Art
Toronto bank redefines corporate art with digital collection – The Globe and Mail
Anna Eyler, still from PAN/PAN, 2018.
Courtesy of the artist/Handout
On mountainous Arctic shores, glistening pools of silvery water are home to creatures that look like spare parts of humanoid kitchen implements, combining steel and plastic with digits and hair. This is a futuristic northern landscape imagined by artist Anna Eyler; it was created using 3D imaging software to produce a short and silent video that grabs your attention with its indefinable weirdness.
The art work, entitled PAN/PAN, is displayed on a screen in the Toronto office of Equitable Bank, where it is intended for the enjoyment – or mystification – of employees.
Some Canadian banks collect paintings by blue-chip artists or hefty soapstone sculptures to decorate their boardrooms and hallways; not Equitable Bank, a branchless bank that launched a new digital platform in 2015. Since then, it has concentrated on collecting the work of Canada’s digital artists, acquiring about two or three new pieces every year to round out an art collection that also includes about 180 physical works.
“There was an obvious overlap,” curator Shannon Linde said in a recent interview. “Artists doing digital were facing some of the same challenges as the bank, moving into new territory.”
The collection, launched by Linde’s predecessor Lindsay LeBlanc and Equitable chief executive Andrew Moor, concentrates on works that probe and push the technology. “If you have a digital camera and take a picture, that is not necessarily digital art,” Linde said.
Instead, the bank collects stellar examples that experiment with media and question the role of technology. For example, artist Alison Postma plays with our perception of computer-generated imagery in a four-minute video loop depicting a clay cube continually imprinted with the artist’s fingerprints. Entitled A Point, A Line, A Surface, A Solid, it may look like CGI but it was actually produced using painstaking handmade claymation.
Linde also points to another example, a digital carpet created by Shaheer Zazai, an artist of Afghan heritage who renders the traditional woven pattern with pixels of red, blue and grey.
“Each knot is a piece of software punctuation,” Linde said, adding, “It’s hard to make a still digital image that captures attention, but this nails it. It’s questioning the technology, it’s got cultural context. It goes beyond.”
Much of the digital work that the bank collects comes to it through its annual prize for emerging digital artists, which it organizes in collaboration with the Toronto media arts centre Trinity Square Video. Every year, one winner receives $5,000 plus a residency at Trinity Square while four runners-up receive $1,000 and are included in a group show at the centre. (This year, recognizing the impact of the pandemic on artists, all five nominees received the grand prize amount). Winners have included Eyler for PAN/PAN in 2018 while Postma was one of the five 2020 winners.
Linde figures that digital artists are in particular need of support because their work is expensive to produce while few private or public collections buy it or integrate it into their programming. She speculates that the technology required represents an added hurdle, especially for smaller institutions.
“You don’t see a lot of VR included in exhibitions or museum shows,” she said.
Meanwhile, the bank’s collection includes Jawa El Khash’s The Upper Side of the Sky, a 10-minute VR experience by the Toronto artist that produces a dreamscape or memory palace inspired by the ancient city of Palmyra, the archeological site that was heavily damaged by ISIS during the civil war in her native Syria.
Digital rather than physical art might seem ideally suited to viewing during the pandemic, but in truth exhibition of this art can be tricky precisely because the work is infinitely reproduceable. The bank acquires rights to screen the work in its offices, but does not usually own it outright.
“We aren’t printing these images; we aren’t sharing original files,” Linde said. “We are trying to fight for the value of this art. It’s very different: What does it mean to have a digital art work? What can you do with it? … It’s less about ownership than stewardship.”
Still, with staff mainly working from home, the bank has gotten creative about how to make the work accessible. Linde organized an Instagram exhibition for some of the artists early in the pandemic and there are now plans to commission screen savers and meeting backdrops for staff. Meanwhile, when the bank moves to new offices in 2023, digital art will be incorporated into the interior design.
Digital art can work well in a corporate setting, Linde said, pointing to the experience with PAN/PAN.
“There’s no audio. It’s under four minutes, and it’s really curious. A lot of people stop and say: ‘Wow, what am I looking at.’”
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Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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
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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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