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Ex-nude art performer sues MOMA after staff 'turned a blind eye,' allowed patrons to fondle his genitals on multiple occasions: suit – New York Post

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A former nude artist is claiming in a new lawsuit that Museum of Modern Art staff “turned a blind eye” and did not do enough to stop patrons from groping his genitals while he was performing at an exhibition.

John Bonafede argues in the suit filed in Manhattan court Monday that his genitals were fondled by five different men on seven different occasions at an exhibit called “Marina Abramovich: The Artist is Present” in 2010.

Bonafede was working at the time as a “Re-Performer,” which meant recreating some of Abramovich’s previous works for a special exhibit.

His job was to stand completely still for 75 minutes, and stare forward at a woman staring back at him in a similar pose in a work entitled “Imponderabilia.”

As part of the exhibit, attendees were encouraged to squeeze between the two performers to enter the next gallery.

But on seven different occasions, Bonafede argues he was fondled in “eerily similar” ways, all by “older men,” according to the suit obtained by The Post.

In each case, it says, the man would turn sideways to face Bonafede, drop their hand and “fondle and/or grope” his genitals, “lingering for a moment before moving through into the next gallery room.”

John Bonafede claims he was groped by five men on seven different occasions while standing completely still in a work entitled “Imponderabilia.” picture alliance via Getty Images

One of the men allegedly assaulted him in direct view of a MOMA security guard, and another was “recorded live by a camera crew, which happened to be filming Plaintiff’s performance at that time,” the lawsuit states.

A third completed three different trips around the exhibit “nonconsensually groping Plaintiff’s genitals each time before he was finally stopped by MOMA security,” according to the suit.

“The only purpose of such sexual touching was to degrade or abuse Plaintiff, and to gratify the Attendee Perpetrator’s sexual desire,” the lawsuit states, claiming that the groping “presented a serious risk of physical injury to Plaintiff, including risk of causing injury to Plaintiff’s genitals and/or risk of sexually-transmitted infection.”

Bonafede claims he did not report the first assault to museum staff because he felt the museum and exhibit staff had adopted a “tough it out” attitude to deal with anything unexpected. Instagram/John Bonafede

Bonafede claims he did not report the first assault to museum staff because he felt the museum and exhibit staff had adopted a “tough it out” attitude to deal with anything unexpected.

One performer was also fired on the exhibit’s first day for not staying completely still, and suggested to Bonafide he keep quiet to prevent the same thing from happening to him.

“As a result of the messaging he received during his MOMA-funded and MOMA-supervised training with Abramovic… Plaintiff was acculturated into a MOMA-sactioned communal belief system in which Re-Performers were expected to submit, silently and unwaveringly, to whatever conduct Attendee Performers might choose to engage in, including repeatedacts of sexual assault,” the lawsuit claims.

Bonafede was working at the time as a “Re-Performer,” recreating some of Abramovich’s previous works for a special exhibit. dpa/picture alliance via Getty Images

But the lawsuit says Bonafede alerted museum security to each of the following incidents, as other performers reported similar behavior — including one performer who told The Post at the time, “It can be a little sketchy.

“Sometimes, there’s that feeling like, ‘Oh, this is a little gross,’ and then it’s gone,” Matthew Rogers said.

Eventually, the museum acknowledged it was having a problem with people groping its models.

“We are well aware of the challenges posed by having nude performers in the galleries for this exhibition,” the museum said in a statement to The Post at the time.

“Any visitor who improperly touches or disturbs any of the performers is escorted from the museum by MoMA security.”

The museum also allegedly adopted a “signal system” to flag assaults, and created a handbook that outlined a protocol on how to handle the attendees after they acted inappropriately.

Yet it never put up any signs or gave verbal warnings to museum attendees to keep their hands to themselves while passing through the exhibit and museum staff refused to provide Bonafede with the identities of his alleged harassers so he could pursue charges, the lawsuit claims.

The museum eventually acknowledged it was having trouble with people groping the nude performers. Robert Miller

As a result of the gratuitous touching, the lawsuit claims Bonafede suffered “years of ‘garden variety’ emotional distress” and has caused his “mental health, body image and career to be significantly harmed.”

He has now filed the lawsuit under the New York Adult Survivors Act, and is seeking an indeterminate amount in damages.

The window to levy a complaint under the act expired last year, but the suit says Bonafede was granted an extension that was agreed upon before the window closed.

The Post has reached out to the Museum of Modern Art for comment.

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

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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

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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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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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