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Theatre and film are inherently political

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4 years ago

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Dictators and autocrats on all sides of the political spectrum have always kept a close eye on what artists do and say.

Oligarchs know that art is dangerous. Art is subversive and anything that makes people think, or question, is a threat to those who wield power.

Art is political. In a discussion recorded at the Stratford Festival last year, three New York Times journalists discuss the politics of theatre — the relationship between what’s on the stage, and what’s going on in the lives and the world of the people in the audience.

“What makes theatre inherently political is that it’s an art of conversation and it’s an art of being in a room watching people talk to each other and work issues out,” says Scott Heller, theatre editor of the New York Times.

“I think that that’s why, unlike digital forms or other visual art forms, there’s something small p-political about being involved in watching theatre that leads you to think big P- politically … the art of theatre is the art of people negotiating and that immediately leads to larger ways to think about politics.”

Theatre is at its best when it can both reflect back what is happening in the world and also lead the audience to find a common ground in understanding each other and agreeing on common societal values, says Heller.

Representation in film

The history of theatre suggests that this has pretty much always been the case. The very oldest written plays we have come from ancient Greece nd those plays evoke similar experiences to a play written yesterday: we see characters much like ourselves, onstage, working out personal dilemmas and family feuds, while larger social struggles of the times loom in the background.

All of which means that we don’t always need new plays to understand the present we find ourselves in. Old plays frequently give us unnerving insights into ourselves today, and the modern society we live in. Turns out, people haven’t changed much over the millennia — and nor has human society.

The “kissing-cousin” as it were, of theatre is of course film — a similar story-and-audience relationship being played out, but with some quite profound differences.

Cara Buckley covers film for the New York Times — a medium that puts a premium on new production, and on the relevance of what people see to their own lives.

“What happens on that screen is so important for the audience in terms of how they see themselves and how they relate,” Buckley explains.

” I remember…seeing a film with Meryl Streep about the suffragettes, and I’d never seen so many women on screen doing smart political things that I was kind of taken aback.”

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As a woman, Buckley says that experience speaks to the need for representation of different voices which she says is political. She adds the effect on the audience is profound when you see yourself reflected back to you by your own culture.

For both theatre and film, that question of the audience seeing themselves reflected on the stage or screen has become hugely important; in a ‘popular’ art form. The politics demands that the diversity of society needs to be represented in what we see.

“The response theatre had for many years was to try to speak to everyone at once. And that works when you have a big musical of a certain type, but otherwise it doesn’t work,” Jesse Green remarks.

The co-chief theater critic for The New York Times says theatre now is heading in a different direction, one he adds is a good thing.

“Theatre makers are understanding the power of what the other art forms have done, fractionalising and speaking to smaller groups — whether to encourage them in something they already know or whether to show them something that they thought they knew but actually didn’t.”
Guests in this episode:

Cara Buckley is a culture reporter for the New York Times who covers bias and equity issues in Hollywood.  Previously, she worked as the Carpetbagger columnist, covering the campaigns and controversies of the film awards season. She has been a Metro reporter, covered the Iraq war and was part of a team that won a Pulitzer Prize in 2018 for public service for reporting on workplace sexual harassment issues.  Born in Dublin, she grew up in Ireland and Canada, and lives in Brooklyn.

Scott Heller is the theater editor of The New York Times. He joined The Times in 2010 from The Boston Globe, where he had served as arts editor. Mr. Heller, a Brooklyn native, is a graduate of the University of Pennsylvania. He was a Knight-Wallace Journalism Fellow at the University of Michigan, where he also earned an M.A. in American Studies.

Jesse Green is the co-chief theater critic for The New York Times. From 2013 to 2017 he was the theater critic for New York magazine, where he had also been a contributing editor, writing long-form features, since 2008. Articles he has written for these and many other publications have been recognized with nominations and prizes from the National Magazine Awards and the National Lesbian and Gay Journalists Association, among others.

Source: cbc-ca

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

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6 hours ago

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September 13, 2024

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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.

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Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

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September 2, 2024

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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

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4 weeks ago

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August 18, 2024

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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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