Art

In This Novel, Art Is the Key to Another’s Consciousness – The New York Times

Published

3 years ago

December 7, 2021

WHITE ON WHITE
By Aysegul Savas

How closely can we know the minds of others? In Aysegul Savas’s novel “White on White,” the narrator, an unnamed graduate student, moves to a European city to study the cathedrals in neighboring towns and plumb the medieval imagination. The narrator is researching depictions of Gothic nudes, an unusual topic, we’re told; the figures that decorate cathedrals and illuminate manuscripts are usually clothed, their garments rich with symbolism. But the lack of existing study is a draw. “I wanted to research an ambiguous topic,” the narrator says, “whose greatest challenge would be one of consciousness: to view the naked human form as medievals did.”

Through this academic interest, Savas sets up the novel’s key theme: the knotty business of imaginative sympathy, of discovering how other perspectives might intersect with — and come to influence — our own. “There was no clear course of study for entering another’s consciousness, historical or not,” the narrator muses. “This was as difficult a task as undoing one’s own mind, unraveling each layer of thought with all its prejudices and assumptions.”

The narrator finds lodging in an apartment owned by Pascal, a medieval studies professor, and Agnes, a painter, who live in a town some hours away. In contrast to the ambiguity of the narrator, whose appearance and gender are not mentioned in the text, Agnes is sharply defined: “tall and pleasingly thin,” “dressed in a crisp white shirt, opening up into an elegant ruffle on one side of her waist.” Her tenant is initially enamored with the charming, creative, put-together woman she appears to be, and soon, the two are cohabitating. Instead of joining her husband at their usual home, Agnes decides to stay in the apartment, where she also keeps a painting studio. There, she frequently engages the narrator in exchanges about art that turn into increasingly one-sided monologues detailing Agnes’s personal history.

Savas’s novel — her second, after “Walking on the Ceiling” — suggests that art reflects the spirit, that even without our knowledge, changes in the way we express ourselves mirror the condition of our souls. Agnes dismisses an early series, depictions of masks stiffly rendered with “formal restraint,” as an attempt to be painterly before she trusted her own taste, but finds drawings from her college years to be “honest and alive, entirely different from her controlled paintings.” The titular white-on-white painting arrives midway through the novel, revealing the artist on a precipice: shapes carved out by minute differences in hue and texture, a faint image with an aura of incompletion, appearing in “free fall.” Art is everywhere in this book. The name Agnes evokes the filmmaker Varda or the painter Martin, her work recalling the white paintings of Rauschenberg or Ryman. But no artists are named, and Savas refrains from making overt references.

In fact, the entire world of “White on White” is selectively outlined. What of it exists exists in crisp, clean prose. Like the narrator, the city is deliberately unnamed — it may be Paris, it may not. The geographic ambiguity floats the narrative out of place, and, in a similar fashion, scenes that might have physical presence — as when Agnes talks to the narrator while stretching a canvas with a staple gun — feel curiously bodiless, stripped down. But this intangibility merely points us to the real site of the novel: the deeply psychological conversations with Agnes. Savas sets all other characters’ speech in quotations, but the narrator’s dialogue remains unquoted. Meanwhile, the line between Agnes’s monologues, as reported by the narrator, and the narrator’s own speech and thoughts grows increasingly thin.

Over time, the narrator is drawn into Agnes’s mental world, in all of its turmoil, yet, with a strange coolness, resists providing the compassion and reassurance Agnes seems to so desperately seek. The results of this thwarted intimacy move the story inexorably toward a finale that, for a book so invested in visual art, feels surprisingly most like an act of literary revenge.

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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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