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Don’t Expect Covid-19 to Beget Great Art – The New York Times

Published

4 years ago

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It’s a common refrain when devastating things happen: Creativity will thrive in these conditions. I’ve seen it said in recent days as tours are canceled, TV and film production is postponed and creatives are forced into self-isolation because of the coronavirus.

Just think of all the great songs and books and screenplays that will come out of this.

There’s an expectation that, because artists are stuck at home, they will create amazing things. I understand wanting to find the silver lining in a terrible situation; it’s a natural coping mechanism. But it ignores how poorly designed our infrastructure is for supporting artists.

I am a co-founder of a record label and Talkhouse, a media outlet for musicians, actors and filmmakers, and have worked with creative people in nearly every imaginable capacity for the past 15 years. The last few weeks have been a waking nightmare for all of us. I’ve lain in bed thinking about our community. Not once have I thought, “These artists are going to make some great stuff!”

The observation that Shakespeare wrote “King Lear” and “Macbeth” while in quarantine during a plague has frequently been touted as an example of creativity blossoming through crisis. But as Daniel Pollack-Pelzner noted recently in The Atlantic, “Shakespeare’s model provides little solace: Write while you wait out the closure; lean on wealthy patrons for bailouts; exploit your rivals’ demise.” The reality is that artists are losing so much right now, and they stand to lose even more. Many, if not most of them, do not have access to affordable health care. They live paycheck to paycheck.

Most musicians rely on a thriving live performance infrastructure — venues (which are laying off staff en masse as they close), tour managers, lighting crews, sound people, vendors. The shuttering of independent record stores will take a severe toll, and an increase in digital streaming volume (which isn’t borne out yet by current data; in fact, we’ve seen the opposite) won’t even begin to make up for the lost revenue from ticket and merchandise sales.

I cannot think of any other profession in which we expect people’s work output to be greater under worsening circumstances. No one says, “If we take away the majority of this general contractor’s income and damage the livelihoods of the skilled craftsmen that support them, that will inspire them to build a better quality home.” Working better under pressure might be possible for a student cramming for a midterm, but not so much when you have to write a hit song in order to put food in your children’s mouths.

We put a lot of pressure on creatives to make the things that make us feel better, and we sometimes forget they may be suffering, too. As my friend Katie Harkin, who plays with Sleater-Kinney and Courtney Barnett, said at a recent Talkhouse event: “There’s a myth that you metabolize pain into art and art into profit and profit into happiness.”

“That’s something that is just so damaging,” she added. This will be especially true throughout this crisis — artists will struggle to make art and make a profit in the coming months, and will not be made whole. Yes, people have been and will continue to turn to music, movies, theater and other entertainment for comfort. But too many people responsible for creating that content have been left in limbo for the foreseeable future, unsure of when and how their next paycheck will materialize.

This ultimately favors the most privileged artists among us. Shakespeare’s patrons were earls and high court officials. They kept him sheltered and fed and ultimately insulated from the horrors of the plague while the theaters were closed.

Perhaps there’s a more productive lesson to be taken from Shakespeare’s plague years: We need a better patronage system for artists. The website Patreon has emerged in recent years as a way for artists to have an ongoing creative dialogue with their fan base and to receive monthly subscription fees for the promise of a stream of exclusive content. Last week, Bandcamp, a platform that enables musicians to sell merchandise and music directly to fans, waived their commission from proceeds of music sales for a day. Billboard has assembled a list of resources for supporting music professionals in need during the pandemic.

Across the music industry, small and indie companies and individuals are trying to find ways to get artists paid for playing “virtual shows” live streamed from self-isolation. The only safety net is the one that we’re quickly trying to stitch together right at this moment.

There’s also a human element that dispels the “tragedy = great art” fallacy. As I write this, I’m getting worrisome texts and emails from friends, colleagues and loved ones. I’m pausing to look at Twitter every few minutes. I’m bombarded by news alerts, each more terrible than the previous. The notion that creativity can flourish in these circumstances is absurd.

Don’t feel pressure to make the next great work of art during this time — and resist the urge to put that pressure on anyone else. Take care of the artists who take care of you. We’ll need them to get through this.

Ian Wheeler (@PartisanIan) is the co-founder of Partisan Records and Talkhouse.

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips. And here’s our email: letters@nytimes.com.

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

Published

3 hours ago

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September 13, 2024

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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.

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Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

 on

September 2, 2024

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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

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4 weeks ago

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August 18, 2024

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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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