The Art Dealers Association of America has named the 78 galleries that will participate in its upcoming 2022 edition, scheduled to run at the Park Avenue Armory from November 3 to November 6, with a preview day on November 2.
As the organization marks its 60th anniversary this year, it will mount the largest-ever iteration of its acclaimed Art Show, which will bring together blue-chip enterprises like David Zwirner, Lisson, Galerie Lelong & Co., Nara Roesler, Kasmin, Petzel, Matthew Marks Gallery, and Sean Kelly.
ADAA members that have not shown at the Art Show in recent years will also return, including Lehmann Maupin, Paula Cooper Gallery, Mitchell Innes & Nash, and Anton Kern Gallery. Several new ADAA members will also participate in this edition, including Almine Rech, Gavlak, Derek Eller Gallery, and Parrash Heijnen.
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In a statement, dealer Susan Sheehan, who chaired this year’s selection committee for the Art Show, said, “Despite the saturation of art fairs around the world, the ADAA continues to be the favorite fair of many dealers—myself included—because of its intimate scale, proximity to collectors, and the genuine sense of camaraderie that is felt between participating galleries. This year, the 60th anniversary has generated palpable excitement amongst ADAA members, as it’s a clear signal of our strength and maturity as an organization.”
Additionally, the forthcoming edition will also feature 55 solo presentations, such as Raul Guerrero at David Kordansky Gallery, Ricardo Brey at Alexander Gray Associates, Toshiko Takaezu at James Cohan, Robert Morris at Castelli Gallery, Lynda Benglis at Cheim & Reid, and Juanita McNeely at James Fuentes.
For this edition and all future ones, the ADAA has developed a new initiative called the Sustainability Roadmap, which will focus on how the production of the fair impacts climate change. According to a release, “This initiative aims to chart a course toward analyzing the environmental significance of such events, and by identifying short, mid, and long term goals, to encourage greater sustainability practices going forward, not only for The Art Show, but for art fairs worldwide.”
Founded in 1989 to benefit the Henry Street Settlement, a social services nonprofit in the Lower East Side, the Art Show has raised more than $35 million for that organization over the past three decades. All ticket sales as well as proceeds from the VIP preview go to Henry Street.
In a statement, Maureen Bray, the ADAA’s executive director, said, “I am so proud of the ADAA’s partnership with Henry Street Settlement. Especially now, at a time when the art world is endeavoring to create more equitable spaces, The Art Show has continually benefitted one of the longest running social services, arts, and health care organizations in the country for the past 35 years and continues to collaborate with the Settlement in new and exciting ways.”
The full exhibitor follows below.
Berggruen Gallery (San Francisco) Peter Blum Gallery (New York) Castelli Gallery (New York) Chambers Fine Art (New York) Cheim & Read (New York) James Cohan (New York) Thomas Colville Fine Art (New York and Connecticut) Paula Cooper Gallery (New York) Betty Cuningham Gallery (New York) Danziger Gallery (New York and Los Angeles) DC Moore Gallery (New York) Tibor de Nagy (New York) Andrew Edlin Gallery (New York) Derek Eller Gallery (New York) Debra Force Fine Art (New York) Peter Freeman, Inc. (New York) James Fuentes (New York) GAVLAK (Los Angeles and Palm Beach) Marian Goodman Gallery (New York) Alexander Gray Associates (New York and Germantown) Garth Greenan Gallery (New York) Howard Greenberg Gallery (New York) Hirschl & Adler Modern (New York) Nancy Hoffman Gallery (New York) Rhona Hoffman Gallery (Chicago) Hosfelt Gallery (San Francisco) Susan Inglett Gallery (New York) Nathalie Karg Gallery (New York) Karma (New York) Kasmin (New York) June Kelly Gallery (New York) Sean Kelly (New York and Los Angeles) Anton Kern Gallery (New York) Tina Kim Gallery (New York) David Klein Gallery (Detroit and Birmingham) David Kordansky Gallery (Los Angeles and New York) Krakow Witkin Gallery (Boston) Lehmann Maupin (New York) Galerie Lelong & Co. (New York) Lisson Gallery (New York and Los Angeles) Locks Gallery (Philadelphia) Jeffrey H. Loria & Co., Inc. (New York) Matthew Marks Gallery (New York and Los Angeles) Mary-Anne Martin | Fine Art (New York) Barbara Mathes Gallery (New York) Miles McEnery Gallery (New York) Anthony Meier Fine Arts (San Francisco) Mitchell-Innes & Nash (New York) Jill Newhouse Gallery (New York) David Nolan Gallery (New York) Gallery Wendi Norris (San Francisco) Jonathan Novak Contemporary Art (Los Angeles) parrasch heijnen (Los Angeles) PATRON (Chicago) Petzel (New York) Almine Rech (New York) Ricco/Maresca Gallery (New York) Yancey Richardson (New York) Nara Roesler (New York) Michael Rosenfeld Gallery (New York) Mary Ryan Gallery (New York) Schoelkopf Gallery (New York) Susan Sheehan Gallery (New York) Shoshana Wayne (Los Angeles) Sicardi | Ayers | Bacino (Houston) Sikkema Jenkins & Co. (New York) Fredric Snitzer Gallery (Miami) Sperone Westwater (New York) Sprüth Magers (New York and Los Angeles) Cristin Tierney Gallery (New York) TOTAH (New York) Leon Tovar Gallery (New York) Van Doren Waxter (New York) Von Lintel Gallery (Santa Monica) Meredith Ward Fine Art (New York) Michael Werner (New York) Yares Art (New York and Sante Fe) David Zwirner (New York)
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
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.
