since he has stopped by to plant a handful of flags and pray for those who have died, including some of his military friends.

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Calvin Washington kneels to pray after planting a handful of flags in an art memorial to COVID victims on November 13, 2020. “This is my way of saying, ‘We miss you. We are still going to live on, but you’re not forgotten.’ That’s why I plant flags every day,” he says.

Photograph by Sydney Combs, National Geographic

“This is my way of saying, ‘We miss you. We are still going to live on, but you’re not forgotten.’ That’s why I plant flags every day,” he says. “I saw two tours in Iraq. But look at this. This is like a combat zone. This is a lot of deaths.”

On the west side of the field, a billboard announces the title of the art installation, “In America, How could this happen…,” along with the current death toll. A small patch of 25 flags sits to the right of the billboard: one for each person who died from COVID-19 in New Zealand, widely praised for stanching the spread of the virus by adopting a strict lockdown early in the pandemic. To the left stands 1,675 flags: the number of Americans who would have died if the country had adopted New Zealand’s approach, adjusting for population differences.

“They wore their masks, they did their social distancing, they did their quarantining,” Firstenberg says of New Zealanders. “They did it right because they respected each other enough to do it for others, if not for themselves.” (To end this pandemic, we must trust science.)

Memorials across the country

Projects like Firstenberg’s have been happening across the country since the spring. Throughout April, a Vietnam veteran in California played “Taps” at sunset to honor those who died each day. In May, people from around the country read the names of COVID-19 victims on a YouTube livestream for 24 hours straight. In August, the city of Detroit created a memorial drive lined with nearly 900 photos of the 1,500 Detroit residents lost to the virus since the pandemic began.

In Sherman Oaks, California, 13-year-old Madeleine Fugate looked to the AIDS Memorial Quilt for inspiration when completing a COVID-19 community action project for her history class final. With over 48,000 panels, the 35-year-old folk art piece honors more than 100,000 individuals who died due to complications from AIDS.

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The AIDS Memorial Quilt’s 21,000 panels were displayed on the National Mall in Washington, D.C., on October 10, 1992. Today the quilt weighs 54 tons, has more than 48,000 panels, and honors more than 100,000 individuals who have died due to complications from AIDS.

Photograph by Shayna Brennan, AP

“When I was trying to figure out what I was going to do, my mom told me how she had worked on the AIDS quilt. Because she had lost someone, the AIDS quilt helped her heal and accept that he was gone. And I wanted that too,” Fugate says.

Word got around that Fugate was looking for quilt squares in mid-May. To date she’s received more than a hundred eight-by-eight-inch pieces of fabric dedicated to people who have died from COVID-19. But one has been weighing on her mind: a simple white square with a photo transfer of a young girl. It’s from a woman who wanted to memorialize her 13-year-old daughter, Anna.

“I’m 13 and a lot of people I know are 13. When I hear about someone who’s my age who has died from a virus, it’s really sad. It’s also kind of a wakeup call that everyone can catch the virus,” she says. “It’s really a beautiful square, and she seems like she had a really happy life.”

When it reopens, the California Science Center plans to display one of Fugate’s panels for at least a year. Eventually Fugate hopes to gather one square from every person who has died from COVID-19 and then share the quilt around the world.

“If we forget about all these people that have died, it’s like we’re losing a little bit of humanity,” she says. “You really understand, when you see the squares and get to hold them in your hands, how much these people meant to the people sending the squares.”

‘I miss you’

“There’s a lot of unreconciled grief and pain out there,” says Randy Hollerith, dean of Washington National Cathedral in D.C.

Since COVID-19 has prevented families from gathering for traditional funerals and church services, the National Cathedral has created other opportunities for people to grieve. Every Saturday the church holds a virtual service where clergy members read 70 to 150 names of those who have died from the virus. On average 15,000 people watch the stream.

When the death toll reached 200,000 in September, the cathedral marked the solemn occasion by ringing its 12-ton bell 200 times—one toll, every six seconds, for every thousand souls who have died.

“The bell would ring and it would echo and resonate out,” says Hollerith. “It was powerful to think in that silence, in that moment in between the next ring, of those thousand souls who have lost their lives. It became a mournful, poignant way for people to stop, take note, and pay attention.”

For Firstenberg, recognition is what makes memorials to the lost healing. “Even in death, we need to be seen,” she says, “because it suggests value—that the person is valued.”

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Firstenberg encourages visitors to her art installation to write the names of loved ones who died from COVID-19 on the flags. “Even in death, we need to be seen,” she says, “because it suggests value—that the person is valued.”

Photograph by Guglielmo Mattioli, National Geographic

“This is going to be with us for a very long time, even after the immediate crisis finally ends,” says Gwen Dillard, a D.C. local who was visiting Firstenberg’s exhibit for the second time. “We’re going to be permanently changed in some ways by this.” (Researchers are unsure whether pandemic ‘coronababies’ will live with long-term trauma.)

As the pandemic grows, so too does the number of people touched, however tangentially, by the tragedy. Firstenberg’s installation will continue to keep count with more flags, many bearing the names of loved ones written in by visitors. Some include the day the person died and a short biography. Overwhelmingly, the flags seem to say “I miss you.”

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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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