Art

Your new favorite art gallery might be an apartment building lobby

Published

1 year ago

August 30, 2023

One of the rare upsides to D.C.’s pricey housing crush is the promise of luxury amenities: infinity pools, podcast booths, rooftop dog parks. New apartment buildings offer these spoonfuls of sugar to help renters swallow the high price of housing in this region. These add-ons can be genuinely beneficial to residents — maybe even the influencer studios — but the utility is mostly reserved for people with key-fob access.

So it’s unusual to walk into an apartment building with no other business than to indulge in one of its private assets. Yet a few D.C. area developments are now hosting art exhibitions, inviting anyone to come in and linger as they would in any gallery, and even to buy art. It’s an alternative to the private gallery spaces whose numbers have steadily dwindled as prices for real estate have risen. And these multiunit buildings are showing art, not mere decor, or at least that’s the pledge from the curators behind them.

The Silva, an apartment building in Adams Morgan, looks like the kind of place where contemporary art would be shown. Designed by the London-based Grimshaw Architects and D.C.’s own Core, the 172-unit project features punctuated window nooks that jut out from the building’s facade, giving the exterior a rhythmic feel. Just inside the Silva’s front door — past a mosaic mural of stylized animals in the entryway created by area artist Federico Frum, a.k.a. Mas Paz — is a corridor that doubles as a space for “Chroma,” a solo show by painter Jeremy Flick.

“Chroma” comprises seven hard-edge abstract paintings. At a glance, Flick might remind viewers of Washington Color School luminaries such as Kenneth Noland or Thomas Downing. Flick shares some of that DNA: His paintings feature overlapping polygons of color that blend in rich, sometimes unexpected ways. Yet Flick’s shaped canvases break with the pure experiments of the Color School generation, revealing a sculptural departure from the simple plane.

Flick’s paintings are pretty. “23-085” (2023), a typical work, comprises four trapezoids of red, blue, orange and green. The areas where Flick’s shapes overlap aren’t the muddy brown that mixing these colors would give you, but rather more the subtle blends. This particular painting canvas has ten sides, although the steady drumbeat of the rectangle throughout his work makes his paintings look more square than they are.

With his shaped canvases, Flick favors an approach by the likes of Charles Hinman or Frank Stella, while his dedication to color theory harks back to the square-within-a-square painter Josef Albers. Flick’s work is a dialogue with this older generation of modern artists, and the results, however vibrant, can feel dated. The right word might be vintage: There’s nothing musty about Flick’s work, and viewers who can never get enough geometric abstraction will find a lot to like.

The Silva’s presentation of “Chroma” was produced by Marta Staudinger, an art adviser who works as a curator and thinks like a broker. Instead of running a traditional gallery, her shop, Latela Curatorial, works directly with developers to program amenity spaces with local artwork. In pre-pandemic times, at least, commercial rents in the District ran at a premium too high for gallerists to afford to establish many brick-and-mortar spaces. If developers are game to add proper lighting and hanging systems to a lobby, why not cut out the middleman? After all, developers are perhaps the biggest art buyers in the region — after lawyers.

The lobby-as-gallery approach is not reserved for hungry art dealers alone. The Tephra Institute of Contemporary Art — the arts nonprofit formerly known as the Greater Reston Arts Center, which does have a storefront space — has established a satellite location in an apartment complex in downtown Reston. At the Signature, a 508-unit multiuse building on a block-sized development called Reston Town Center, artist Charles Philippe Jean-Pierre has mounted a show that rises above the building’s many distractions.

“Flare,” the multidisciplinary D.C. artist’s solo show, brings together fashion, flavor and just a touch of darkness. A Haitian American from Chicago, Jean-Pierre paints dense abstractions that point to rich textiles. For paintings such as “Future Memories IV” (2021), his brushstroke is patterned and controlled, as if he were weaving his abstraction. Yet in a separate set of paintings, his approach is thicker, grayer and more subdued. Still other pieces look like fierce fashion designs: collaged figures made with painting, fabrics and other materials. And a fourth series adds a sculptural dimension, with photos of ceramic figurines of children painted a glossy black.

Jean-Pierre’s work is all over the place, in the best possible sense. His artistic experiments orbit the richness of the African diaspora without ever landing at a single theme. The paintings run the gamut of abstraction, from moody to exuberant. The collages are inviting and trendy. The sculptures are deliberate kitsch. There’s a cohesive vision waiting to emerge in Jean-Pierre’s work, but he’s not idling.

The limits of the apartment-gallery model are apparent in “Flare.” The photos of sculptures should just be the sculptures themselves, but it’s hard to see how the space at the Signature could host such works without building vitrines that would interrupt the space’s use as a hallway. Competing with the needs of a working residential space is a drawback. And there are limits to what kind of art can work in this kind of space. Residents aren’t going to tolerate performance art on their way to get the mail, naturally, but they might not also want to see a painting or photograph with challenging material.

The Signature is a dense development designed by the D.C. firm Shalom Baranes Associates, and Tephra’s space at the Signature is just one of many amenities in the building’s ground level. And for a city strapped for galleries, these informal spaces add up to cultural infrastructure: At this same time last year, Jean-Pierre showed his work at the Silva in Adams Morgan, in another Latela Curatorial presentation. No one’s going to mistake an apartment space for a white-cube gallery, but it offers a lot more to residents than a lot of concepts for amenities that go idle and gives something to the city to boot. Developers, take note.

The Silva, 1630 Columbia Rd. NW. latelacuratorial.com.

Dates: Through Oct. 8.

Admission: Free. Open to the public Monday-Saturday from 10 a.m. to 5 p.m. and Sundays from noon to 5 p.m.

Flare: Charles Philippe Jean-Pierre

Tephra Institute of Contemporary Art at the Signature, 11850 Freedom Dr., Reston. tephraica.org.

Dates: Through Oct. 15.

Admission: Free. Open to the public Tuesday-Saturday from 11 a.m. to 5 p.m.

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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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