Art

A tiny art museum spotlights big names like Picasso and Goya – The Washington Post

Published

2 years ago

October 25, 2022

When Sarah Jesse was an undergraduate majoring in art history at Oberlin College, she spruced up her dorm room with an original painting by Robert Rauschenberg. She remembers paying $5 to rent the artwork as part of her school’s unusual (and deeply trusting) practice of lending items from its collection to aesthetically oriented students.

The loan had a profound impact on Jesse, who recognized that her college placed more value on the notion that art should be accessible to everyone than on liability concerns. Today she is the director of the Academy Art Museum (AAM) in Easton, Md., which has a similar mission of accessibility. Established in 1958 by six locals, the tiny museum has a permanent collection that holds works from such figures as Francisco Goya, Mary Cassatt, Ansel Adams and Pablo Picasso, along with contemporary artists like Zanele Muholi, Graciela Iturbide and James Turrell. And it stages regular exhibitions of artists who are closer to home.

The museum — where admission is just $3 for adults — hosts workshops on subjects ranging from plein-air painting to printmaking. To attract a younger cohort, its Emerging Collectors Circle offers museum members 45 and younger one signed, limited-edition print by the museum’s artist-in-residence. “It’s always been our mission for the museum to act as a window, to provide a view that looks inward as well as outward,” Jesse told me.

All of this in a town formerly known for sea merchants and farmers tucked away on Maryland’s Eastern Shore. I count myself a bit of a museum junkie, and I had never even heard of AAM before a news release recently landed in my inbox announcing a major show: “Fickle Mirror: Dialogues in Self-Portraiture.” It included a Warhol from the National Gallery of Art. I decided to make the two-hour journey from D.C. across the Chesapeake Bay Bridge to Easton, population 17,000.

The town is quaint to the point that I mistook the three-story museum for a bed-and-breakfast; its Queen Anne facade matches those in the rest of the downtown. But once inside, the vibe is much more mini-MoMA.

What’s not in its permanent collection comes from major loans. “Fickle Mirror” included an early work by Amy Sherald, who painted the portrait of Michelle Obama that was commissioned by the National Portrait Gallery; the painting of hers at AAM, which came from a private collector, was a haunting self-portrait, part of her master of fine arts thesis. Also featured in the show was a soaring painting by Nigerian-born artist Njideka Akunyili Crosby titled “I Refuse to Be Invisible.” The work — one of the largest in the exhibit — came from the Crystal Bridges Museum of American Art, founded by Walmart heiress Alice Walton. With a shared vision of bringing great art to rural spaces, Crystal Bridges — in Bentonville, Ark. — funded the considerable cost to transport the work to Maryland.

“Fickle Mirror” closed in early October, but the museum plans to fill the space with an exhibit called “Mary Cassatt: Labor and Leisure.” The project will ask viewers to see Cassatt’s paintings and prints — images of the social and private lives of women as well as the intimate bonds between mothers and children — through the lens of the present day.

“I know, from firsthand experience, how transformative [art] can be,” says Jesse, 42, who grew up on a dirt road in rural Michigan with parents who both worked in the automotive industry. As a teen, she visited the Detroit Institute of Arts, where in the indoor courtyard she stumbled upon Diego Rivera’s murals, 27 panels depicting the evolution of the Ford Motor Co. In Rivera’s portraits of workers, she saw her parents. “The idea that a picture could have the power to spark strong reactions in people — including protests by some museumgoers — had a huge impact on me,” she recalls. “Since I was 16, I knew I wanted to work in museums. It’s been my goal to direct a museum for decades.”

She arrived at AAM in June 2021, after stints at the Philbrook Museum of Art in Tulsa and the Los Angeles County Museum of Art. The museum already had a core audience, but Jesse and curator Mehves Lelic are hoping to draw the nontraditional museumgoer through their doors. “Of course, we need to meet people where they are,” Jesse says, “but we also want to open them up to new ways of looking at contemporary art. What is beautiful? What is art? What is interesting?”

Lelic, who grew up in Istanbul and is an accomplished photographer, says it’s paramount to support area artists who serve their community — among them Baltimore-based Hoesy Corona, who created a commissioned piece that hangs in the museum’s light-filled atrium. Corona’s piece alludes to both climate change and immigration; for me, it recalled Jacob Lawrence’s “Migration” series, 60 paintings depicting the journeys of millions of Black Americans who left the Jim Crow South in search of better lives elsewhere.

Another factor helps AAM to draw visitors: Since 2015, developer Paul Prager has single-handedly been transforming the sleepy town. His company Bluepoint Hospitality, which owns and operates boutique restaurants and businesses in Easton, has also backed many local nonprofits and provided funding for AAM’s shows.

It was downtown, in fact, where I bumped into an acquaintance, Maire McArdle, a mixed-media artist who, along with her husband and fellow artist Steve Walker, now lives in Easton. The last time I saw her, she was living in Bethesda, Md., and working as a design director. After 25 years in Bethesda, the couple moved to Easton. “It picked us,” McArdle told me. “We knew we wanted to be in an art-centric community.” And yet, they discovered AAM only after moving here. Soon, Walker was teaching ceramics at the museum. The couple has also taught photography classes together at AAM.

While the museum has laid down strong roots in Easton, its director and its curator regularly visit studios and art shows in Philadelphia, New York City and elsewhere. “We are always looking at what’s been already made and what’s currently being made,” Lelic says. Adds Jesse: “The dialogue between the two” — the art of the past, the art of the present — “is what excites us.” That’s all to the benefit of their audience: art lovers on the Eastern Shore — and beyond — who are waiting to be thrilled.

Cathy Alter is a writer in Washington.

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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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