Art

‘She should be up there with the greatest’: celebrating the art of Gego

Published

1 year ago

June 13, 2023

The modernist artist Gertrud Goldschmidt, better known simply as Gego, was born to unassuming, if prosperous circumstances in Hamburg, Germany, in 1912. As a Jew, she fled Nazi Germany alongside her family in 1939, arriving alone in Caracas, Venezuela, which at the time was a booming capital churning with a vibrant artistic renaissance. Seizing the opportunity presented by her departure from Europe, Gego would reinvent herself in Venezuela with the freedom and fervor of an emigrant, going on to produce a body of work that many have classified among the most original artistic outputs of the 20th century.

“I believe she is part of the incredible artists of the postwar era that have touched upon not just one medium, but many mediums,” said the art dealer Dominique Lévy, a founding member of the art agency LGDR, which has just opened a tightly curated show of Gego’s work, Lines in Space. Lévy continued, “She had the courage to stay the course without worrying about trends, without any fear. She should be up there with the greatest.”

Lines in Space, which shows through 7 July at the agency’s flagship gallery, features about 40 works, headlined by the artist’s strange sculptures, including the well-known Dibujos sin papel, drawings without paper. The exhibition also features watercolors, works on paper, lithographs and others. Conceived as an atemporal encounter with a radical body of work, Lines in Space aims to be at once intimate and bracing.

Mostly consisting of very muted colors, and filled with long, thin, obsessive lines, Gego’s artwork comes across as both striking and utterly mysterious. For the most part the pieces in Lines in Space are made up of simple geometric forms repeated until they become dizzy with complexity – many resembling some demented form of a city grid – finding wonder and beauty in their intricacy. Like the best nonobjective art, Gego’s work can hold the eye with its hypnotism, even while refuting the very human impulse to find meaning, narrative or representation.

For Lévy, what is most original about Gego’s work is how she brings together oppositions into pieces that vibrate with the tension of their own differences. “What makes her essential and relevant is the way she was able to deal with sculpture,” said Lévy, “to reunite oppositions, from the very strong to the very vulnerable, from the very static to the very moving. Those oppositions come together into something that’s breathtaking. She uses very minimal material to make something incredibly grand.”

Gego’s radical art has often been associated with her radical departure from Europe and emergence in the new world. Escaping the Holocaust, Gego arrived in South America into an entirely different society from what she had known, setting the stage for her artistic emergence. “When she arrives, Venezuela is completely booming,” said Lévy. “It’s a rich country, an exciting country, and here she is. It must have been incredibly scary and yet exciting.”

Once in Caracas, Gego quickly took to the artistic community there, finding a culture that she was strangely suited to, giving her a kind of freedom that probably would have been impossible in her native Germany. “Somehow she felt a connection to Venezuela and the people there,” said Lévy. “She’s Jewish and completely able to reinvent herself in Caracas, and in that spatial freedom she discovered a new beginning.” Situated among the leading currents of modernism, Gego first attempted working as an architect and a teacher, only ultimately dedicating herself full-time to art starting in 1953. She aimed not to add on to any of the movements surrounding her but to create a style all her own. “She’s aware of everything going on in the world, yet she managed to be different,” said Lévy.

By the 1960s, Gego’s talent had begun to be appreciated. She was commissioned to make major public art pieces in Venezuela, and she had also attracted the attention of New York’s art world, having a series of exhibitions that culminated in what Lévy described as an important show at Betty Parsons Gallery in New York in 1971. That was to be her last New York show in her lifetime, although Gego did subsequently travel to Europe in the 1980s, where she found favor. After her death in 1994, in the early 2000s Gego began to re-emerge in North America, with shows including Los Angeles and Houston, and she finally came back to New York in the 2010s. “New York was first, in the 60s,” said Lévy, “and New York is last in rediscovering her.”

Gego’s return to New York may have been a long time coming, but it has been worth the wait. The Guggenheim currently offers an enormous show of nearly 200 pieces, chronicling Gego’s entire artistic development. That exhibition has been celebrated widely, and it is international in profile, having already shown in São Paulo and Mexico City, and headed next to Bilbao.

Lines in Space is meant to be an entirely different creature. According to Lévy, “We wanted to say, ‘OK, there’s a moment suspended in space where we can show works that are not at the Guggenheim.’ The Guggenheim show is very, very well done, as an understanding of Gego’s chronology and evolution. But it was not bringing together the works where they sort of echo and bounce off of and within each other.”

Gego in 1969 installing Reticulárea at the Museo de Bellas Artes, Caracas

Aiming to offer audiences a much more intimate encounter with Gego, Lines in Space intends its pieces to dialog with each other – free from chronology and differentiation, the artworks are able to all come together. “Our small, intimate exhibition is more the desire of an experience – coming into the world of Gego rather than reading the world of Gego,” said Lévy. LGDR’s gallery is an ideal space for such an exhibition – done in the style of the 18th century, the gallery’s chessboard tiling and ornate white walls present a sensation of volume, giving the work room to breathe.

For Lévy, being able to show Gego’s work has been a decades-long project. She first encountered Gego’s art in Los Angeles in the early 2000s, where it filled her with emotion. She has subsequently staged exhibitions of Gego’s work in New York and London, and has published a comprehensive book on the artist – Gego: Autobiography of a Line. Lévy believes that justice will not be done until Gego’s name is among the greatest in the art world. “It’s work made with a breath of freedom,” said Lévy. “I hope for a big European retrospective next. It’s needed.”

Lines in Space is on display until 7 July at the LGDR gallery in New York City

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Art

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

Published

2 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

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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