Art
New York's Newest Art Fair Feels Like a Place to Hang Out, Not Shop—and That's a Good Thing – ARTnews
New York is hardly in need of another art fair, but that’s what we got this week in the form of Esther, which feels more like an ambitious group show than a selling event. That’s something to be thankful for, since the art market in this city tends to be pretty risk-averse. And, despite the fact that Esther is designed to peddle art, this show has character, which is more than you can say for all the other interchangeable fairs that pass through the Big Apple annually.
For starters, there’s Esther’s bizarre location: the Estonian House, a volunteer-operated space devoted to Estonian culture that’s located in Kips Bay. There are no cultural destinations around it, unless you count an AMC multiplex several blocks away.
Then there’s the fair’s ethos, which, for an event of its kind, is unusually not money-oriented. Esther was founded by Margot Samel and Olga Temnikova, who operate galleries in New York and Tallinn, respectively, and they’ve thought of it more as a means of collaboration than a place for dealers to sell their wares. Compared to Frieze, where booths typically cost tens of thousands of dollars, exhibitors at Esther must pay a flat rate of $1,500 to take part. (Admission to Esther is free; a full-price ticket to Frieze can cost as much as $206, depending on which day you visit.)
By Samel’s own admission, Esther may not have the most sustainable model. Then again, this fair isn’t only about conducting transactions—it’s also about inspiring collectivity. As Samel told ARTnews last week, “What was important for us was creating an environment where galleries can take risks and think about it as a complementary platform versus a more competitive one that fairs tend to be.”
Notably, there are no booths. The 25 galleries on hand have instead elected to intersperse their varied offerings, largely without any signage to delineate who’s brought what to Esther. Perhaps for that reason, Esther feels more like a dealers’ hangout than an art-market shark tank. Experiments in New York like Esther largely went extinct during the pandemic. It’s a pleasure to have that spirit back.
How’s the art itself? On the whole, it’s good, not great. There’s a lot of painting, and little of everything else, but at least the paintings at Esther largely aren’t the figurative kind seen at the Friezes and Art Basels of the world. And many of the artists aren’t stars, which means there’s fresh talent to discover.
Below, a look at some of the best offerings at the first edition of Esther, which runs through May 4.
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Jaanus Samma
Temnikova’s own gallery—Temnikova & Kasela, run with Indrek Kasela—has lined this fair with works by Jaanus Samma, whose woven works and prints often take up the notion of Estonianness itself. The silkscreen Lepvalts’s Kalevipoeg I (2023) features a nearly nude, hunky man raising a sword above his head while two other shirtless guys look on. Its title is a reference to painter Rudolf Lepvalts’s paintings about Kalevipoeg, a 19th-century epic poem commonly read as a call for Estonian independence, something the country did not declare until 1918. Samma, rather than simply reiterating Lepvalts’s imagery, has pixelated it and paid more mind to the musculature of the poem’s protagonist, giving special attention to his well-defined pecs. Samma’s art has regularly circumscribed queerness within the history of Estonia, a country that was relatively open to gay people until it came under the control of the Soviet Union. Here, he suggests that texts core to the nation’s collective consciousness may actually be laced with homoeroticism.
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Skuja Braden
Brought to Esther by Kaufmann Repetto, this Latvian duo produces oddball porcelain vessels that they’ve painted with ambiguous images and words. One of those vessels, exhibited atop a billiards table, features a crush of anime-like figures with bulbous eyes that stare out at the viewer. Another has a picture of a winged horse, along with the word “facade” written over and over. Skuja Braden’s work may not make much sense, especially without additional context to help elucidate it, but it certainly does offer aesthetically pleasurable disturbances. For that reason, do not miss one particularly ornate vase set within a fireplace. Painted onto it is an image of a nude woman bound up in ropes, shibari-style. It’s kinky and weird—and hardly the usual fair fare.
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Botond Keresztesi
Surrealism-inspired figurative painting is not exactly in short supply these days, and the trend shows no sign of dying off anytime soon. If more of it must appear in New York, let it be as strange as the paintings by this young Hungarian, brought to Esther by London’s Seventeen Gallery. Keresztesi makes his paintings by mocking up his images digitally, then painting them onto canvas. That explains the Photoshopped look of his horrifying creatures, which seem neither human nor inhuman, neither solid nor liquid. Behind these misshapen beings, Keresztesi has airbrushed odd imagery—one painting features an eye that stares out at a rocky outcropping and an unclassifiable monstrosity whose head culminates in a pointy blade. These intriguing works allude to bodily transformation, and because of their bright colors, they seem less scary than one might expect.
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Jan Wade
This Canadian artist has rarely exhibited beyond her home country, but that is slowly beginning to change, with a solo show set to open in New York at Richard Saltoun Gallery on Thursday. As a teaser for that exhibition, the gallery is showing four fascinating works by Wade at Esther. All these pieces deal with the thin division between life and death. In two all-black works that combine vessels with sculpted figures, Wade refers to the tradition of memory jugs, which were produced by enslaved people for cemeteries in the American South. Despite being colorless, hers are imbued with warmth: one contains the words “LOVE” and “SOUL” repeated across its surfaces. There are also two drawings from her “Boneheads” series, featuring hybrid people that turn into snakes and sprout many eyes. In one, a person’s head emerges from a tree, crying as its head blooms with flowers. “In the midst of Life. There is death—,” a cryptic text beneath it reads.
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.
Art
Ukrainian sells art in Essex while stuck in a warzone – BBC.com
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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
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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