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He was wrongfully imprisoned for 40 years. Now he’s an award-winning artist: ‘I turned my past into something good’ – The Guardian

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6 months ago

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In a tucked-away corner of the Frieze Art Fair in Los Angeles, among the frenzied crowds of the international art market’s trading room floor, lies a quiet respite where one booth seems to operate outside the fray. Its spare hanging of five quilted tapestries quietly asserts its place among the humming blue-chip gallery booths.

It is here that Gary Tyler, a Los Angeles-based artist and formerly incarcerated man, greets visitors and explains the significance of his work – quilted scenes depicting a Black man behind bars, rodeos, and an African Ashanti warrior gazing out at the room. This month, Tyler was awarded the prestigious Frieze Los Angeles Impact prize, an award that recognizes artists who have made significant impacts on society through their work.

Astonishingly, Tyler has managed not just to survive, but to transcend the injustices he faced. He honed his intricate textile skills during the nearly 42 years he spent wrongfully incarcerated at Angola state enitentiary, known to be one of Louisiana’s harshest prisons.

“I am exhilarated, I am honored and very appreciative to see that people recognize something I never thought would catch the eye of so many people,” Tyler told the Guardian by phone on opening day.

The prize comes with $25,000 and a solo booth at the art fair. The series of quilts Tyler chose to present is highly personal, with some containing references to the pain, and the beauty, he has witnessed. His works are a symbol of strength and resilience, aiming to give viewers a sense of what it’s like to spend life in prison. One piece, Indignity, 2017 (2024), depicts the Angola Rodeo – a prison rodeo and arts festival where Tyler first displayed the quilts he made behind bars. It shows a man getting kicked off a bull, sprawled on the ground, a brutal scene that Tyler compares to “a gladiator sport”.

“[It’s] the manifestation of my past and present life,” he says of the show. “I thought that it was very important for people to see.”

A creative outlet amid injustice

Tyler’s journey from prisoner to lauded artist has been a remarkable one. In 1974, at only 17 years old, Tyler was convicted of murder by an all-white jury and sentenced to death – making him the youngest man in the US on death row at that time. A casualty of the deeply racist south of that era, Tyler was with other Black students on a bus passing a group of white students when one of the white teenagers, Timothy Weber, was shot dead. During the ensuing investigation, Tyler, who spoke back to a police officer on the scene, ended up in an altercation, prompting a far too common situation for Black men in America – he was beaten, charged and convicted for a crime he did not commit.

Tyler remained in prison for the next four decades, to the outrage of loyal supporters and advocates such as Rosa Parks, who repeatedly called for his freedom. In 1976, his death sentence was reduced to life when Louisiana’s mandatory death penalty was ruled unconstitutional, but it wasn’t until 2016, when he was 57, that he was freed after pleading guilty in a plea bargain.

Tyler served as the president of the Angola prison drama club for 28 years, which led him to an initiative where inmates created traditional quilts that were sold at local rodeos to fund the program. This was where Tyler first learned to sew, albeit reluctantly at first. “I mean, we’re in a men’s prison,” he says with a laugh. “I had my apprehensions. Eventually I relented and started helping them, and liking what I was doing.”

Tyler looked to quilting as a creative outlet for his experiences. He began with basic quilt patterns and geometric shapes, and he soon began to experiment with more intricate imagery, and applying a technique called appliqué. “I wanted to start doing something that was going to stand out,” he says.

A quilt he entered into a competition earned the admiration of a group of women who visited Tyler in prison and brought him books on quilting. He drew inspiration from the work of Gee’s Bend, a celebrated group of Black quilters in Alabama descended from formerly enslaved people. “That’s when I started to hit the books, looking at Gee’s Bend catalogs and how they were making their quilts.”

A new life in art

After prison, Tyler decided to move from traditional shapes to deeply personal subject matter – depicting scenes that were a reflection of his life. He also uses the appliqué method to create imagery of butterflies, hearts and birds, a process that first got his work noticed by Library Street Collective, a Detroit-based gallery where Tyler staged his first solo show in 2023.

For that show, called We are the Willing, Tyler created large-scale quilts with imagery sourced from photographs taken of him while he was in prison. One piece, titled Defiant, 1976, is based on a photograph taken during his arrest that shows him in handcuffs. His fists are clenched, a pose that Tyler says was about letting his supporters know that he was not going to give up under any circumstances. His portrait is surrounded by thin black lines emanating from him like divine rays of light. The quilt is bordered by bright yellow, white and black contrasting rectangles, framing the piece like a saintly relic.

Tyler says the recognition from that show gave him confidence as an artist to continue showing his work. “It made me realize that I had a gift and that I was good at what I was doing,” Tyler says. “I was able to harness a skill that would be able to reflect my past into something good.”

The transition to “normal” life has not been without its challenges. Tyler had to learn the basics of adulthood, spending his first six years as a free man figuring out how to support himself, get a job, and pay rent. Last year, however, something told him “to come out of my shell and start making quilts and see how that worked out”. Supporters rallied together, creating a GoFundMe to raise money for Tyler to put a down payment on a studio, while people around the US began donating materials and tools to help him get back on his feet as an artist.

Four days a week, Tyler makes the grueling commute through rush hour traffic from his studio in Lincoln Heights to his job as the lead outreach and engagement support worker for Safe Place for Youth in the Venice neighborhood. Still, Tyler looks to the future. He hopes to continue producing work, building off his motto from his time at the Angola drama club. “We are the willing, doing the impossible for the ungrateful,” he says. “We have done so much, with so little, for so long that I’m now qualified to do anything with nothing.”

Tyler describes himself as reserved, and he has a humble nature that suggests a man who has been treated brutally yet managed to retain a softness towards the world. “I want to be able to inspire with that motto,” he says. “There are good things that can come out of prison, whether an individual is guilty or not – there are very creative people in prison.”

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

Published

2 days 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

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2 weeks ago

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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

Published

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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