Art
Pop artist Claes Oldenburg transformed everyday objects into towering monuments – CBC.ca
Claes Oldenburg will be remembered as “an extraordinary man” for his impact on the art world and beyond, says an art gallery curator and long-time collaborator.
“Claes was an extraordinary man, an incredible artist and someone who we will all sorely, sorely miss,” Steven Henry, a senior partner at the Paula Cooper Gallery in New York, told As It Happens guest host David Cochrane.
Henry worked on projects with Oldenburg for decades, including the artist’s final piece earlier this year.
The Swedish-American sculptor, who disrupted the art world with his whimsical depictions of everyday objects and massive pieces of public art, died this week at the age of 93.
“The loss does feel profound for those of us in the art world but … beyond the art world as well, because his work touched so many,” Henry said.
“Someone will say, ‘Meet me at the baseball bat,’ or ‘Meet me at the clothespin,’ and I think they may not even realize that’s a Claes Oldenburg, yet they’re delighted and enraptured by the piece.”
Inspired by everyday items
Oldenburg was born in 1929 in Stockholm. He grew up living between Sweden, Norway and the U.S. due to his father’s job postings as a diplomat. Oldenburg studied literature and art history at Yale University and then went on to the School of the Art Institute of Chicago.
In 1956, the budding artist moved to New York City. He was captivated by the city streets that were decorated with display windows, graffiti, advertisements and trash.
Over the next few years, his artwork was inspired by the everyday items sold at a bodega. He made “soft” sculptures, made of canvas or vinyl and filled with foam, that took the form of items like sandwiches, oranges and cigarettes.
“You have a great one in Canada,” Henry said, referring to Oldenburg’s 1962 work, Giant Hamburger.
“It’s hilarious. It’s, you know, sewn fabric that’s been painted. And then you kind of encounter it, you’re like: ‘Wait, that’s a hamburger!’ and, ‘What’s it doing in a museum?’ It’s funny and it’s subversive, I think.”
Giant Hamburger was purchased by the Art Gallery of Ontario in 1967. At the time, some people didn’t think the sculpture, which was renamed Floor Burger, belonged in the museum. Some students responded by leading protests while carrying a nine-foot ketchup bottle.
“Oldenburg’s art continues to inspire and challenge,” AGO curator Xiaoyu Weng wrote in an email to As It Happens.
“The work has generated many stories, some controversial (like the initial protest from the public against the work’s acquisition due to its then experimental nature) and some joyful (there is a little boy who came two years in a row to see the work on his birthday),” wrote Weng, who is the AGO’s Carol and Morton Rapp curator of modern and contemporary art.
Henry remembers Oldenburg for his wry sense of humour, which the artist infused into his work. In the ’60s, Oldenburg made a name for himself in New York’s explosive pop art scene with his outsized, ordinary objects inside Manhattan’s tiny gallery spaces — a radical departure from the traditional displays at the time.
“I think he was commenting on this notion of the representation of power and how traditionally monuments have been these visualizations of typically men, standing or on horseback, and generating or at least communicating this notion of power and hegemony,” he said.
“And I think he’s saying, ‘Okay, these other things can also be aggrandized in a way that, you know, maybe kind of gets us to question what is a monument?'”
Art à la carte
Food featured prominently in Oldenburg’s work over the years — so much so that he carried a sketchbook with him to the dinner table.
“He would pull it out just in the midst of a conversation,” Henry recalled. “And he would start drawing. And often it would be a sort of fanciful take on a meal.”
Part of the reason why he drew his food was because his wife, Coosje van Bruggen, had food allergies and had to follow a plain diet.
“He would draw these wonderful, fantastic food dishes that she could consume visually,” Henry explained. “We actually did a show called Images à la Carte, which was an exhibition of these very sweet drawings that he did for Coosje…. It was a very sweet and loving tribute to her.”
Van Bruggen was also a sculptor and worked in collaboration with Oldenburg on several monuments, including the Clothespin in Philadelphia, Saw, Sawing in Japan and Apple Core in Israel, among others. She died in 2009.
According to Henry, Oldenburg stopped working on large-scale projects after his wife died. But a few years ago, when Henry spoke with Oldenburg about what projects he wanted to complete, a project from 20 years ago came up.
Oldenburg created a giant red shovel for his property in France. He wanted to create another shovel like it in blue, but never got it done until earlier this year. When the idea took shape, it was finally planted at Rockefeller Center in New York City.
“It became this metaphor of a rebirth,” Henry said.
“He always loved the way the work was seen amongst buildings … where people could really engage with it one-on-one. We were thrilled that it was able to be done before he passed.”
Written by Mehek Mazhar. Interview with Steven Henry produced by Chris Trowbridge.
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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