Art

Joshua Frankel’s Art at Moynihan Train Hall Is Lost Among Ads

Published

11 months ago

November 2, 2023

At Moynihan Train Hall, Joshua Frankel’s piece functions, whether he wants it to or not, as another ad for us to ignore.

Zendaya, the stunning actress, hovers in front of the great Victory of Samothrace at the Louvre, her black cape spreading out to echo the classical statue’s white wings. “BEAUTY IS A LIVING ART,” reads the tagline, in this sleek ad for Lancôme cosmetics playing across the 160-foot width of the video screens in Amtrak’s Moynihan Train Hall.

Those screens, four of them, then display some stills, rather less sleek, of the N.F.L. quarterback Jalen Hurts in his green Eagles jersey, with copy that proclaims “HULU HAS LIVE SPORTS.”

And finally they’re filled with a hand-drawn animation, in scrawly white on black, of a crowd of figures crossing and recrossing some empty urban space.

You guess at the text that might follow: “Citibank: By New Yorkers, For New Yorkers.”

Or maybe: “Zoloft: For When You Feel Lost in the Crowd.”

Video ads for Lancôme cosmetics playing across the video screens in Amtrak’s Moynihan Train Hall make it hard to concentrate on the art video. Hiroko Masuike/The New York Times

And then you spot the actual copy, briefly splashed across the leftmost screen: “JOSHUA FRANKEL: WITHIN THE CROWD THERE IS A QUALITY.” With no corporate name in view and a text that’s more than a little opaque, the right savvy viewer might recognize this as art.

Frankel’s 42-second animation, alternating with just over 14 minutes of ads, is in fact the latest offering in the Moynihan Train Hall Public Art Program, which presents permanent works by major figures such as Kehinde Wiley and Stan Douglas as well as temporary pieces like Frankel’s video art, which will be on the hall’s screens through Nov. 14 as part of the Art at Amtrak series. Frankel will be followed on the Moynihan screens by a roster of leading artists that includes Shahzia Sikander, a Pakistani American inspired by Persian and Indian miniatures, and William Kentridge, the South African famous for his socially conscious animations.

Those screens themselves prove how central video is to our culture: It has become ever-present on our phones and TVs, in our stadiums and bars — and even in our train halls. That ubiquity has also made video the medium of choice for some of the best art of the past few decades. Landmark video pieces like Christian Marclay’s “The Clock” or Arthur Jafa’s “Love Is the Message, The Message Is Death” take our normal screen experiences and push them to new and surprising places.

A video by Joshua Frankel, “Within the crowd there is a quality.” The artist sourced its images in the city’s public spaces, selecting 25 characters.

The challenge for Frankel’s video is to do that in the train hall, and it can’t. His animation, so sensitive and unassuming, looks like just the kind of handcrafted imagery a bank or a drugmaker would deploy to humanize its public image — to set it off, for instance, from the gloss of luxury cosmetics. Frankel’s piece matches our expectations for screen-play rather than transcending them, which means we’re not likely to notice it at all. And indeed, over the course of something like 45 minutes of observation in Moynihan on a busy Friday evening, I was unable to spot a single traveler giving Frankel’s work more than the most passing glance.

But that’s not Frankel’s fault.

I couldn’t spot anyone in the hall taking in any of the other imagery that played across its four giant screens either, whether in an ad for a car, a delivery service, a blockbuster movie or for Amtrak itself. Now that smartphones allow us to program our screens with content we’ve actually chosen, we’ve gotten better than ever at ignoring content chosen by companies and ad execs, on screens we can’t control. Instead of having to compete for our attention, you might say that Frankel has to compete for our inattention — a much harder task.

Like lots of critics, curators and artists, I’ve always thought it made a lot of sense to insert video art, or art of almost any kind, into our everyday lives and communal spaces. It’s been at least 70 years, in fact, since the art world started talking about collapsing the gap between art and life, and I’ve been one of its more recent talkers. But Frankel’s piece has got me rethinking that.

I have a feeling his video would have had a lot more impact and meant a lot more to me — would have gotten a far longer look, from anyone who saw it — had it been shown in a space custom-made for us to think artistic thoughts. I’d go so far as to say that such context is pretty much what makes art, art: Hang Marcel Duchamp’s “Fountain” in a public washroom, and it’s just a urinal; put the Mona Lisa on a poster, and it’s probably working as décor or a souvenir, not as the subject for truly artistic contemplation. You might say that any picture or object is only really art when it’s busy functioning as that, usually because there’s some clue to tell us that’s what it is. And up on the screens at Moynihan, Frankel’s piece functions, whether he wants it to or not, as another ad for us to ignore. The next videos in the Art at Amtrak series will face the same challenge. We’ll have to see if even the famous animations of William Kentridge will manage to meet it. It seems likely that they, too, will meet eyes so skilled at looking away from ads that there’s no getting them to look at art that fills the same space.

Art has to stand out as signal from the noise of all the non-art out there. In a public setting like Moynihan Hall, only something unavoidably radical would have a chance of doing that. Frankel’s subtlety just leaves his piece drowned out. But would corporate titans stand to see their ads screened alongside art that’s wild enough to outshine them? A video that aims to be our era’s Victory of Samothrace might cast shade on a Lancôme lipstick.

Source link

Art

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

Published

16 hours 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

[unable to retrieve full-text content]

Ukrainian sells art in Essex while stuck in a warzone BBC.com

Source link

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.

Source link