Art

NGV Triennial will see Boston Dynamics robot dogs set up studio in the National Gallery of Victoria over summer

Published

1 year ago

April 4, 2023

A trio of finger-painting robotic dogs will share star billing with conceptual artist Yoko Ono, iconic fashion house Schiaparelli and British art heavyweight Tracey Emin in the third iteration of NGV Triennial, the National Gallery of Victoria’s behemoth exhibition of contemporary international art and design, opening in December.

Featuring more than 100 artists, and free to the public, the exhibition will take over the entire NGV International building — including the facade, which will feature a large text-based work by Ono, in the form of a question for Melburnians.

Inside the gallery, three robo-dogs — designed by Boston Dynamics for industrial applications such as data collection — will take up residence in a purpose-built art studio, where they will paint every day for the duration of the Triennial.

The instigator of the project, US-based Polish artist Agnieszka Pilat, says robots aren’t coming for our art just yet. While the dogs use AI to operate within their surroundings, their creative capacity is limited: “I’m very directly telling the robot what to do and how to operate.

“There’s a lot of anxiety about AI and robotics, and I want to show that actually in human years, these robots are young children, and they’re silly,” Pilat says, likening the dogs’ work to a child’s finger painting.

“I think it’s artists’ responsibility [to engage with new technology], and we have the ability to play on a much smaller scale before something becomes global.”

Agnieszka Pilat credits her upbringing in Cold War-era Poland for her embrace of colour and technology in her art.(Supplied: NGV/Aaron Richter)

Pilat’s project is perhaps the perfect headliner for NGV Triennial: a marriage of art and design that grapples with the tech future.

It’s one of 25 world premiere projects commissioned specially for the exhibition, sitting within a larger program of new and recent works, subdivided into three loose themes: Magic, Matter and Memory.

The line-up of artists, spanning more than 30 countries, is eclectic: Big names such as UK satirist David Shrigley sit alongside emerging artists; British art world heavyweights Tracey Emin and Yinka Shonibare rub shoulders with drag luminary Raja Gemini (of RuPaul’s Drag Race fame) and instafamous creators such as Australian performer Smac McCreanor; textile artists and painters mix it up with animators and product designers.

David Shrigley’s monumental 2016 sculpture Really Good (pictured) will feature in the Triennial.(Supplied: NGV/David Shrigley)

“That false distinction between art, craft and design is something that we want to challenge throughout the Triennial,” says Myles Russell-Cook, NGV’s senior curator of Australian and First Nations art.

Russell-Cook is one of a team of 20 NGV curators who have collaborated on this edition, working across departments and specialisations.

“It’s a real all hands on deck [situation] — any idea is a good idea … And I think the result is, you get really exciting innovations that you wouldn’t get otherwise,” he says.

Russell-Cook has led one of the major new commissions: a 100-metre long woven “fish fence” made by women artists from Maningrida, Arnhem Land.

Australian artists include a collective of women from Maningrida (pictured, with a section of their “fish fence”) and Pitjantjatjara and Yankunytjatjara artist Betty Muffler.(Supplied: NGV/Myles Russell-Cook)

Inspired by fish traps common to the area, Mun-dirra will be presented in a maze-like formation, through which audiences can walk.

“It’s a beautiful celebration of women’s practice and the matrilineal knowledge transfer that takes place in western Arnhem Land, through weaving: the passing down of stories; the passing down of techniques; the passing down of the magical recipes that go into creating the beautiful dyes,” says Russell-Cook.

Textiles are the stars of this Triennial: Another major new commission is a 40-metre-long tapestry by Mexican product designer Fernando Laposse, who works with Indigenous artisans and materials such as sisal and corn leaves.

Modelled on the narrative-led Bayeux Tapestry, Laposse’s work will tell the story of avocado production in Mexico: a battle between crime cartels and local militia led by women.

“There’s quite a lot [of works] in the show around plants, trees, and the more-than-human world view,” says Ewan McEoin, NGV’s senior curator of contemporary art, design and architecture.

Other textile highlights include a colourful installation of massive fabric boulders by Paris-based senior US artist Sheila Hicks, and an allegorical woven work by mid-career US artist Diedrick Brackens.

For the Triennial, NGV’s historical galleries will host contemporary works — including this installation by Sheila Hicks.(Supplied: NGV)

McEoin says this year’s Triennial is more “tactile” and focused on “material cultures” (as opposed to digital works) compared to previous editions, reflecting a general shift in artists and audiences in the wake of COVID.

“[There has been] a reappraisal of what was important or fundamental, and the return to things that are very tangible and physical was a consequence of that — a sort of refocusing on things that might be seen as being more traditional,” he explains.

“Maybe it’s [part of a] yearning for a simpler time [and] a slowing down — we all slowed down. But also, I do think there was a very strong sense of our relationship to nature as a human species [as a result of the pandemic].”

NGV Triennial will open December 3 at NGV International, Melbourne.

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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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