Art

The Power of Art in a Political Age

Published

2 years ago

March 2, 2023

I sometimes feel I’m in a daily struggle not to become a shallower version of myself. The first driver of shallowization is technology, the way it shrinks attention span, fills the day with tempting distractions. The second driver is the politicization of everything. Like a lot of people, I spend too much of my time enmeshed in politics — the predictable partisan outrages, the campaign horse race analysis, the Trump scandal du jour.

So I’m trying to take countermeasures. I flee to the arts.

I’m looking for those experiences we all had as a kid: becoming so enveloped by an adventure story that you refuse to put it down to go have dinner; getting so exuberantly swept up in some piece of music that you feel primeval passions thumping within you; encountering a painting so beautiful it feels like you’ve walked right into its alternative world.

The normal thing to say about such experiences is that you’ve lost yourself in a book or song — lost track of space and time. But it’s more accurate to say that a piece of art has quieted the self-conscious ego voice that is normally yapping away within. A piece of art has served as a portal to a deeper realm of the mind. It has opened up that hidden, semiconscious kingdom within us from which emotions emerge, where our moral sentiments are found — those instant, esthetic-like reactions that cause us to feel disgust in the presence of cruelty and admiration in the presence of generosity.

The arts work on us at that deep level, the level that really matters. You give me somebody who disagrees with me on every issue, but who has a good heart — who has the ability to sympathize with others, participate in their woes, longings and dreams — well, I want to stay with that person all day. You give me a person who agrees with me on every particular, but who has a cold, resentful heart — well, I want nothing to do with him or her.

Artists generally don’t set out to improve other people; they just want to create a perfect expression of their experience. But their art has the potential to humanize the beholder. How does it do this?

First, beauty impels us to pay a certain kind of attention. It startles you and prompts you to cast off the self-centered tendency to always be imposing your opinions on things. It prompts you to stop in your tracks, take a breath and open yourself up so that you can receive what it is offering, often with a kind of childlike awe and reverence. It trains you to see the world in a more patient, just and humble way. In “The Sovereignty of Good,” the novelist and philosopher Iris Murdoch writes that “virtue is the attempt to pierce the veil of selfish consciousness and join the world as it really is.”

Second, artworks widen your emotional repertoire. When you read a poem or see a piece of sculpture, you haven’t learned a new fact, but you’ve had a new experience. The British philosopher Roger Scruton wrote, “The listener to Mozart’s Jupiter symphony is presented with the open floodgates of human joy and creativity; the reader of Proust is led through the enchanted world of childhood and made to understand the uncanny prophecy of our later griefs which those days of joy contain.”

These experiences furnish us with a kind of emotional knowledge — how to feel and how to express feelings, how to sympathize with someone who is grieving, how to share the satisfaction of a parent who has seen her child grow.

Third, art teaches you to see the world through the eyes of another, often a person who sees more deeply than you do. Sure, Picasso’s “Guernica” is a political piece of art, about an atrocity in the Spanish Civil War, but it doesn’t represent, documentarylike, an exact scene in that war. It goes deeper to give us an experience of pure horror, the universal experience of suffering, and the reality of human bloodlust that leads to it.

Of course “Invisible Man” is a political novel about racial injustice, but as Ralph Ellison later wrote, he was trying to write not just a novel of racial protest, but also a “dramatic study in comparative humanity which I felt any worthwhile novel should be.”

I haul myself off to museums and such with the fear that in a political and technological age, the arts have become less central to public life, that we don’t seem to debate novels and artistic breakthroughs the way people did in other times, that the artistic and literary worlds have themselves become stultified by insular groupthink, and this has contributed to the dehumanization of American culture.

But we can still stage our mini-rebellions, kick our political addictions from time to time, and enjoy the free play of mind, the undogmatic spirit and the heightened and adrenalized states of awareness that the best art still provides. Earlier this year I visited the Edward Hopper show at the Whitney a couple of times, and I got to see New York through that man’s eyes — the spare rooms on side streets, and the isolated people inside. I forget most of what I read, but those images stay vivid in the mind.

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Art

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

Published

9 hours 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

4 weeks 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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