Art

First Sackler, now Bet365. The art world can’t keep taking money from companies that do us harm – The Guardian

Published

2 years ago

February 28, 2023

In Laura Poitras’s Oscar-nominated documentary, All the Beauty and the Bloodshed, we watch as members of the Sackler family – then-owners of the pharmaceutical behemoth behind America’s opioid crisis – are confronted with the testimony of those affected. They sit impassively as a recording is played of a desperate mother’s 911 call after finding her son dead from overdose. Another piece of testimony is from Nan Goldin, the photographer and former OxyContin addict whose successful campaign for the art world to renounce Sackler patronage the film follows.

Thanks to Goldin and the activist group she leads, the Sackler name has fallen away from many of the arts institutions that named spaces after the family in exchange for its largesse. First the National Portrait Gallery in the UK rejected a £1m donation. Then the Louvre in Paris removed the name. Then the National Gallery, the British Museum, the Metropolitan Museum of Art, the Guggenheim, the Serpentine, V&A, the Tate, and the Roundhouse all followed suit.

Would they have turned away from the Sacklers without this campaign led by a leading light of the art world? Without the $8bn settlement that Purdue Pharma paid the Department of Justice (inclusive of a $3.5bn criminal fine, plus a $6bn civil settlement two years later)? What about if the company hadn’t become the subject of films with titles such as The Crime of the Century? Forgive me if I’m sceptical.

One of the cultural institutions that also took the Sackler dime is the Courtauld. Consisting of galleries located in London’s glorious Somerset House, as well as being part of the University of London and a research centre, the Courtauld owns some of the world’s greatest artworks and most significant manuscripts. Last year, it put on a spectacular Van Gogh exhibition in a brand new space: the Denise Coates Exhibition Galleries.

You’d be forgiven for not recognising the name, because this billionaire is particularly publicity-avoidant. Along with her family, Denise Coates (CBE) owns one of the most profitable gambling firms in the world, Bet365. Last year, when NHS England found that 2.2 million people in the UK are either current problem gamblers or at risk of addiction, Coates took home more than £250m. And in 2021, the year a Public Health England report cited 409 gambling-related suicides, Coates earned £421m. Fitting, I suppose, that the first major exhibition in the gallery bearing Coates’s name featured Vincent van Gogh, an artist who spent time in psychiatric hospitals for chronic addiction and who took his own life.

Coates, on the opening of the gallery, said that she had “found great fulfilment from my own exposure to visual arts and I am pleased to be able to support that journey for others”. I too have found great fulfilment from being exposed to the visual arts. Unfortunately, when I visit the Courtauld I will now also be exposed to the name of a woman whose company contributed to a gambling addiction which led me to mental-health crisis and the loss of tens of thousands of pounds. Unfortunately, I can no longer find as much fulfilment in the visual arts, as I have had to give up memberships to much-loved galleries as a direct result of those losses. Unfortunately, for two years, the arts didn’t even cross my mind because I was entirely consumed by gambling, and lost the ability to find pleasure in anything else. I am essentially now starting from scratch.

Of course, there’s a moral dilemma here; the thorny question of when quid pro quo is actually worth it. Plenty of cultural, academic and sporting institutions rely on the patronage of wealthy individuals and corporations. If I am an art lover then shouldn’t I be grateful to the Coateses and the Sacklers for facilitating access to it? Does it matter that what is happening here is artwashing, sibling to the much more closely scrutinised greenwashing and sportswashing, most recently spotlighted by the World Cup in Qatar and the snapping up of Premier League clubs by human rights abusing regimes?

And where should the line be drawn? Even casual gallery-goers will recognise the signage of Credit Suisse – the Swiss bank that has clients involved in human-trafficking, murder and political corruption – in the National Gallery, of which it is a long-term sponsor. Leading galleries are under pressure to divest from the energy industry. And how do we feel about the fact that oligarch (Sir) Len Blavatnik, who is accused of links with associates of Vladimir Putin (which he strenuously denies), has donated to almost every leading cultural and academic institution you can think of?

Of course, the crux of the matter is that our cultural institutions should not have to rely upon the generosity, whether altruistic or self-serving, of the 1%. The galleries and museums and theatres and music venues which remind us of everything that life has to offer, that boost mood and educate and elevate the soul, should be deemed important enough, imperative even, to be funded properly by the state. The National Gallery is a public body under the Department for Digital, Culture, Media and Sport, as are 14 other gallery and museum groups. If funding was allocated as it should be, then the Tate, which is one of them, wouldn’t also feel compelled to accept £1m from Denise Coates.

The actor Maxine Peake has led calls to save the Oldham Coliseum, a 135-year-old theatre which lost its entire Arts Council England (ACE) funding. Donmar Warehouse – one of the theatres that has terminated its funding agreement with the Sacklers – has also had its entire ACE grant removed. If wealthy individuals and corporations were taxed at higher rates, there would be more money in the public purse to support the arts – instead of those wealthy individuals and corporations offering to fund them directly as a form of reputation laundering. The arts aren’t just about personal and social benefits; the cultural sectors contributed £10.8bn annually to the UK economy before the pandemic hit. There is also evidence that access to culture saves the NHS money in its positive effects on physical and mental health.

It could be said (and I’d have sympathy with the view) that refusing money just because a donor’s politics don’t align with the liberal worldview of most cultural bodies shows a level of moral superiority that is at best self-defeating. But taking cash from those profiting via active harm to vulnerable people is, surely, very different. The Sacklers fall into this category. So, despite its charity donations and positive support for local enterprises, does the Coates family. The gambling industry makes 60% of its money from 5% of its customers, and those 5% are not the ones taking a flutter on the horses every now and then.

As I write, the Denise Coates Exhibition Gallery is hosting a Peter Doig exhibition. I was introduced to Doig’s work as a child, after an art prize in my home city of Liverpool kickstarted his career. I want to see this exhibition. I don’t want to see Denise Coates’s name next to it, even if it’s partly thanks to her that the show is happening. Because it’s also partly down to her that millions of people, including me, are rebuilding their lives from a business model centred around our misery. It’s an art-form for sure, but not the good kind.

Hannah Jane Parkinson is a Guardian columnist and the author of The Joy of Small Things

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Art

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

Published

4 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

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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

4 weeks 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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