Art

Immersive exhibitions based on artists such as Van Gogh and Dali derided as ‘money grab’ – The Guardian

Published

8 months ago

January 24, 2024

From animated floor-to-ceiling paintings to giant fluorescent ball pits, immersive art experiences have proliferated in warehouses, often costing £25-£40 a head. Now experts have claimed that many are overpriced gimmicks.

Leading digital artists have claimed that some of the most popular commercial immersive experiences, particularly those based on the work of deceased artists, such as Van Gogh and Dalí, are a money grab that provide little reward to visitors beyond Instagrammable moments.

The proliferation of these shows, which often use relatively old technology, is diluting public perception of what immersive experiences could be and risks sidelining more innovative work, the artists have claimed.

Lucy Hardcastle, a designer and digital artist who runs her own studio in London, said the commercialisation of immersive experiences did not leave room for many original ideas.

Hardcastle, who has made work for the Victoria and Albert Museum and Chanel, drew a distinction between commercial experiences like the Van Gogh, Monet and Dalí exhibitions, which are primarily screen- or projection-based, and more cutting-edge shows where artists have created physical and digital environments from scratch.

For example, the work of studio DRIFT, which is led by Dutch artists, includes creating an autonomously moving group of illuminated drones, programmed to fly using an algorithm derived from years of research into starling murmurations. The post-digital art group Random International created Rain Room – where visitors entered a downpour without getting wet – which attracted tens of thousands of visitors to the Barbican and the New York Museum of Modern Art. These kinds of projects often take years to develop.

In contrast, some of the most popular commercial experiences that opened since these pioneering shows primarily used projection mapping – where displays are projected on to real-world objects or spaces to simulate environments or augment reality – which they had not created and dated back to the 1990s.

“I think things like the Van Gogh experience, and that price point, definitely warps the perception of the craftsmanship that goes into these types of events,” said Hardcastle, who also teaches at Chelsea School of Art.

Hardcastle said she thought the word immersive had become “a gimmicky tagline”. Whereas it was once associated with shows that engaged all the senses, it was often now more about creating something that looks good on Instagram.

“It’s almost like our expectations or standards have just continued to become lowered [by these experiences]. And therefore there’s less demand to make something that’s truly outstanding.”

Ralph Nauta, the co-founder of studio DRIFT, also said it was comparatively easy for commercial ventures to make a projected animation of a dead artist’s work. But their own projects, such as Drifter, which involved a floating concrete block, took years of original research. ‘To physically – and with the laws of nature – have a block of concrete fly, that’s 15 years of work for that one piece,” he said.

Two people walk through an installation in Florida

Nauta described popular screen-based immersive experiences as “a money grab”, arguing they did not provide the audience with contemplation or value. “The visitor walks out and feels, oh, I’m $50 lighter, but I’ve not experienced anything, I’ve just been put in front of a screen.”

He also questioned whether the dead artists whose work has been turned into immersive experiences would approve of how their work was being displayed. “It’s like, oh, we do a Van Gogh show, we do a Dalí show. Nobody knows if he wanted this. I think it’s very disrespectful.”

“It gives the whole industry a bad name and it can be so, so, so much more.”

The artists said the industry needed organisations like the Serpentine and arebyte galleries in London, which has supported emerging artists who work with immersive technology.

Claudel Goy, the managing director of arebyte, said the expansion of commercial shows like the Van Gogh experience had attracted new audiences to immersive art and raised its public profile. But she said there was a need for public institutions to support more cutting-edge work.

Goy said the prices of commercial immersive experiences reflected the high overheads of the technology and the cost of spaces in prime locations of cities like London. Arebyte hopes to open an immersive art museum in east London, with ticketed exhibitions costing up to £15. She said: “We’re definitely not going to charge £25. Who can afford it? As a family of four, [that’s] £100 – that’s not accessible at all.”

Hannes Koch, a co-founder of the Dutch Random International said artist-led immersive displays could not compete with their more commercial peers because it was far more complicated to create something bespoke than simply use big screens.

He said the ideal price point for immersive experiences was between £8 and £15. “I don’t think it’s criminal to charge for something that is of high quality. But I think it’s good to keep accessibility high on the radar.”

Sana Ali Aamir, the UK’s general manager for Fever, the company behind Van Gogh: The Immersive Experience, defended the pricing of its most popular exhibitions, which she said helped fund the development of their other newer and more innovative shows, such as such as Dopamine Land and Bubble Planet, which cost about £15-20.

She said that the while the technology involved in the Van Gogh experience was now old, the storytelling in the experience, which takes visitors inside some of his most famous paintings via two-storey, 360-degree digital projections, was still powerful and value for money. It was arguably a richer way to experience his work because audiences learned more about the artist, she added.

She added: “The value has been taking that innovation and making it into something that’s more accessible. There’s something for everybody in this market. You can use those expensive things to then drive the more affordable things, which is about giving access to more people and culture.”

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Art

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

Published

1 day 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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