Art
Meet the Retirees Who Criss-Cross the Globe for Art – Condé Nast Traveler
This is part of a collection of stories celebrating the many shapes retirement travel can take. Read more here.
When I was growing up, my parents traveled the globe working in the art world. My mother, Lynn Zelevansky, now 76, spent her career as a contemporary curator and museum director, focusing outside the classic New York and European spheres of that time on artists from South Korea, Mexico, and beyond. My father, Paul Zelevansky, 77, a visual artist and professor, traveled with her as often as he could, soaking up every culture like a sponge. When my mother was curating an enormous installation—constructed from church candles and cow bones—by Brazilian conceptual artist Cildo Meireles at MoMA, for example, feijoada brunches became a norm in our household. When my parents traveled back and forth to Tokyo as she organized a Yayoi Kusama retrospective at LACMA, Japanese techno became our daily soundtrack.
When my mother retired from working full-time at institutions and my father stopped teaching, I wondered what they might do.
Keep traveling—that’s what.
Their adventures have persisted as predictably as their omnipresent black wardrobe, whether they’re hitting the Venice Biennale every fall without fail, touring Spain’s Basque Country after an opening for an Ad Reinhardt show in Madrid, or meeting art world friends in Vietnam a talk on minimalism, given by my mother, in Singapore.
Lured by a sense of intrigue, community, social connection, and multilayered cultural experience, a widening circle of retirees (and semi-retirees) are spending their newfound leisure time traversing the globe from Berlin to Morocco to Mexico City in pursuit of art, attending bustling art fairs, lavish parties, intimate artist studio visits, private gallery tours, and museum openings, not only to see and buy art, but also to connect and stay stimulated while immersed in beauty. “The art world is really a global community,” my mother muses.
Because the artistic sphere is both a social network and an industry, retirement-age people who travel for art are both former insiders and hobbyists. “The social element of the art world is very central to what it is,” says Paul. “And so you go to these events to meet people, reconnect, make new connections.”
J. Patrice Marandel, 79, a Frenchman with an infectious smile, missed the ease of that social and professional overlap as well as the nearly constant travel to acquire work when he retired from being chief curator of European painting at Los Angeles County Museum of Art after twenty-three years in 2017. “I used to say that my real residence was the Frankfurt airport because I changed planes there so often,” he jokes. “After I retired, there were less opportunities to see the people who are more friends than colleagues.”
The only solution was to continue traveling in art circles, sometimes as a consultant for private individuals and institutions, and otherwise for pure enjoyment. As a retiree, he has freedom to pursue his own passions, jet-setting for a recent Frans Hals (a Dutch Golden Age painter) exhibit in London, to see 17th and 18th century French painting shows in France, and to explore a newer interest in Islamic art (inspired by long ago trips to countries including Afghanistan). “Before, my travel was based on what I was going to achieve and bring home,” he says. “Now, it’s about my pleasure.”
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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.
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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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