Art
Hannah Gadsby's Picasso exhibit roasted by art critics – The A.V. Club
“It’s Pablo-matic: Picasso According to Hannah Gadsby” has been Pablo-matic from the start. The comedian was criticized for launching an exhibit at the Brooklyn Museum, where Elizabeth A. Sackler (of Purdue Pharma infamy) apparently sits on the board of trustees. “Doesn’t matter what cultural institution you work with in America, you’re going to be working with billionaires and there’s not a billionaire on this planet that is not fucked up. It is just morally reprehensible,” Gadsby lamented to Variety, nevertheless moving forward with the exhibit.
After having criticized Picasso in their lauded Netflix special Nanette, Gadsby was tapped to co-curate an exhibition to mark the 50th anniversary of the artist’s death. The show examines Picasso’s “complicated legacy through a critical, contemporary, and feminist lens, even as it acknowledges his work’s transformative power and lasting influence.” The exhibit consists of Picasso’s work with the work of female artists, with the addition of Gadsby’s commentary.
Reviews of the show (which opens on Friday) are, shall we say, not kind. Gadsby’s quips tacked to Picasso’s art “function a bit like bathroom graffiti, or maybe Instagram captions,” writes New York Times reviewer Jason Farago, who dismisses Gadsby’s commentary as “juvenile.” ARTnews’ Alex Greenberger observes that Gadsby’s quotes are “larded with the language of Twitter,” highlighting the label above a minotaur print: “Don’t you hate it when you look like you belong in a Dickens novel but end up in a mosh pit at Burning Man? #MeToo.”
There is no debate about Picasso’s misogyny or any of the more unsavory (and well-documented) aspects of his character. Instead, it’s the apparently facile way Gadsby (with co-curators Catherine Morris and Lisa Small) has chosen to frame the show. The female artists featured do not include female Cubists, women inspired by Picasso, or the female artists Picasso was actually involved with in his life. Instead, their work “[seems] to have been selected more or less at random” writes Farago, while Greenberger notes that many of these pieces from female artists “have almost nothing in common, beside the fact that they are all owned by the Brooklyn Museum.”
The scathing criticism of the exhibit has been met with some schadenfreude online, particularly with the subset of folks for whom Nanette didn’t land. “Still thinking about that perfect @jsf piece on Hannah Gadsby’s Picasso show. Such a sharp evisceration of the corrosive effect a certain strain of meme-y social justice has had on culture and criticism. If people’s receptiveness means we can finally move past that, I’m thrilled,” The New Republic’s Natalie Shure wrote on Twitter. And of course, some people just like a good, well-written take down: “So so so happy that Hannah Gadsby made the Pablo-matic (lmfao) exhibit because the reviews of it have been the best most fun culture writing in a while imo!!!!!,” tweeted writer Sophia Benoit.
Agree or disagree (and perhaps you’ll have to visit the Brooklyn Museum to decide), the criticism of Gadsby’s criticism is lethally sharp. “Not long ago, it would have been embarrassing for adults to admit that they found avant-garde painting too difficult and preferred the comforts of story time. What Gadsby did was give the audience permission—moral permission—to turn their backs on what challenged them, and to ennoble a preference for comfort and kitsch,” Farago writes of Nanette, later adding, “The function of a public museum (or at least it should be) is to present to all of us these women’s full aesthetic achievements; there is also room for story hour, in the children’s wing.” You can read the full piece here.
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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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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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