Art

‘The arts are now full of ideological landmines’ – Spiked

Published

8 months ago

January 25, 2024

Art used to be about pushing boundaries. Artists broke taboos, spoke out about controversial issues and were at the forefront of movements for liberty and progress. Today, things could hardly be more different. Artists are all expected to hold the same beliefs, whether that be on Brexit, identity politics or climate change. Arts organisations enforce this groupthink by controlling access to funding and to jobs. Spare a few brave voices, the creative industries today appear more like propaganda mills.

Rosie Kay – choreographer and co-founder of Freedom in the Arts – has first-hand experience of all this. In 2021, she was targeted by a vicious smear campaign for her gender-critical views, and was ultimately ousted from her own dance company. She returned to The Brendan O’Neill Show last week to discuss this toxic new culture in the arts and how she is fighting back against it. What follows is an edited extract from their conversation. Listen to the full episode here.

Brendan O’Neill: How bad have things become in the art world? Is it becoming increasingly difficult to express unorthodox views?

Rosie Kay: It’s become worse than I ever anticipated. When I ended up at the very spiky end of cancel culture a few years ago, I really did have a sense of hope. I thought that by speaking out early, we could maybe save the arts. I knew so many good, decent, passionate people in the art world, and I thought that people wouldn’t stand for this kind of censorship. Unfortunately, it’s still going strong.

There are a couple of explanations as to why that is. The first is the vulnerability of artists themselves in a material sense. There’s very little employment law and a lot of poor contracting, so most of the power and money sit within the bigger organisations. Artists’ jobs are very fragile. And now you can go out of fashion or be cancelled very quickly, which adds another layer of vulnerability.

The second reason is that the funders have been pushing identitarian criteria through the system for quite a long time. We have a unique, hybrid model for arts funding in the UK. It’s neither based on independent philanthropists, nor is it a fully state-funded sector. Instead, we’ve got a mix of the two. And over the past 13 years, a ‘fuck the Tories’ mentality has grown up among the funders. This ideology grew, at first in opposition to right-wing politics, particularly austerity, but it has now morphed into something that is obsessed with DEI. Even if artists think this ideology is nonsense, they aren’t daft. They are going to follow where the funding is in order to make their work and earn a living.

This would be fine if, say, gender-critical artists were also getting support and if there was a debate going on. But the money has gone very much in one direction.

The art world definitely has a groupthink mentality. It feels very much like a bubble, regurgitating the same ideas with the same people. That makes artists terrified of being ostracised by the group for having the wrong opinions.

In the long-term, the arts will become a very destructive place. It’s going to continue alienating independent thinkers and driving away new ideas. That will only alienate audiences, too.

O’Neill: How do you explain the woke takeover of the arts?

Kay: When it comes to things like trans ideology, we need to step back and ask one simple question: is this art? And does this have any relevance in an art gallery? Is this pushing forward visual arts, theatre, dance, aesthetic theory? No, it’s not. So what is it doing here?

Gender, in particular, is one of those hot-button topics. But, more broadly, the arts are full of ideological landmines. Everyone is expected to have the same fashionable beliefs, such as transwomen are women, transmen are men, capitalism is bad, ‘Free Palestine’, and so on. Affirmative action is the norm. You’re not supposed to be in favour of meritocracy or hierarchies. You have to be anti-excellence, anti-skill and anti-expertise. Everything has got to be ‘accessible’. It’s got to have ‘community engagement’ at its core.

The big issue that’s also coming through in the arts right now is climate change. The Arts Council is already involved a little bit in that one – calling it ‘environmental responsibility’ – and has been for a few years. Artists are being told that we can’t fly anywhere anymore, which really harms international cooperation and touring. And now green ideology is being forced into the work itself. We’re told we need to start putting messages about climate change into our work – and those messages are being written into the missions of arts organisations themselves.

I recently came across one arts organisation that’s entirely rewriting its mission. Why? Because there’s a new round of funding and everyone has been told that, in order to succeed, climate change has to be their No1 priority. But how are we going to tour internationally? By rowboat?

These organisations need to be aware of the contradictions in their mission. But there just seems to be too much blindness and hypocrisy. I’m worried about how this is going to impact both art and artists. When you push creative people to put a particular message in their work, you end up with propaganda. And propaganda, by definition, isn’t art.

Rosie Kay was talking to Brendan O’Neill on The Brendan O’Neill Show. Listen to the full conversation here:

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Art

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

Published

3 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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