Art

Air-Powered Art From a Newly Minted Winner of a ‘Genius Grant’

Published

2 years ago

October 19, 2022

After a detour into publishing, Paul Chan offers recent works in a show titled “Breathers” at the Walker Art Center in Minneapolis.

The title of a forthcoming exhibition at the Walker Art Center in Minneapolis, “Paul Chan: Breathers,” has at least several meanings, reflecting the artist’s talent for wry understatement.

For starters, it refers to one of the series by Mr. Chan featured in the show, which has about 40 works and will be on view Nov. 17 to July 16, 2023.

The nylon figures in works like “Katabasis” and “Trithagorean Hoga” (both from 2019) are inflated by fans — breathing, in a way — a concept that will be familiar to anyone who has seen flailing forms in front of various roadside businesses.

“I’m glad the Walker wants their space to feel like a used car dealership,” the Brooklyn-based Mr. Chan joked recently.

A light touch is one of his signatures. “There’s a lot of humor in his work,” said Eleanor Cayre, an art collector and adviser in New York City with the Cayre Art Group.

A closer look at the fan-powered pieces, however, reveals that they have a fine art inspiration — Henri Matisse’s “The Dance” and other works by the French master — with the linked figures seeming to grasp each other as they move.

the artist and Greene Naftali, New York

Mr. Chan’s way of mixing high and low culture was rewarded last week when it was announced that he is a newly minted MacArthur Fellow, the award from the John D. and Catherine T. MacArthur Foundation that comes with $800,000 over five years, and the popular label of a “genius grant.” (In a text message response to being congratulated, Mr. Chan said that in his experience, being called a genius meant that someone is “making fun of you.”)

Art lovers who want to learn about his work before November can see some of it at the fair Paris+ by Art Basel this week, in the booth of the gallery Greene Naftali, where three works on paper and two sculptures by Mr. Chan will be on view.

For Mr. Chan, 49, “Breathers” also refers to the idea of a respite.

He had established a name for himself for his pointed video installations and animated pieces, including 2004’s “My birds … trash … the future.” But in 2009 he decided to check out of the art world, a break that lasted several years.

“It felt like a job, and I just didn’t want a job,” said Mr. Chan, who went into publishing, starting the company Badlands Unlimited.

Todd Heisler/The New York Times

In the current era, his breather may resonate with viewers.

“We started thinking about the show in 2020, before pandemic burnout and the great resignation were terms yet,” said Pavel Pys, the Walker curator who organized the show. “But it became impossible not to think about it through that lens.”

Superficially, at least, Mr. Chan’s current work does not seem to relate to his earlier art.

As Mr. Pys put it, “If you gathered what he has made since 1998, it would look like a group show.”

He added, “What I admire about Paul is that he’s a shape-shifter.”

Todd Heisler/The New York Times

Collectors have been drawn to his thoughtful approach, and the fact that Mr. Chan does not specify every meaning.

“You have to sit with his work,” said Ms. Cayre, who has bought 10 pieces by the artist, and has donated one to the Walker. “It’s not the easiest work if you don’t have the time to appreciate it.”

But Mr. Chan sees continuity in his career.

“It’s really my way of animating without having to look at a screen,” he said of the movement in the “Breathers” series.

Years spent at his computer making videos took a toll. “I just couldn’t do it anymore,” Mr. Chan said.

Another series in the Walker show features sculptures made of electrical cords and outlets that have been strung together, which the artist said was another attempt to break down his earlier projections to their component parts, referring in this case to the power source.

That his show is at the Walker also represents a circling back for Mr. Chan, who grew up in the Midwest, in Omaha.

“It’s not a homecoming, but it’s close,” he said, recalling childhood visits to Minneapolis, about a six-hour drive northeast of Omaha, during which he visited the museum.

Mr. Chan was born in Hong Kong, and his family’s reason for moving to the United States highlights yet another meaning of the show’s title.

“I was very sick as a kid,” Mr. Chan said. “I had severe asthma.”

At one point, doctors told Mr. Chan’s mother to start planning his funeral, a fact that she later shared with him.

“As an asthmatic, you’re very aware of what it means to breathe,” he said. “And not to breathe.”

the artist and Greene Naftali, New York

To escape Hong Kong’s air pollution, the family moved to Iowa, then Nebraska. After high school, Mr. Chan earned a bachelor’s degree in fine arts at the School of the Art Institute of Chicago.

After college, he mixed teaching with activism for a while, and started making films and videos. He moved to New York in 1999, getting a job at Fordham University handling audio and video equipment and teaching there. He also received an M.F.A. from Bard College.

Some of Mr. Chan’s work from the early 2000s dealt critically with the American invasion of Iraq; he traveled to Iraq at the end of 2002 and stayed for a month.

“When I came back I spoke at every school I could about why we shouldn’t be in this war,” he said.

In 2003 the dealer Carol Greene of Greene Naftali saw one of his videos — “Happiness (finally) after 35,000 years of civilization” — and put it in a group show.

Inspired by the work of the outsider artist Henry Darger, it got a rave review in The New York Times, with the critic Roberta Smith calling it “brilliantly imagined.”

In the years since, Mr. Chan has had a solo show at the Guggenheim Museum in 2014, which came along with his winning the Hugo Boss Prize that year.

But as his break from creating art suggests, Mr. Chan has never had anything close to a career plan; leaning into unpredictability is also a feature of the “Breathers.”

“Their movement is precisely choreographed in one way,” Mr. Pys said. “But there’s also this element that is out of control.”

Several paintings in the show, including “Towel (Trithagorean moment)” (2019), are inspired by Matisse’s late-career “Cut-Outs.”

Mr. Chan said that the “Cut-Outs” — a form that Matisse developed with scissors and paper when he was bedridden late in life — were appealing because of how much of a rupture they were from his earlier work, as well as the way the shapes do not fit perfectly together.

“We want all our parts to come to a whole, but life is rarely that,” Mr. Chan said.

“I’m interested in our capacity to make friends with the irreconcilable and the contradictory.”

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Art

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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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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