Art

It’s all about the art for new MOCA boss Kathleen Bartels: Show more types of work, donors and visitors will follow – Toronto Star

Published

4 years ago

December 20, 2020

Kathleen Bartels arrived at her new post as executive director and CEO of the Museum of Contemporary Art Toronto in April with the gallery still under lockdown. Eight months into her tenure and the Sterling Road museum is once again shut to the public.

While MOCA has learned a lot lately about how to be a museum with its doors closed, this year chock full of pauses and postponements has given the new boss plenty of time to consider what kind of museum she’s running.

“MOCA has had a wonderful history on Queen Street and in North York,” Bartels says. “Now, it’s in the new building where it’s been programming for about two years. So what is the future of MOCA? What does MOCA want to be?”

These are the big questions the museum hasn’t yet answered for itself, but which Bartels is determined to.

Since dropping the second “C” from its name (the one that stood for “Canadian”) and leaving Queen West for the Tower Automotive Building on an ambitious growth project, MOCA has wobbled out of the starting gate. The grand opening was delayed repeatedly, its programming has been scattered and turnover at the very top — four different directorships in as many years — has sapped efforts to develop an identity.

The Junction Triangle outpost has had moments when it rose to its promise but, mostly, it’s felt a bit adrift, in need of surer leadership.

Bartels joins MOCA as an experienced captain with a track record for fundraising and building audiences. (And what budding institution couldn’t use more funds or audience?) For 18 years, she was director of the Vancouver Art Gallery, where she grew its annual membership from 5,000 to 37,000 people and nearly quadrupled private donations.

She was an ardent champion for its ultra-ambitious, starchitect-designed new gallery, which awaits still more funds before shovels hit the ground, though she raised an impressive $135 million from public and private sources. Before that, the Chicago-born art administrator spent 13 years at the Museum of Contemporary Art, Los Angeles, where she served last as assistant director.

“(MOCA) hired me for my experience,” Bartels says. “I think experience matters.”

The museum’s new board chair, Brad Keast, confirms it. “Kathleen is a visionary that understands MOCA’s potential to be an important international institution,” he says. “She has extensive experience building programs, audiences and a solid support base.”

Before the gallery closed last month, some of Bartels’ touch was perhaps beginning to shine through.

The museum’s landlord, Castlepoint, retired a $5.7-million loan, completing the museum’s $25-million capital campaign begun in 2017. Shortly after, an anonymous donor gifted $1 million earmarked for exhibitions. Then, in the days just before lockdown No. 2, MOCA opened a rollicking, fun show by the New York-based filmmaker Mika Rottenberg and was applying finishing touches to a new lobby exhibition by Taiwanese artist Michael Lin, who worked with a dozen Toronto artists.

It felt like finally the museum had gathered some momentum.

“We’re in spitting distance right now of having a balanced budget for 2020,” Bartels says, “which I’m not sure many organizations will be able to say.”

Moving forward, the program will be paramount to MOCA’s future. Bartels’ modus operandi goes like this: “build a program, raise the profile, build a broader audience.”

“Whether that’s donors, members or general visitors, it all stems from the work that you’re showing,” she says. The director wants MOCA to expand and diversify its offerings. That means more openings, more art and more types of artwork: “film, new media, architecture, design, fashion,” she lists. “Visual culture overall.”

One exhibition she’s especially excited about is scheduled to open in the spring (pending further COVID-19 restrictions).

“Greater Toronto Art 2021” will feature the work of 21 artists and creators from the GTA and surrounding areas, including for example the conceptual design team Common Accounts, Hamilton-based painter Kareem-Anthony Ferreira and the sculptor Azza El Siddique, whose work appeared recently at the Gardiner Museum. Some names, like “Wendy” comics creator Walter Scott, may be familiar, while others will be introduced to many for the first time.

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Scene surveys like this have been rare in Toronto in the last decade. This vacant niche represents a space MOCA could well claim on its journey to define itself — and it is certainly an interesting time to see what the city’s artists have been up to.

“These moments allow you to think about the richness of your own community,” Bartels says. “Turning our gaze toward the local is important for MOCA in general, but particularly at this time.

“It will be an important show for all of us,” she says.

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Art

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

Published

3 days 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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