Art
Art that goes beyond screen and scale – ArtsHub
The pandemic has offered us all a moment to re-gear, not only how we work, but how we think about the way we engage with the world around us – and what ‘impact’ looks like.
This is not new territory, however, for Blue Mountains artist duo Claire Healy and Sean Cordeiro. In a new exhibition charting a decade of their practice, they explore themes of obsolescence, collective endeavour and the place of the individual within complex systems.
After five months of closure due to COVID restrictions, the Blue Mountains Cultural Centre (BMCC) will present, Post-haste, which for its sheer scale alone, will be testament to the impact art can have on a viewing public.
Rilka Oakley, curator of the exhibition, told ArtsHub: ‘It is massive! It’s like every work is monumental and almost all are floor to ceiling.’
Take for example Par Avion (2011), which is comprised of a Cessna 172 airplane dissected into 70 pieces to enable it to be posted and reassembled at its destination, taking up the impressive volume of a 5 x 11 meter vertical footprint.
Oakley said the point made by the installation is not lost in our new reality, where flights have been grounded and the physical – palpable – engagement with art in a space has been denied us for so long. ‘It towers over the viewer, reminding us of the impossibility of flight but also the irony of re-flighting a decommissioned plane via the postal service,’ said Oakley.
She continued: ‘The brilliance of Healy and Cordeiro is their ability to re-imagine everyday objects into playful critiques of serious issues. They aren’t limited by mediums, or even practicalities, when conceiving their works, many of which require substantial involvement from other people to manifest.’
She added that it was a privilege to reopen the centre with such an important exhibition featuring two internationally renowned artists who call the Blue Mountains home.
WHAT IS POST-HASTE?
Post-haste has long fascinated the artists, and takes its cue from Paul Virilio’s concept of Dromology, which investigates how the speed at which something happens may change its essential nature. It is often used when considering the structuring of society in relation to warfare and modern media, with Virilo explaining that what moves with speed quickly comes to dominate that which is slower.
‘Possession of territory is not primarily about laws and contracts, but first and foremost a matter of movement and circulation,’ writes Virilo. So what happens when nature – or a pandemic – pulls on the handbrake? ask Healy and Corderio.
They believe that this great pause for thought we have been dealt – after a period of great immediacy – brings everything into sharp contrast. As a result, many of the works across this exhibition suggest future scenarios.
A great example is a suite of kites made from helicopter parts. The artists were due to travel to Japan when the pandemic struck, and were literally grounded.
Oakley said: ‘The agility with which the pair adapted to these constant changes, and still produced major new works, reveals their unique practice for what it is – an ability to assess an ordinary object (as subject) and transform it into a work of art layered with meaning. Their practice often involves a process of reduction until a material or object’s essence, or language, is revealed.’
‘How we perceive art and how we see icebergs are pretty similar. It’s common knowledge that only a tenth of an iceberg can be seen … The experience and the creation of art has a pretty similar ratio.’
Claire Healy and Sean Corderio, artists
Complementing a number of the pair’s earlier sculptural works compositing Lego and IKEA elements into artworks, a number of new pieces springboard from these materials into new thinking for our times.
Working with local schools in the Blue Mountains, the artists invited students to create A4 Lego size panels, which they have extended upon in lockdown to create the work Block Party. It is complimented by a further new work, Epicormic Growth, using outdated smart phones, where students painted landscapes upon the ‘screen’ – commenting on its role as a contemporary canvas usurping the natural world that we physically move through.
It has an uncanny connection of messages with another new work for the exhibition Mayday (2021), a large-scale Piper aircraft wing that has been ‘sticker-bombed’.
Oakley told ArtsHub: ‘The materials are not used flippantly. Every element, every action is considered. They are not rushing or using materials for the sake of it. They are chosen for a purpose – more than what we would associate with that material.’
SEAMLESS COLLABORATION
Collaboration is a very contemporary word in art circles, pulled out for cross-medium or cross-venue projects. But for Healy and Corderio collaboration is seamlessly embedded in what they do.
Oakley explained: ‘These artists are making work that seems impossible – they are not limited by questions, by things too hard, too big, or too expensive. Their imaginations reach beyond those boundaries.
‘They are interested in the mass and form of things, and then they turn things on their head, throwing out all expected norms and tropes of a certain material. Working with them you see this – they jump from A to J, to E to Z – they are incredibly in sync in the way they think and produce.’
Healy and Corderio added of their partnership: ‘Artistic collaborations are not surprising. What is surprising is how few artistic collaborations are actually declared! There are too many ghostwriters out there. Making artwork together is easy! Hell, people even bring up children in pairs, how hard can it be?
‘We navigate each other’s energy levels, natural talents and drives. Hopefully these shortcomings and strengths meld together to create a Voltron-like unit: greater than the sum of its parts,’ they concluded.
Claire Healy and Sean Cordeiro: Post-haste is showing at Blue Mountains Cultural Centre, 30 October 2021 – 16 January 2022
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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
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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
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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