Art

Art in the time of COVID-19: Finding ways to 'render the invisible visible' – News@UofT

Published

4 years ago

May 4, 2020

With much of the world locked down due to COVID-19, art and creativity has burst into living spaces through platforms like Zoom, livestreams and over social media – a development that does not surprise the University of Toronto’s John Paul Ricco, who says social upheavals and health crises has historically inspired artists.

“I do think this speaks generally to the value of art in all of its various forms, and that it is probably our principal and most developed way of being attuned to the world,” says Ricco, a professor in the department of visual studies at U of T Mississauga.

“It is a way to try to register, record and re-shape our perceptions and to really take stock. But also, I think art plays an incredibly important role in a moment when people are looking around and are really interested in art and humanities – and writing again – because when the world feels like it’s imploding, art and aesthetics are there to save you.”

Ricco, who has been on faculty at U of T Mississauga since 2006, is an art historian and queer theorist whose research closely examines the relationship between art and ethics.

Ricco’s 2014 book The Decision Between Us: Art and Ethics in the Time of Scenes argues that scenes of intimacy are spaces of sharing, but that they are also spaces of separation, which has a particular resonance in the current climate.

He says the present situation is a time to ask how we can find ways of connecting while in solitude – space that allows the social to happen, but also the capacity for people to figure out how to deal with being physically separated from others.

Read John Paul Ricco’s contribution in Tilting, a publication by the Blackwood Gallery at U of T Mississauga

Ricco points to past health crises that have led to exploring similar concepts in art, particularly the AIDS outbreak when he was an undergraduate student at New York University. That health epidemic in the 1990s influenced his path throughout his graduate studies and he became involved in AIDS activism, exploring ways in which contemporary artists were contending with the situation.

For example, Ricco curated a contemporary art exhibition in Chicago in 1996 titled Disappeared that brought together artists contemplating the question of representation in relationship to AIDS. There was the “disappearance” of the people who died from the disease, as well as the loss of aesthetics that resulted from not being able to fully represent AIDS in a visual form.

He also points to a past exhibit by artist Félix González-Torres that challenged the prohibitions on physical contact to avoid the spread of the disease.

When it comes to the current COVID-19 crisis, there is once again a warning to avoid physical proximity and it is also difficult to put a shape to the invisible virus. However, Ricco feels this is part of the challenge for visual artists: rendering the invisible visible.

He suggests we are all taking part in the process by our inadvertent choreography of physical distancing in our homes and out on errands or on walks.

“I think one of the most interesting things that art can help us contend with is exactly those things that cannot be seen and what we do with that difficulty or that problem,” says Ricco.

“We can imagine art being made in the midst and in the wake of the COVID-19 crisis that takes up this prohibition of physical proximity – touching and contact – and uses that as the way to explore what it means to be in physical proximity, to have contact and how art can be a kind of stage that enables people to engage with that. I think one of the things that has happened in the midst of this is that there is a whole new awareness of ourselves in the world and with others.”

Listen to an interview with John Paul Ricco on the View to the U podcast

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Art

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

Published

3 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

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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