Art

Filmmaker and sculptor Michael Snow, who ‘demolished boundaries’ of art, dies at 94

Published

2 years ago

January 6, 2023

TORONTO – Interdisciplinary artist Michael Snow, known in Canada and internationally for his abstract painting, public sculptures and the experimental 1967 film “Wavelength,” has died.

The Toronto-born artist died Thursday, said Tamsen Greene, senior director of New York’s Jack Shainman Gallery, which represented Snow. He was 94.

The National Gallery of Canada said in a statement that Snow was a “formidable ambassador” for the art world whose work challenged and changed perceptions.

Some of his most recognizable projects were public artworks, including the Toronto Eaton Centre’s geese installation “Flight Stop,” created in 1979, and the Rogers Centre’s “The Audience,” a sculpture of excited fans that was revealed as part of the SkyDome’s opening in 1989.

Snow experimented with various media throughout his artistic career, including film, paintings, sculptures, photography and music. Still, for many cinephiles, he may be known best for influencing the name of Wavelengths, the experimental film program at the Toronto International Film Festival.

TIFF chief executive Cameron Bailey called Snow’s work transformative in the visual arts.

“Quietly, he demolished boundaries,” Bailey said in a statement focused on his contributions to film.

“His staggering attentiveness to the specifics of time and space led to masterpieces such as ‘La Region Centrale’ and ‘So Is This,’ the film that opened my eyes to new possibilities in experimental cinema.”

Bailey added that “Wavelength,” noted for its 45-minute camera zoom, “remains his most potent gift.”

An interview with Snow as part of the “TIFF Uncut” podcast series in 2017 outlined his teenage interest in art and how a few chance encounters offered him incredible opportunities.

Snow said he began playing music in high school and not long after made his way to Europe, where through a period of the 1950s he spent time “trying to find myself, looking at art and hitchhiking around.” He also spent those years sketching, a practice he embraced more fully upon his return to Toronto, where he enrolled in the Ontario College of Art, now known as OCAD University.

An exhibition of his work at the University of Toronto’s Hart House led him to meet George Dunning, a Canadian film producer and director who would go on to make the Beatles’ 1968 animated film “Yellow Submarine.”

Dunning was years away from that psychedelic project, but he was taken by Snow’s early work, telling him that “whoever had done those drawings was someone who must be interested in the movies.”

Turns out, Snow wasn’t. He says he “very rarely went” to the cinema, but he was intrigued by the notion of applying his knowledge to animation and accepted a job offer from Dunning to learn how to animate.

“My introduction to film came that way. I didn’t have any particular interest in it and it came from being introduced to the mechanics of it, what it is frame by frame,” Snow said on the TIFF podcast.

Snow moved to New York during the 1960s and was exposed to Manhattan’s experimental film world.

He would return north to present at the 1967 Montreal Expo a series of silhouette sculptures inspired by his Walking Woman figure, an ongoing series of projects he created throughout the 1960s.

The same year, he screened “Wavelength,” a 45-minute short film which takes place entirely inside a loft apartment as the camera slowly zooms in on a window frame, interrupted four times by events that play out on screen.

Early on, two women listen to John Lennon’s “Strawberry Fields Forever,” and shortly after they leave the shot, a man staggers into frame and falls on the ground, seemingly the victim of a murder. The zoom continues until he’s out of the camera’s view, eventually finishing with a woman who enters the loft and calmly phones a man to report that she’s found a body.

“Wavelength” won the grand prize at the Knokke Experimental Film Festival that year, exposing Snow to new audiences and encouraging him to further explore making experimental films.

Snow wouldn’t ignore his other artistic passions in the years that followed.

In 1970, he was featured in a solo exhibition at the Venice Biennale and in 1974, he was a part of the Canadian Creative Music Collective, an improvisation group that founded Toronto’s Music Gallery.

He continued making experimental short films too, while exhibiting some of his other works around the world, including at the Art Gallery of Ontario.

Christopher Cutts, owner of the Christopher Cutts Gallery in Toronto, said in Snow’s later life, his influence in art and film was paramount.

“Now was he making new work? Not as much, but he was a busy guy flying all over the world,” he said. “I remember sending his works to Barcelona and the Guggenheim Museum.”

Cutts has exhibited Snow’s work at his gallery, namely his “Power of Two” installation in 2005.

He said despite Snow’s small stature, he remembers that he took up all the oxygen in the room based on his presence.

“He was special,” he said. “We lost one of our icons, for sure.”

Snow was awarded the Order of Canada in 1981 and upgraded to a Companion of the Order of Canada in 2007.

In 2000, organizers at TIFF commissioned him alongside David Cronenberg and Atom Egoyan to participate in “Preludes,” a series of short films marking the 25th anniversary of the festival.

This report by The Canadian Press was first published Jan. 6, 2023.

Source link

Art

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

Published

6 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

[unable to retrieve full-text content]

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

Source link

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.

Source link