Art

Art star Gabriel Orozco's pandemic: a screen-friendly opening and new introspection – Reuters Canada

Published

4 years ago

October 8, 2020

By David Alire Garcia

MEXICO CITY (Reuters) – There was no formal opening or personal interaction with fans. Instead, Gabriel Orozco, the Mexican artist with a continents-spanning perspective, promoted his new collage watercolors with a dramatic, screen-friendly teaser.

Mexican artist, Gabriel Orozco, gestures during an interview with Reuters in Mexico City, Mexico October 3, 2020. Picture taken October 3, 2020.REUTERS/Carlos Jasso

Orozco created the several dozen works while in quarantine in Japan earlier this year, but he oversaw their installation at a top-tier Manhattan gallery the way millions now work: virtually.

In a first for Orozco, the collection – containing the watercolors, as well as larger abstract paintings created mostly in Mexico – debuted last month without a glitzy public opening.

There was no chance for admirers or critics alike to interact with the artist, renowned for transforming ordinary items into poetic flourishes since the early 1990s.

So, his new paintings were publicized with a slick, video teaser set to dramatic music. youtu.be/PyD1-WWyJ6A

Forced to rely more than ever on tools like Zoom and Skype across a range of current projects, the son of a leftist Mexican muralist says he sees an evolving transformation of creativity born from the upheaval of global pandemic.

“There is the opportunity, probably, of a new generation to emerge, a new way of working to emerge, an alternative way of living for everybody to be reconsidered,” he said, sitting just off the lush courtyard of his Mexico City home.

An hour earlier, squatting down with pencil in hand, he discussed finishing touches to block sculptures he calls dice with his collaborator, Mexican stonemason Juan Fraga, who he had met face-to-face for the first time in months.

Before the pandemic, the two would meet every couple of weeks to refine the layers of whimsical geometric designs carved into the blocks.

Slideshow ( 4 images )

Orozco said his art, spread generously over sculpture, canvases, human and animal bones, minimalist installations, and more, took a mild hit from restrictions on travel and personal contact.

“Like many people, I start to suffer this kind of psychological effect of being in the screen all the time,” he said, calling it “very distracting.”

More generally, Orozco expects more changes emerging from the pandemic’s disruptions, even if its ultimate impact on creativity and inspiration is not yet clear.

ROLL OF THE DICE

Orozco, 58, sees the same changes that are upending how people work – less face-to-face contact and more screen time – also making their mark on the museums and commercial art galleries he knows well.

“In this new art world, there’s going to be more and more of a dependence on the distribution of works with digital media, and so the gallery, all the galleries, are making much more of an effort,” he said.

At the same time, his latest work appears to have taken on a more introspective turn. He noted that for his new watercolors he allowed himself an indulgence he does not usually seek.

“Psychologically (the paintings) were interesting because they became a very, I call them a little neurotic, passionate, almost therapeutic, which is something I don’t like to do in art,” he said.

Orozco argues that the social isolation and anxiety felt by many over the past few months is already changing how we create and communicate.

“The pandemic is a moment of a crash of activity that accelerates the crisis that was coming from before,” he said, a few hours before he was set to fly back to Japan.

The artist, who has also spent extended stints in London, Paris, and Bali, said less travel had been something of a relief.

“That was okay in a way because it was not so bad to slow down,” said Orozco, who studied art in Mexico in the 1980s before leaving for Spain, Brazil and the United States.

Last year, Orozco was tapped by Mexico’s president to oversee a more than $400 million revamp and expansion of Mexico City’s Bosque de Chapultepec, a project he says will focus on the sprawling urban park’s ecological restoration and social interconnectedness.

Surrounded by maps rolled out on tables and three-dimensional models of the park, he said he expects to finish the master plan by December, but has otherwise pushed off all other projects until 2022.

And he offered a related pandemic coping mechanism.

“I don’t plan too much ahead.”

Reporting by David Alire Garcia; Editing by Frank Jack Daniel and Rosalba O’Brien

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Art

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

Published

1 day 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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