Kathy Grayson, owner of the Hole gallery in Los Angeles, enlisted other galleries, collectors and artists from across the city to put unseen treasures on view for her new show, “Storage Wars.” (Mel Melcon / Los Angeles Times)
Kathy Grayson stares intently at several large paintings, trying to decide whether they complement one another on a vast wall in front of her. She absent-mindedly twists her light purple hair on either side of her face and ties it in a knot under her chin like a bonnet. It stays there for a moment before falling into place again on her shoulders.
“I don’t know if this works,” she says of an abstract work imbued with deep gray hues. “It might be too dark.”
Grayson stands on the polished concrete floor in the middle of her contemporary art gallery, the Hole, which opened an outpost on La Brea Avenue in Los Angeles a little over a year ago. This is Grayson’s third location. She opened her first in the Bowery in New York City in 2010 and another in TriBeCa in 2021.
On this temperate Friday afternoon, Grayson is overseeing the installation of a group show called “Storage Wars” — a nod to the A&E auction-battle TV competition series — which is set to open the following night. A crew of about six workers bustles around the space, and the sound of screws being drilled into plaster shreds the air. The 9,000-square-foot gallery is filled with plywood shipping crates designed to hold, protect and transport fine art.
These crates, however, are not meant to be carted out. Instead, they provide the literal frames for the work in the show, which Grayson organized to highlight art that has long been boxed up and tucked away from admiring eyes.
Kathy Grayson guides workers as they position a wooden crate to be used as a frame in her new show, “Storage Wars.” (Mel Melcon / Los Angeles Times)
Individual artworks can spend an inordinate amount of time in crates — it’s the art world’s dirty little not-so-secret secret, says Grayson. It happens when pieces are out of rotation at museums and galleries; after a collector purchases a work and doesn’t have wall space for it; or while pieces are traveling between art fairs, where they are on view for only a few days before being crated up again and shipped off elsewhere.
For “Storage Wars,” Grayson embarked on a community-building project with gallery owners, collectors and artists across the city, asking them to unbox and share one of their favorite pieces of art that has been in hiding for too long. She wasn’t sure what kind of a response she’d get but was thrilled to discover that it was generous and enthusiastic, with more than 80 participants sharing work that has rarely, if ever, been seen publicly.
Collectors including Sue Hancock, Jason Swartz and Hooman Dayani pitched in, as did galleries Nino Mier, Nicodim and Gavlak, along with artists Pedro Pedro, KAWS and Lisa Anne Auerbach, who each offered a personal favorite from their own stash.
By the time the show launches early Saturday evening, the gallery walls are decorated with a hodge-podge of eclectic artworks — each peeking out of the parameters of its former plywood prison. Sculptures are simply stacked on top of the crates they came in. The crowd of art lovers sips sake out of square wood boxes in keeping with the night’s theme.
At a little after 8 p.m., a select group of guests wanders into the 2,500-square-foot kitchen just off the main gallery for a celebratory family-style dinner made by Grayson’s partner in the gallery, Raymond Bulman. Bulman is debonair and extremely tall — a deeply personable art enthusiast who went to business school in Rome and has long made it a habit to feed artists and their friends after shows in New York.
With the Hole in L.A., he now has an in-house kitchen, enabling him to take his love of hosting and his considerable culinary skills to the next level. Saturday’s menu includes focaccia with whipped ricotta, mortadella with shaved parmigiana, fregola sarda alle vongole, rigatoni amatriciana, and boneless chicken with caper, anchovy and parsley sauce.
“Everyone has to be excited for these things to have energy,” Bulman says of gallery openings. “And so serving dinner is a big part of that. For me, it’s enjoyable. I get to host people and hang out with my artists after a show.”
Bulman and Grayson believe in cultivating an artistic community that is contagious in its creativity. During dinner, guests chat about their current projects over negronis (stunning!) as plate after plate of food is passed.
Michele Lorusso, a young artist from Mexico City, talks about an art and poetry project he is working on in conjunction with activists on Skid Row; a gallery owner confers with a collector; and painter Vanessa Prager flags down a friend she hasn’t seen in ages.
“Kathy has an artist’s mindset in her curation,” Prager says. “She will make a show a work of art, and this is such a good example of that. It’s fun and it has such a good spirit to it.”
By turning the Hole into a bicoastal operation, Grayson wants her gallery to match the ambitions of her artists — giving them fresh and inspiring places to show their work. Pedro says when he first showed at her L.A. gallery, he was “terrified because it was so massive.” But it presents an exciting opportunity, he says.
Grayson was raised in Washington, D.C. Her parents were scientists and she attended the Sidwell Friends School, where Chelsea Clinton was her lab partner. She later enrolled at Dartmouth, starting off in pre-med and playing tennis. By her sophomore year, she switched majors and sports, studying art history and becoming captain of the rugby team.
While at Dartmouth, she founded the first student art gallery. She named it “Area” because she says she had to fight with the administration for space, and it ended up giving her only a single wall. She launched a fundraising campaign to pay for a second wall. For her first show, she printed out all the e-mails it took to get the wall built, titling the project, “Wall With the E-trail of Its Own Making,” in homage to a 1961 work by Robert Morris called “Box With the Sound of Its Own Making.” The administration was not impressed, and Grayson says she was called in front of the disciplinary committee for publishing confidential information.
The experience burnished the blossoming iconoclast inside of her, and by the time she worked as an intern for the 2002 Whitney Biennial curated by Lawrence Rinder, she had become fascinated by collectives of interdisciplinary artists who came from outside established art school settings. Groups like Forcefield, composed of artists who dropped out of Rhode Island School of Design who worked and lived at Fort Thunder, an abandoned warehouse-turned-underground-venue featuring a refrigerator door that opened to another room. They created knitwear costumes, 3-D video art, paintings, installations and sculptures. They also played in a noise band.
“That vibe became what I brought to Deitch Projects,” says Grayson of the New York gallery owned by art dealer and curator Jeffrey Deitch, which hired her first as a receptionist and quickly promoted her to curator and director when it became clear that she had a knack for selling art.
Grayson stayed with Deitch until it closed in 2010 when its namesake was appointed director of the Museum of Contemporary Art, Los Angeles. Supported by friends and fans, including photographer and WireImage co-founder Jeff Vespa, who became an early investor, Grayson launched the Hole, naming it after a club and lesbian bar that she describes as “truly lawless.” It closed in 2004, as all truly lawless spaces eventually do.
“Everybody should be able to walk into a contemporary art gallery and have a meaningful experience with art,” Kathy Grayson says. “It should be as popular as music or literature.” (Mel Melcon / Los Angeles Times)
Thirteen years later, the Hole represents 25 artists, including Pedro, Alex Gardner, Matt Hansel, Caitlin Cherry and Vickie Vainionpaa.
Even with its expanded footprint, Grayson says the Hole intends to stay true to its original mission: meeting artists where they work and live in order to continue building the community aspect of art-making.
“Artists self-organize into interesting groups, which become movements, and the best thing as a curator is not to pick from all over the place, but to support what the artists are already doing,” she says.
Grayson pauses when asked what she’s learned over the years, including from her formative years with Deitch.
“Art should be for everybody,” she says, adding that she hopes to continue stripping away the aspects of the contemporary art culture that cause people to feel intimidated and unwelcome. “You should use your art gallery to broaden the audience of art. Everybody should be able to walk into a contemporary art gallery and have a meaningful experience with art. It should be as popular as music or literature.”
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.
