Art

Collector Suzanne McFayden on Finding Art That Moves the Soul

Published

2 years ago

January 4, 2023

Suzanne McFayden with a painting by Julia Jo. Photo by Olivia Frierson. Courtesy of Suzanne McFayden.

Few collectors have minds as crystalline as Suzanne McFayden. Serving as board chair of the Blanton Museum of Art in Austin, Texas, and an esteemed patron at the Studio Museum in Harlem, her effect can raise a vibration. With her honeyed lilt and resonant inflections, immediately one feels compelled to sit up straight. McFayden’s snatch-your-spirit elegance is a balm.

“I’m only interested in works that move the soul,” McFayden said of her approach to collecting. “I call it a quickening, usually a blood-rushing sensation I feel in my stomach. It’s an urge that makes me want to get closer, one that lures me in to learn or ask questions. That’s the feeling I enjoy the most, and it really doesn’t happen often.”

McFayden, while sitting in front of a breathtaking mural called Stay Focus by Delphine Desane, recalled the first time that this “quickening” took hold. She was at Art Basel in 2010, where she encountered a lithograph of the Caribbean sea by Japanese artist Hiroshi Sugimoto. When she learned that Sugimoto was inspired by his time in Jamaica—McFayden’s place of birth—she felt as if he were speaking directly to her. It’s this kind of communion that inspires each of her purchases.

McFayden’s first “serious art purchase” was in 2014: I Have Peg Leg Nightmares by Kenyan artist Wangechi Mutu. The wondrous watercolor collage depicts a woman looking over her shoulder, hands clasped primly in leather gloves, wrists snaked in diamonds. The woman is nude, one leg severed above the knee, as blood spills gorgeously like strewn rose petals.

Works by Deborah Roberts, Adrienne Elise Tarver, and Delphine Desane, hung on a Mural by Diego Miro. Photo by Olivia Frierson. Courtesy of Suzanne McFayden

Suzanne McFayden with a painting by Bony Ramirez. Photo by Olivia Frierson. Courtesy of Suzanne McFayden.

“At the time my kids found the portrait a little scary,” McFayden recalled, laughing. “But I fell in love instantly. Mutu’s works reflect the conditions that many Black women, across the diaspora, find themselves in. Even though we may be wounded, we still go on and we often find ways to make beauty of the pain we’ve endured.”

McFayden is fixated with internal alchemy, experienced through the depth of feeling. Rather than rush to consume the next best thing, McFayden is interested in forging personal connections and exploring deeper histories with works that will evolve with her over time.

McFayden’s collection is an amalgam of her ever-changing moods, sensations, and dreams, from a neon text by British artist Tracey Emin that reads “TRUST YOURSELF”—an aphorism of inestimable value given the dismemberment facilitated through mass media—to dreamy photographs by Ethiopian American artist Awol Erizku.

A true Taurus, she has an affinity for works that conjure beauty. McFayden’s definition is not characterized by formal aesthetics, however, but by a kind of internal ignition that charges the senses. For example, in her hydrotherapy room, a Noah Davis nude hangs on the wall, a reminder to embrace in her own sensuality.

Suzanne McFayden with a painting by Jerrell Gibbs, hung on a mural by Diego Miro. Photo by Olivia Frierson. Courtesy of Suzanne McFayden.

A faithfulness of “respecting her feelings” was also instilled in McFayden at an early age, she told Artsy: “I grew up around women who were always fully embodied, who claimed themselves with complete authority, women who were central to themselves. As a young girl, I wasn’t fully aware of how powerful their sovereignty was, especially in relation to the legacy of colonialism and enslavement that surrounded us. In hindsight, I can understand how vital it was for me to have women on both sides of my family who were steadfast regardless of their environment or circumstances.”

As a writer and avid reader, McFayden is interested in the “alchemy of truth” that is distilled through art.

Witnessing Mutu responding to Constantin Brâncuși’s narrowed primitive gaze which inspired his “African” works, or learning the source of inspiration behind the young Black boy in Titus Kaphar’s portrait Enough About You, had a revelatory impact on her: “I don’t like art that’s trivial,” she said. “It’s important to me that art demands an emotion, a memory, that in some way it touches the lives of other people or expands a conversation.”

Still, this isn’t to suggest that McFayden is solely partial to severely sophisticated modernist masterworks. Simple, minimal art can be equally stimulating. One of her recent purchases was a work by visual artist Kenny Rivero. “Every time I see his work it brings a smile to my face,” she said. “There’s something playful in his exhibitions.”

Other artists who’ve helped nourish McFayden’s creativity include Alma Thomas, whom she described as a “force offering a way forward,” and Joan Mitchell, “an artist of real power who continued making work regardless of what was happening around her.” Both, she said, were eons ahead of their time: Thomas and Mitchell sizzled with élan and sock-it-to-me styles, bulldozing their way through eras of feminine domestic subjection. Paving a way for our current cultural reckoning, nothing excites McFayden more than the seismic shift across the art world today.

Suzanne McFayden with a painting by Delphine Desane, hung on a mural by Diego Miro. Photo by Olivia Frierson. Courtesy of Suzanne McFayden.

“When I was a child growing up in Jamaica…the standard of beauty was typecast as one thing. I see much more self-love and self-acceptance which is exploding across the art world,” she said. “We’re witnessing Black artists reclaiming abstraction, allowing themselves to make work that is more radical, more political, and more fluid.”

One recent experience of this came during this year’s Venice Biennale; McFayden was moved to tears by the seismic showcases of Simone Leigh and Sonia Boyce and the ever-expanding fields of unity across cultures.

“We know that art is a pendulum, but this is not a moment, this is not a phase,” McFayden said. “I had a renowned art collector say to me, ‘I’ve never seen the American pavilion look as good as what Simone has done to it.’ When you see that sort of reaction live, it’s not being said out of tokenism. The elastic band isn’t just going to snap back into place. Of course, there’s fear from artists who aren’t of color and might feel as if they’re being squeezed out, but no…finally they’re being called to merit their spots.”

When we spoke with McFayden, she was rotating her collection for winter. A synchrony of works that match the winter season was called forth, with works from Deborah Roberts, Rachel Jones, Qualeasha Jones, Sheila Hicks and Adrienne Elise Tarver returning, though abstraction is the mood and medium of the moment.

McFayden continues to challenge herself to support in meaningful ways. Inspired by Agnes Gund and her efforts of selling works of art to fund causes, McFayden sees no value in graceless profiteering. Instead, she looks forward: “We can all do more, especially in these times, to support not only ourselves but to help our next generation.”

Killian Wright-Jackson

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Art

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

Published

2 weeks 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

3 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

1 month 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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