Art
I Attended Miami Art Basel 2023: Here’s The Insider Scoop
Large black birds circle the sky in downtown Miami. I first notice them as I drive into the city from the airport. During the cold months, they come from all over the country, escaping to warmer climes to perch on the many high-rises in Midtown. I later find out they’re vultures. It’s almost too obvious, tooon-the-nose—after all, Art Basel is about scavenging, whether it’s for a driver, a guest list, or a new piece of art that will turn profit. It’s one long week of searching.
Stuck in traffic, my driver quizzes me: “How many hotels do you think there are here? How many bars, restaurants?” He tells me collectively, somewhere around 13,000. I take his word for it. “People come to Miami to make money; the weather is fine, but where I’m from it’s better.” He’s Greek, he laughs. “Hundreds of thousands of people come down to Miami for this. Is that why you’re here?”
This is my second Basel. This time around, I have a better understanding of the run of show and develop a methodology which, ahead of my arrival, feels foolproof. I’ve made a detailed spreadsheet containing my schedule of events, separated by neighborhoods. A handful of bridges act as tiny veins connecting the mainland to Miami Beach. Far from the suspended, steel contraptions in New York, the Miami causeways are artificial roads raised just above sea level. During heavy rain, Biscayne Bay’s water laps against them, with an ever-present threat to swallow them whole. These bridges become so congested that often, you’ll see people abandon their rideshares and get out to walk. For this reason, it is imperative to know which side of Miami you’ll be on between 5:00 and 9:00 p.m. It is common to text friends, “I’m staying on this side tonight.” Otherwise, getting across might take an hour—or, worse, you might be stranded.
Art Basel Miami Beach turns 21 this year, roughly the same age of the many partygoers who flock to the elaborate club functions and brand activations. As an event, it is firmly grown up and corporatized. Margot, a musician and classically trained violinist, tells me, “I used to only come to Miami for three days. Now, people come Sunday to Sunday.” I find myself talking constantly, and in the stillness of my hotel room, the party chatter still rings in my ears as I finally lay my head to rest.
The market here has shifted. After the FTX scandal, last year was the final gasp for crypto and NFTs. This year, that is all one regrettable memory, which no one is talking about. Now we see the nascent presence of artificial intelligence, which can only predict its influence on the art world in the future. Artist and photographer Laurie Simmons showed eight new works for the YoungArts foundation, with support from Christian Louboutin, in a collection called “Autofiction.” The exhibition was held at the Jewel Box, a landmark building commissioned by Bacardi in 1975, with windows made entirely of stained-glass mosaic. Working with AI platforms DALL-E and Stable Diffusion, Simmons created images printed on silk and gave each work analog additions—embroidery on one, a pair of fake eyelashes on another. There is an uncanny, eerie feeling to the works, with visible glitches characteristic of the early age of this technology. The longer I look at the images, the more discomfort I feel. On the night of the opening, Simmons wears a full powder-blue look by Guild of Hands and is in high spirits as we discuss the latest season of The Real Housewives of New York City. She tells me, “I only started watching because of Jenna.” (Lyons, of course.)
In Miami’s Design District, every luxury brand you can think of is having an event at its retail store. Glittering attendees line up in front of the boutiques to check in on the guest lists. A woman yelps at the sight of a lizard scurrying into a nearby bush. A block away from its Miami location, Cartier has staged the North American debut of its exhibition “Time Unlimited.” An impressive three-floor pop-up, the exhibit celebrates the house’s storied history in design and watchmaking. Walking through the many rooms feels like being on the inside of one of the brand’s red jewelry boxes, lush and upholstered in soft velvet. As people mill around taking photos of the archival timepieces, Haitian-Canadian music producer Kaytranada deejays, surrounded by Cartier Tanks and Baignoires, encased in glass and awash in gold light.
On an afternoon I feel a little more centered, I visit the New Art Dealers Alliance Fair (NADA, for short)—the younger, more fun art fair. The space feels better organized this year, with many of the smaller galleries having larger exhibit stalls. Louis Shannon, director of New York gallery Entrance, tells me one of his artists, Elberto Muller, is riding a freight train down to Miami: “He’s a drifter.” The image that comes to mind is Veronica Lake and Joel McCrea in the 1941 Preston Sturges film Sullivan’s Travels. I ask Shannon how he’s been spending his evenings. “It definitely feels like being on a cruise ship with everyone from New York,” he says.
We cross over into Sunset Islands, four highly coveted artificial islands developed in the 1940s by Paramount Pictures exec S.A. Lynch and known for their population of large waterfront mansions. Stepping out of a Tesla, the air thick with sulphur, I am technically not allowed to be at this mansion as “outside press,” but I have learned to tell security I am a “party girl novelist” instead. The house is sprawling and marble, and bartenders serve pre-mixed Negronis and Manhattans. Armed with my drink, I walk past the celebrities and who’s who, to peek into the window of a red chicken coop in the garden. A security guard informs me, “The chickens are sleeping.” I reply, “They must be the only ones in Miami who are!”
To avoid the rumored 4,000 RSVPs hoping to get into the Harmony Korine and Yung Lean Boiler Room party, I make a punctual exit and head farther west than I have yet ventured to arrive at El Palenque nightclub. Korine’s chosen name for his new design collective is EDGLRD, which firmly cements him as a member of Gen X. As the set opens, a robotic voice proclaims, “The edge is still out there …” Wherever it is, the edge is definitely not here.
D’Ussé Cognac is hosting a special performance with Offset at Eden Roc. I sip a cognac French 75 alongside Chance the Rapper and Leon Bridges. All I can think about, watching Offset perform, is how only now do I understand the allure of a diamond necklace.
As if it were my final challenge in Miami, I take my chances at the one last party that night. At check-in, they flatly tell me no, they are at capacity. Undeterred, I still weave through five security checkpoints waving around the wrong-colored wristband at a confident gait. Pleased with my success, I stay for 15 minutes and skip back home to bed.
It’s peculiar how nature and commerce live in parallel here. Some argue the commerce side has been animated by Basel, but looking at the history of Miami’s architecture, museums, and even houses, company brands have always been in dialogue with the city, shaping its landscape from the beginning. Try as it might—as far as the rising sea levels can tell—commerce will be the one to bend to nature’s grip. The one and only time I get to the beach, short on sleep and fragile, a boat sails by with a floating LED billboard. What should be an elysian view is now dystopian. I don’t know about anyone else, but I want my oceans ad-free. Is there a subscription for that?
Marlowe Granados is the author of Happy Hour (Verso Fiction, 2021).
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.
Art
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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Art
Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed
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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