Art

‘Staging Injustice’ Italian Art Show Opening At CIMA – Forbes

Published

3 years ago

January 8, 2022

The Center for Italian Modern Art (CIMA), a New York City-based public non-profit dedicated to presenting modern and contemporary art to international audiences, will present Staging Injustice. This group show covers Italian painting and sculpture from 1880 through 1917. Most of the artists’ work included in Staging Injustice has never been exhibited in the States before including Ambrogio Alciati, Adriana Bisi Fabbri, Antonio Carminati, Achille D’Orsi, Raffaello Gambogi, Giuseppe Mentessi and Luigi Nono. CIMA was founded in 2013 by Laura Mattioli, who has curated all of the exhibitions up until 2018. Mattioli currently serves as the President of the Center’s Board of Directors.

Staging Injustice contains four themes that are as timely for the current moment as they were for artists in a similar period of upheaval over a century ago. These topics include migration, labor, protest and social injustice. The show will be on view from January 25th through June 18th and features around 20 artworks from Italian museums and private collections. It is curated by Giovanna Ginex, an independent art curator and historian based in Milan. Ginex specializes in different aspects of nineteenth and twentieth-century art, including painting, sculpture, photography and design. She has collaborated with institutions around the world.

Forbes spoke with Ginex about her process of curating Staging Injustice. We also discussed what excites her most about the art from this period in history and how she feels it connects to the current moment.

Giuseppe Pellizza, Membra stanche (Famiglia di emigranti) (Emigranti), 1907 Oil on canvas 50 x 64 … [+] 5/8 in Collezione Fondazione Francesco Federico Cerruti per l‘Arte, Long term loan at Castello di Rivoli, Museo d’Arte Contemporanea, Rivoli (Torino)

Collezione Fondazione Francesco Federico Cerruti per l‘Arte Long term loan at Castello di Rivoli, Museo d’Arte Contemporanea, Rivoli (Torino)

Risa Sarachan: What was your process of selecting these particular artworks to be used in the exhibition?

Giovanna Ginex: Migration, labor, protest, and social injustice are the fields of intervention that marked the reality of the artists at the center of CIMA’s exhibition Project. The Italian artistic production of the period considered – between 1880 and 1917 – is characterized by a large number of artists sensitive to social issues. To present a reasoned selection of artists and works to the CIMA international public, I followed three main criteria: the absolute quality of the works; their representativeness in the context of social Italian painting and sculpture at the time of their execution; the fact that they are currently held by important Italian museums or foundations.

Sarachan: How did you get involved with this kind of work?

Ginex: As an art historian, I have been involved for many years in the study of artistic production and, more generally, in the visual arts between the end of the nineteenth century and the first half of the twentieth century. As a curator, too, I focus my work particularly on social themes and the dissemination of reproduced images. When, more than two years ago, Laura Mattioli asked me for a project to present Italian social art to the CIMA public, I was grateful and enthusiastically accepted this new challenge.

Sarachan: What excites you about this period of art?

Ginex: Most of the technological, scientific, demographic and social innovations and revolutions that still mark our world today took place between the end of the nineteenth century and the First World War. All forms of creativity, and the arts, in particular, have participated in, represented, or sometimes shaped those innovations and revolutions. It is impossible to understand what contemporary art is today without acknowledging, or even disavowing, the legacy of those decades.

Raffaello Gambogi Emigranti (The Emigrants), 1894, Oil on canvas 57 ½ x 77 1/8 in Museo Civico … [+] Giovanni Fattori – Livorno

Museo Civico Giovanni Fattori – Livorno

Sarachan: Why is this art relevant to the current moment?

Ginex: Economic difficulties, exacerbated inequality and social tensions, problems of marginality and insecurity experienced by large swaths of the population are not exclusive to contemporary American society: many other countries have experienced and continue to endure similar conditions of widespread hardship. Late nineteenth-century Italy was one such case. I believe that the involvement of the Italian artists of the time in the debate around the “social question” and the consequent, profound renewal of their production in form and content, could be a powerful inspiration and a stimulus, both for today’s artists and for the public.

Sarachan: How has the art world struggled and or persevered through this pandemic?

Ginex: Artists have always known how to respond to adverse conditions by renewing their creativity and by immersing themselves in the reality of their day. I believe, however, that it is still too early to evaluate and even to understand how and to what extent the art world has reacted to this pandemic.

This interview has been edited and condensed for clarity.

Staging Injustice is open to the public on Fridays and Saturdays by appointment. More information can be found here.

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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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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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