Art

Revealed: the artwork sneaked into a German gallery by an employee – and the story behind it – The Guardian

Published

5 months ago

April 13, 2024

The first picture that greeted visitors to the first-floor exhibition space in Munich’s Pinakothek der Moderne gallery on 23 February may not have immediately grabbed their attention.

The 60cm by 120cm artwork was a retro-looking photograph of a family of four, with the background and parts of the faces and bodies roughly painted over in white. It was unassuming compared with the video- and photo-based artworks in the adjacent rooms, but only on closer inspection might visitors have wondered why there was no label giving the artist or the work’s title.

The real reason only became public last week: the nameless painting, the content of which has not been previously made public, was not the work of a modern master selected by the curators, but the creation of a 51-year-old technical worker employed by the museum, who had sneaked it into the show in the early hours of the morning.

The Pinakothek, which has one of Europe’s largest collections of modern and contemporary art, removed the painting after closing time, sacked the technician and kept quiet about the incident.

When news of the stunt found its way to the German press via a police report last Monday, the museum downplayed it. “A little hoax, a trifling matter,” a spokesperson said. A first report in Süddeutsche Zeitung newspaper framed the incident as a wannabe-artist seeking an “artistic breakthrough” by putting himself in the company of Andy Warhol, Joseph Beuys and others.

But museum insiders say that far from being a brazen shot at fame, the artwork was meant as a critical intervention by one of the people who help make exhibitions happen but usually remain invisible, designed to provoke debate about elitism in the art world.

Early reports failed to mention that the special exhibition in which the picture was hung was all about errors and malfunctions in art, and called Glitch: On the Art of Interference.

Its aim, according to the catalogue, was to “uncover normative orders and sociopolitical disparities” and “make visible what is invisible”.

“The motive behind smuggling that picture into the exhibition was to see if the directors of the museum were prepared to practise what they preach”, said one person familiar with the events. “It was an artistic challenge. The technician who hung up the picture wasn’t lusting for fame.”

The curator of the Glitch exhibition said developing the show had taught her to accept imperfections and accidents. “Who is to determine what is perfect?” she told Bavarian Sunday paper Sonntagsblatt. “When dealing with mishaps, it’s quite possible to show a degree of serenity.”

In dealing with an unwanted painting, however, the Pinakothek found serenity harder to come by. It said the technician, who worked part-time at the museum, had been barred from all Bavarian State Painting Collections galleries for three years and had signed a “dissolution agreement”. These nullify an employee’s contract, but often also contain confidentiality clauses.

So far, the technician-artist has neither been named nor commented on the affair. A spokesperson for the Pinakothek last week declined to either name the employee nor describe his picture, for fear of “encouraging copycat pranksters”.

In a statement later in the week, the museum rejected the idea that hanging the picture was an “artistic intervention”, because no hurdles had been overcome; it was merely a breach of trust.

“Employees must comply with security concepts and not jeopardise valuable cultural heritage,” it added. A criminal complaint against the technician for damage to property was withdrawn in March.

The Pinakothek did not respond when asked if its dealings with the affair were at odds with the message of its exhibition.

Curators of an exhibition in Bonn last year took a very different approach. When taking down a temporary exhibition entitled Who We Are – Reflecting a Country of Immigration, they were surprised to find an extra painting on their hands. They put out a message on social media saying: “We think this is funny and would like to know the artist. So get in touch! There will be no trouble. Word of honour.”

The artist, Danai Emmanouilidis, came forward and saw her painting fetch €3,696 at auction in Cologne.

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Art

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

Published

4 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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