Art

Black Art: In the Absence of Light | Review – The GATE

Published

4 years ago

February 8, 2021

Black Art: In the Absence of Light is an eye opening, albeit lightweight look at how one revolutionary gallery exhibition was able to change the history of visual arts. Sam Pollard’s documentary explores various visual arts from a thoughtful, candid, and careful perspective, but Black Art: In the Absence of Light doesn’t have enough time and space to fully represent a broader range of history and influence. Skewing more contemporary than one might expect, Black Art: In the Absence of Light is an example of a good movie that could’ve been a great one, or possibly an idea better suited to a series.

Black Art: In the Absence of Light is built around Two Centuries of Black American Art, a travelling exhibition curated and created by artist and historial David Driskell (who sadly passed away from COVID-19 last spring, but appears here in a major capacity). It first debuted as part of the American 1976 bicentennial celebration in Los Angeles, where it was an immediate success. At the time, it was one of a minuscule number of exhibitions that showcased works by black artists; certainly the most notable outside of the ill received Harlem on My Mind exhibit at The Met in NYC from 1968, which showed how different an exhibition of POC art could come across when curated by white people at the time. Driskell’s exhibition would travel from Los Angeles to Atlanta, Dallas, and Brooklyn, continuing to make a major impact. Without Driskell’s exhibition, many of the artists selected for it would never be seen by as large of a public audience.

Pollard (Atlanta’s Missing and Murdered: The Lost Children) spends a lot of Black Art: In the Absence of Light getting to know Driskell, who remained a passionate artist and advocate for black culture until the end. Driskell is such a charismatic, warm, and intelligent person that Pollard could’ve built an entire documentary solely around his contributions to the visual arts, both as a creator of collages and as an educator and curator. But just as Driskell intended to place a spotlight on black artists from a number of varied disciplines, Pollard’s film attempts to do the same.

Artists who were showcased in Driskell’s landmark exhibition – like Kerry James Marshall and activist Faith Ringgold – talk to Pollard about how revolutionary such a show was for the time, and how much it meant to them to participate in it. Black Art: In the Absence of Light revolves around an exhibition that has tremendous staying power today, with the book that spawned from it continuing to inspire contemporary artists who were either too young to attend or who hadn’t been born yet. The exhibition offered the unequivocal ownership and interpretation of black stories and art for the artists contained within it, something that can still be seen in the rise of black collectors and curators (like Kasseem Dean, a.k.a. record producer Swiss Beatz, who gives an exceptional interview here) who try to make sure that black culture remains visible for black audiences. Despite the fact that black representation in galleries and museums currently stands at just over 1% of what’s on display (with overall POC representation hovering around 15%), the likes of Driskell and Dean keep proving that there is an audience starved to seem themselves portrayed in the visual arts.

This is where Black Art: In the Absence of Light excels greatest; in showing that the demand and fight to be represented remains at an all time high. Where it falters, however, is in an overall lack of focus and a more contemporary slant. While Pollard does a great job of showcasing contemporary and modern artists from the late 1960s until the modern era, Black Art: In the Absence of Light largely ignores the first hundred years of the two centuries Driskell exhibited. It might be a choice to focus on such a time period because interview subjects are still available to speak to their experiences, but there’s a distinct sense that the artists who might have been the most obscure when the exhibition was created are destined to remain that way. The only subject in Pollard’s film that bridges that generational gap the best arrives in the final stages of Black Art: In the Absence of Light, when multidisciplinary artist Theaster Gates effortlessly ties things together all on his own.

Black Art: In the Absence of Light looks and moves in ways similar to a PBS documentary; something that’s ambitious in scope, but not necessarily style. Pollard’s interviews are outstanding, and the subjects are well selected, but the documentary as a whole has a scattered feeling to it; one that skews a lot more modern than viewers could be expecting from a look at an exhibition that covered two centuries. There’s also not a lot about the exhibition itself in comparison to the individual artist profiles, which is a small complaint when one remembers that it’s the artists that matter most in the first place. It’s a film that picks and chooses where it wants to take its discourse, and while the content is fine, the assembly feels hurried, right up to its strangely abrupt ending.

Black Art: In the Absence of Light might be dismissed by some as a dry exercise, but the stories contained within it are vital and worth preserving. It’s also a single volume documentary that would be better suited to a longform series. There’s so much more to explore and discuss within Black Art: In the Absence of Light that it left me wanting a lot more than the film could provide. I always love when a film makes me want to learn more about its subjects, and it’s probably a good sign that I didn’t want Pollard’s documentary to end as soon as it does. But it’s also the sort of work that demands a follow-up.

Black Art: In the Absence of Light premieres on Crave and HBO in Canada and HBO Max in the U.S. on Tuesday, February 9, 2021 at 9:00 pm EST/PST.

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

Published

9 hours 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

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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