Art

The Met Announces Harlem Renaissance Exhibition for 2024 – The New York Times

Published

1 year ago

August 23, 2023

Artworks on loan from historically Black institutions will make the show one of the largest surveys of the era in nearly 40 years.

Even before joining the Metropolitan Museum of Art, the curator Denise Murrell was dreaming up an exhibition dedicated to the Harlem Renaissance — one that would unite Black artists dedicated to “radical modernity,” as she described it, from New York to Paris and beyond.

On Tuesday, the museum announced that very exhibition, “The Harlem Renaissance and Transatlantic Modernism.” It will open on Feb. 25, run through July 28 and include a trove of paintings from historically Black colleges and universities around the country. The Met said it would be New York’s first major survey in nearly 40 years dedicated to one of the most influential artistic movements to have originated in the United States during the early 20th century.

“Becoming painters of modern life within their own communities was key to what the Harlem artists were attempting,” said Murrell, who joined the Met in 2020 and is now its curator at large. “It was an act of radical modernity, for example, to make portraits of an elder Black woman who would have been born into enslavement. And to make them in such a dignified way — those images simply did not exist in previous periods.”

“Black Belt,” by Archibald J. Motley Jr., is being lent by the Hampton University Museum.Estate of Archibald John Motley Jr., via Bridgeman Images

Major museums, for the most part, did not begin collecting such works until decades after the Harlem Renaissance, which spanned roughly two decades, from 1918 to 1937. Met officials said the museum’s own collection was spotty, with some acquisitions occurring in the 1940s and again within the past 15 years, though it includes masterpieces by Samuel Joseph Brown Jr. and Charles Henry Alston. Instead, many of these cultural gems went to private collections and to historically Black colleges and universities.

Murrell spent the past two years working with those institutions on conservation and archival research projects; in exchange, significant loans are coming to the “Harlem Renaissance” exhibition from places like Howard University, Fisk University, Hampton University and Clark Atlanta University.

About half a dozen artworks are currently in the Met’s conservation studio, and in preparation for the show, the museum sent photographers around the world to take new pictures of artworks from collections in cities like London and Chicago. That includes significant works by overlooked female artists like Laura Wheeler Waring, whose portraits of women cast their deep interior lives onto canvas.

One standout in the exhibition is the 1943 painting “Woman in Blue” by William H. Johnson, who spent the 1920s and 1930s in Europe learning the techniques of modernism. He headed back to New York in 1947 after having a mental breakdown following his wife’s death in Denmark. He was confined in Central Islip State Hospital on Long Island, unable to paint, until his death in 1970.

Murrell said the portrait of a woman sitting sideways, with one arm draped over the chair, staring pensively, was rarely exhibited, although an earlier study of the picture is at the Smithsonian American Art Museum. The painting will be the exhibition’s signature image.

“The colors are striking,” said Danille K. Taylor, director of the Clark Atlanta University Art Museum, which has contributed five paintings to the exhibition, including the Johnson painting. “It’s the angle that she looks at you. The colors and texture give it a three-dimensional quality.”

Until recently, the painting had large cracks across its surface and was in desperate need of restoration; the Met financed the portrait’s conservation, allowing it to travel outside the university.

Murrell said she hoped “Harlem Renaissance” would be the start of long-term partnerships between the Met and historically Black colleges and universities to help preserve and exhibit their collections on a national scale.

The Met acquired “Self-Portrait,” by Samuel Joseph Brown Jr., in 1943.via The Metropolitan Museum of Art

But the exhibition also comes with some extra baggage at the Met, whose 1969 exhibition “Harlem on My Mind” drew angry protests because of its exclusion of Black painters and sculptors in favor of newspaper clippings and documentary photography that captured the predominantly Black and Latino neighborhood.

While the new exhibition is not a direct response to that show, Murrell said she would address its legacy by including work from James Van Der Zee, a leading photographer of the Harlem Renaissance whose pictures were included in the 1969 show. Many of the photographs come from an archive that the Met and the Studio Museum in Harlem acquired from the artist’s widow in 2021.

The curator also pointed out that the exhibition would focus on painting and sculpture, mediums that had previously been excluded. That includes the sculptor Augusta Savage, who opened the Savage Studio of Arts and Crafts in 1931, which trained over 1,500 students including Charles Alston, Jacob Lawrence and Gwendolyn Knight Lawrence.

According to the museum, this is New York’s first major survey of the Harlem Renaissance since 1987, when the Studio Museum in Harlem staged its own exhibition.

“We want to show the full breadth of thinking,” Murrell said. “In terms of historical context, this is the first time in art history where we have a cohort of African American artists depicting modern Black life in a modern way. These artists decided to commit their artistic careers to representing modern Black life in the absence of institutional or market support.”

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Art

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

Published

22 hours 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

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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