Art
No More Rules: How Boccara Art Galleries Came Full Circle Online – Forbes
While the arts industry is struggling to cope with the post-pandemic rules of public engagement, there are also examples of institutions adapting well and even thriving under the New Normal. Throughout 2020 my reporting highlighted the rise in demand for video art and transition to virtual reality formats as well as establishment of curators as arbiters of culture at large. Recently, I came across a story that at first seemed counterintuitive: a network of contemporary art galleries specialized in physical pieces expanding into new markets despite international movement restrictions and volatility of global financial markets. How does one secure a creative business in our turbulent times? Since 2007, Boccara Art Galleries has been fostering a type of organizational model previously reserved for larger iconic institutions like Louvre Abu Dhabi or Guggenheim Bilbao: several branded locations co-managing multiple agendas. With presence in eight major cities on three continents, Boccara is becoming a known force of intercultural diplomacy. I reached out to the Boccara Art Galleries founder Liubov Belousova and Julia Bogichevich, co-founder of the Boccara Moscow outpost, to see how current cross-industry conditions are impacting their vision, strategy and daily operations.
Many art institutes are closing. You are opening new locations. Tell me, what kind of magic do you practice?
Liubov Belousova, Boccara Art Galleries founder (LB): There is no magic. I’ve never done anything but sell art since I was 18. You just get better at your job with time. It’s the only thing I know how to do and the only thing I want to do.
How does an 18-years old start to sell fine art?
LB: It was destined, I think. [Laughs] In 2001, in my second year at the university, I had to create a website to pass my computer science exam. Most people made personal pages but decided to use photos of art works from several artist friends. Out of the blue, I received a phone call from an international development company with a huge office in the heart of Moscow. They wanted to buy four featured works! My student project, in fact, became one of the first fully digital gallery in Russia. Now everyone wants to take art business online, but we’ve been doing this for twenty years already.
Art on display at Boccara Art Gallery in Miami
Courtesy of Boccara Art
Is the art market embracing e-commerce as readily as the fashion or music industries?
LB: Sure, it’s possible to buy art which costs hundreds of thousands of dollars from your sofa. The Internet has reduced the distance between the artist and the collector. People don’t need galleries, because they can find whatever they want. However, art collecting is not about transactions. In today’s world “trust” is the most precious commodity. Most people need to understand what they are buying and why before they make their decisions. People need emotional connections, so physical galleries become important in a different way. We don’t expect all who come in to buy something immediately. Most people follow their curiosity first. They may discover an artist and buy their works online later.
Did multi-space approach prove to be a liability or strength during the pandemic?
LB: Since our first place opened in 2007, we invested significantly in following the collectors and engaging local art scenes in popular destinations. I said early on, “We want to be everywhere!” It is our strength that you can look up a Boccara gallery in most major art cities and find one. Every gallery of the group shares their local talent with the other branches. It helps to give a better visibility to our artists who can be seen literally around the world. We also participate in a dozen international art fairs each year. Having our own space in some of those host cities is another plus! I think that’s part of a much deeper question. How do we see the future of the art business? In this new reality is there a reason for physical shops? For us, so far, the answer is absolutely yes!
Art on display at Boccara Art Gallery in Moscow
Courtesy of Boccara Art
How do you see the global art scene changing post-pandemic?
LB: I have spoken with many colleagues over the last months and the only thing everyone agrees on is that there are more buyers today than ever before. We have a lot of new buyers who have never bought art online before. Buyers today have much more freedom to choose and they are much less influenced by trends and headlines. It doesn’t matter if you are dealing with works for under $5.000 or competing in the $500.000+ niche. Overall, the market has become much more affordable and transparent.
Is art still considered a risky investment?
Julia Bogichevich, co-founder of the Boccara Moscow outpost (JB): Quite the opposite! There is a growing recognition of art as an investment asset class by investors as well as people becoming more educated and sophisticated in their estate planning. Not so long ago, there was a perception that fine art was reserved for the rich and the very rich. Now a much larger and more diverse community has started to be interested in collecting. The art market is not as sensitive to collective panic cycles. During the 2008 financial crisis, for example, art indexes fell by 4.5% while those of the S&P 500 plummeted by 37.5%. The current socio-economic climate also creates a demand for ‘real assets’ because many see the ups and downs of tech industries or bitcoin as unreliable.
How do you choose the artists to represent?
JB: It is a matter of personal taste and understanding global trends. We are working a lot with Korean artists right now. Traditionally, Korean art was about harmonizing with nature and refraining from expressing extremes. The new fusion wave from the Gangnam Style hit to last year’s Oscar winning Parasite is consistently challenging the conventional boundaries. We introduced Hyun AE Kang to American audiences with an exhibition at Muzeo Museum in Anaheim, California and now bringing the show to Russia in March. Kim Seungwoo’s work with coins and buttons is a fascinating critique of monetary relations within the arts. We love the dreamlike installations by Kim Jeong Yeon, too! The fantastic mother- daughter Cha Yun Sook & Hayeon create beautiful textile and paper-based pieces. Meanwhile, Krista Kim is a founder of a revolutionary new art movement called ‘Techism’… There is so much to explore there!
Exhibition opening at Boccara Art Gallery in Miami
Courtesy of Boccara Art
Any advice for emerging artists trying to succeed commercially?
JB: Concentrate on growing your name and becoming better and better in what you do! Find your unique vision, your own techniques and cultivate them to perfection. Important to have an international way of thinking because in our days there are no borders for art and collectors are able to find you everywhere in the world. The attention will come.
LB: Remember, there are no more rules! [Laughs]. There is absolute freedom for creating and finding new ways to connect with audiences. Don’t be afraid to reach out directly to different galleries to ask their opinion. Keep on re-inventing yourself. It is our business motto, too!
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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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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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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