Art

Perspectives on the Post-Postmodern: Memes as Political Art – Capilano Courier

Published

4 years ago

September 15, 2020

Tamia Thompson // Columnist

Despite being the most digestible way to consume information at the moment, memes take up a lot of space in our minds and daily interactions in 2020. Sometimes they just seem to exist in a humorous vacuum, but they are quite possibly the central force in post-postmodern art circulating political ideologies.

Collectively, all of the people using social media globally (including yourself) at any minute are contributing to the transference of over 41 million messages. Think about how many times you’ve seen a meme remade to change the message being given, like the “Change My Mind” meme that was originally a photo of a right-wing conservative podcaster. Now, think about how many TikTok videos you’ve seen where catchy music plays as a stranger tells you about political affairs? It can get confusing when we try to make sense of our screen time, but memes are impactful in how we have come to mock or react to ourselves and the powers that be. Diving into how we can expand our knowledge with memes, or the reiterated and relatable ideas we share with each other, can be a powerful catalyst for learning more about the world around us.

Digital culture and online communities have been churning out political art for the past decade. The expansion of online interfaces, from computers to phones, have enabled better content creation. I always have a difficult time trying to grapple with the fact that through all that we choose to virtually send and share, we leave little imprints everywhere we scroll when we remix and remake existing words and images to suit ourselves. In the creation and reiteration of memes, we often forget how their contexts can be morphed away from our intentions.

When people around the web talk about instances of digital blackface or the idea that there’s a broad and nonsensical appropriation of language happening with African American Vernacular English, for example, we see red flags thrown to investigate our behaviour in consuming all of the remixed content that we do. It’s beginning to ring truer every day that people don’t really think outside of themselves and their screens when they log on. The cloud, the void, or whatever you call what we often think to be a collective imaginary space holding our data ultimately acts as a vast echo chamber for our good, bad, and ugly thoughts.

The range that we’ve seen in political memes has brought on the notion that there are issues that are not meant to be made into jokes or memes at all. We’ve seen COVID-19, Indigenous land rights protests, and the Black Lives Matter protests all this past year. We are being consistently reintroduced to the idea that the oppression people face, the destruction of communities, and the coalition found in hardship are not meant to be trivialized for virality. So where do we draw the line between memes and political art in a helpful sense?

In order to employ respect in the dispersal of information that we push out and take in daily, it’s important to know where our intentions lie as well as where our impacts land. And in order to do that, we all need to take a look at our own relationships with the series of life-changing protests, demonstrations, and calls for effective human rights implementations that have transpired this past year and throughout history. Reflecting on the trivialization of Breonna Taylor’s murder, the greater response has been to denounce the disrespectful memes that commodify her name and death in half-hearted calls for justice. From BreonnaCon to the liberal notions of reform that have been watering down calls for police and prison abolition, it is unfortunate to say that virtue signals and effective activism are getting mixed up. As we reckon with injustice after injustice, we must recognize that there is no time or place to seek personal gain from the hardships endured by the marginalized. Seeking justice does not equate to seeking virality.

Contrasting much of the concrete work we acknowledge to be historic acts of protest such as sit-ins and rallies, is a unique moment for the Internet in the present. You don’t need to look far into your phone to see that people across the world are creating their own easily-consumable, pastel infographics for the purpose of dispersing information and encouraging political engagement. From accessible reading lists to bail fund websites, there’s been a drastic shift in the way social media users make and interact with political content. This is especially visible in the conversations we’re having right now about land rights, voting, race, citizenship, and tragedy. Giving empathy to our neighbours and the activists doing groundwork begins with listening before we output and regurgitate anything at all. Political progression through art and media begins with holding space for those experiencing the issues we’re fighting against and centering their needs.
In Canada, politics and policy have both inspired and been causation for the amplification of memes as a form of art. The anthropocene, for Canada in particular, is something we can’t reflect on without understanding what exactly it is: our current era and the consequences we’re now seeing of the human impression on Earth. The images, words, and videos we see now are increasingly reflective of that, whether they be a humorous meme pointing nihilistically at the end of the world or an Instagram post with 10 slides addressing . Hell, Canadians have been creating tons of memes for years that boost our opinions about climate justice while demonstrating just how divided our political landscape really is. Now, we must continue to call into question our own sense of belonging here through the content we create for ourselves as Canadians. this nation’s participation in the devastating effects of climate change. Hell, Canadians have been creating tons of memes for years that boost our opinions about climate justice while demonstrating just how divided our political landscape really is. Now, we must continue to call into question our own sense of belonging here through the content we create for ourselves as Canadians.

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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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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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