Art

Life Is More Important Than Art review – banality turns into poetry

Published

1 year ago

June 20, 2023

Nearly 50 years ago, a young artist called John Smith took his camera to a street in Dalston, London, to film people going about their lives. Except that he pretended to construct and author this raw slice of reality. Over the black and white footage you hear Smith barking out commands like a director. “I want the man in the white boiler suit to come in from the left!” It’s funny and thought-provoking: what is is art, if not a moment in which we frame all the stuff going on in the world, and see it as if we were part of a vast fiction?

Smith’s work forms part of the first exhibition at the Whitechapel Gallery in London under its new director, Gilane Tawadros. It’s a promisingly quirky, adventurous start by her, that challenges you to wonder what the difference between art and life is, if any. This is not exactly a new question. But it is asked here in a daring way that risks utter banality to unlock poetry.

Smith’s 1976 conceptual art masterpiece The Girl Chewing Gum is its keynote, a British punk version of French New Wave cinema that suggests art is life, and life only. The parody directorial voice becomes increasingly deranged: a young man walking by in a rain coat has just robbed a bank and has a gun in his pocket. Then the kids in the cinema queue notice the camera and start looking at it, curious, amused and self-conscious. A moment of truth that transcends invention. It’s lovely.

Much in the exhibition turns a direct mirror to the streets outside, in almost unmediated images of British urban life right now. Playing a similar game to Smith, Mitra Tabrizian’s Film Stills invite you to find a narrative in apparently chaotic, random photos of lockups and parked cars. Yet the depth of this show lies in seeing inwards, understanding that as we pass by each other, our memories and desires brush the air like ghostly shadows. Alia Syed crosses that border between outer existence and inner consciousness in her film Fatima’s Letter: against fleeting monochrome images of platforms and trains, we hear fragmented memories of migration and lost worlds, lost connections.

That same sense of the infinite mystery hidden in the daily grind is given transcendent form by the classic of contemporary art that concludes this exhibition. Mark Wallinger’s Threshold to the Kingdom may be familiar to some but seeing it again makes you startled at how such a simple idea can be so profound. Wallinger fixes his camera on people coming out of the arrivals gate at an airport. Their smiles and the hugs of waiting friends, or their anxious, isolated faces, or confident strides, are shown in slow motion, lifesize, approaching you directly. Allegri’s Miserere plays majestically. And it is like seeing people enter heaven, a scene from a Last Judgment altarpiece, a canto written by Dante: so much poetry, taken from completely real, ordinary moments in modern lives. It makes the exhibition’s point perfectly: art is just looking, in a certain way, at life.

There are good works aplenty, but the discovery here is the radical veteran John Smith. In 2020 Smith started filming over the rooftops from his window in the London borough of Hackney. There’s so much mist and snow in the opening shot that you can only see a white blankness above the houses. When that clears, the glass towers of the City loom and we hear Boris Johnson in the early weeks of 2020 talking dismissively about coronavirus. As the days pass his pronouncements get more alarmed. Smith carries on filming, spying on his neighbours as they move around their homes in lockdown. While Downing Street partied.

It’s almost too real. Often, art is an escape – or at least a way of sublimating the mess of life, like Smith pretending to “direct” it in his early film. This exhibition wonders what it would be like if art was as true, as unvarnished, as a piece of chewing gum on asphalt. Refreshing, is the answer.

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Art

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

Published

6 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

1 month 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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