Art

The Art of Subscription Services – WWD

Published

5 years ago

February 9, 2020

When Curina founder, Mio Asatani, made the move to New York City in 2017 to attend Columbia Business School she says she was faced with a challenge when trying to make her new apartment her own. Though in her journey to purchase original fine art by New York artists, Asatani told WWD she was met with unwelcoming and uninterested gallerists.

Asatani soon found her experience was not uncommon and other potential art collectors in her business classes also found the process to be intimidating. The young professionals, Asatani found, were left wanting.

According to Asatani, these Millennials, who have a reputation as a generation that strives to be unique through purchases and social media, deserved better. Her solution, Curina, offers three subscription plans which provide members with curated art from New York artists.

Here, Asatani talks to WWD about empowering New York artists, sharing curated art with the Millennial consumer and the challenges she faced as a female-led start-up.

WWD: Who are the artists you work with? How do you find them?

Mio Asatani: In the flood of images and information that comes with looking at art digitally, I’m sticking to the idea of selective curation. “Quality over quantity” definitely applies here. We’re looking for New York artists who think a lot about what it’s like to live in our day and age, issues urgent and close to our lives like digitalization, urban architecture or cultural identity.

We also expect [the artists] to use the medium of painting with a critical eye because it has such a long history that can be turned around and used to question its own assumptions — incorporating sculptural or craft elements, for example. I think Curina’s unique perspective is what led to our partnership with Kathryn Markel Fine Arts — we share an eye for works that will be more than a new sensation.

Mio Asatani, founder of Curina.
Courtesy Image.

WWD: What have the challenges been as a female-led start-up?

M.A.: I think my challenges are multilayered. I am female, young and, on top of that, Asian. I work with not just artists and galleries, but also with real estate management and brokerage firms, which are dominated by much older white men. The concept of rental subscription for fine art is unique and the founder doesn’t look like anyone they have done business with in the past.

Having to deal with too many unfamiliar elements can be scary for some people. I’ve had someone tell me “That’s a cute little school project. Good luck.” But at the end of the day, these comments don’t matter because if I can offer a value that no one else can, they can’t say “no.”

WWD: Why is the idea of renting art a need for consumers now?  

M.A.: People want something unique. They no longer want mass-produced posters or to live in the same-looking houses as everyone else. They want a piece of culture in their home and to be inspired.

And people don’t stay in one place forever anymore. They are looking for a more flexible way to enjoy art and that’s why subscription models are so popular right now.

Curina wants to offer a new art ownership model. Art is not just for rich people. Buying art doesn’t have to be so extraordinarily serious and inflexible. I hope our rental model will lower the hurdle and let people enjoy art for what it is like it’s supposed to.

I hope Curina changes not only the ownership, but the perception people — especially young people — have about art. I believe art could and should be part of everyone’s lives, homes and conversations, and I hope Curina can help do that.

WWD: Who is your primary consumer?

M.A.: We have two types of customers. The first type is Millennial business professionals who want to graduate from buying generic posters from Ikea but don’t want to commit to expensive pieces. They are frequent customers of Rent the Runway and Feather. They rent for the duration of their apartment lease or until their tastes change.

The second type is customers who want to see the art in person and try before they buy. They don’t have the time to visit galleries, but they [also] aren’t comfortable spending a few thousand dollars for online art either. They like Curina because the rental fees go toward purchasing and they feel it’s risk-free.

Kimmy Quillin, a featured artist available with Curina subscription.
Courtesy Image.

WWD: How does your idea reflect Millennial behavior today?

M.A.: I see a lot of Millennials consider “buyership” less as owning a product than a gesture of supporting a community or idea. Especially in New York, there’s always been a strong cause for supporting your local creatives.

That’s why DIY collectives and venues with experimental spirit can survive where it can’t anywhere else. We’re trying to bridge this community spirit with an online presence that can sometimes seem impersonal, by creating content about the stories behind each work and by challenging the stuffy way art tends to be described.

WWD: How long do consumers generally rent a piece of art?

M.A.: Anywhere from six months to two years. Our customers like that the subscription model gives them the freedom to enjoy fine art for as long as or as short as they would like.

WWD: Is there something ideal about a subscription service for this audience?

M.A.: People appreciate change and experience more than ever. More and more Millennials are moving around for a new adventure. They don’t want to be tied down to one place, style or environment. That’s why a lot of our customers already use other rental subscription platforms like Live Feather and Rent the Runway. These rising start-ups accommodate people’s changing lifestyles.

For More WWD Business News:

Disrupting the Rental Disruptor With What’s Already There

Josh Luber and the Rise of StockX

Clothing for Rent: Here’s What Brands Need to Prioritize

Let’s block ads! (Why?)

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Art

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

Published

1 day 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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