Art

Vancouver’s divisive ‘Spinning Chandelier’

Published

5 years ago

January 4, 2020

The imagery of Spinning Chandelier, its funding and its placement all highlight the disparity that defines so much of Vancouver today. DARRYL DYCK/The Globe and Mail

Sage MacGillivray is a project manager who has worked on numerous public and private art commissions in Western Canada. She currently works with David Robinson and contributed to the Windward Calm installation.

The controversy surrounding Spinning Chandelier, by B.C. artist Rodney Graham, is enough to make one’s head spin. Installed in November under Vancouver’s Granville Street Bridge at a cost of $4.8-million, the opulent sculpture hangs and spins above a space that typically offers refuge for homeless people – in a city facing a housing crisis driven by massive income disparity.

Criticism of the project has been fierce and has fallen upon the artist, property developer Westbank Corp., which funded the artwork, and our public art policy itself. These conversations raise urgent issues and will hopefully spark positive change for the future of art in our community. But these denigrations can demoralize and divide. Sometimes change is better galvanized by example. Fortunately, we need not look far for an uplifting success story in the here and now.

Windward Calm is a suspended kinetic sculpture in the Gordon and Leslie Diamond Health Care Centre at Vancouver General Hospital. Like Mr. Graham’s piece, Windward Calm required intensive engineering and custom-designed mechanics to achieve its kinetic motion. The sculptures are also similar in scale. But from conception to funding to production to impact, these artworks differ in the respect they show their community.

The inspiration for Windward Calm came to sculptor David Robinson as he recovered from open-heart surgery at the Diamond Centre cardiac rehabilitation unit. Surrounded by waiting patients, he recognized his own vulnerability in the people around him – a collective audience in turmoil, looking out over the vast empty space of the seven-storey atrium. The right artwork can help a viewer process and integrate their difficult feelings and experiences, and studies have shown that art can hasten the healing process. Surveying the void beyond the glass, Mr. Robinson saw the potential for just such an artwork.

Every day, thousands of people pass through Windward Calm’s atrium, but the sculpture was not funded through a public art program. Funding for the piece was donated by philanthropists Gordon and Leslie Diamond, which allowed the VGH+UBC Hospital Foundation to commission the artwork. As such, it’s akin to the many privately donated artworks in the foundation’s collection. To maximize the impact of the funding, Mr. Robinson donated his own hours to the project.

As a project manager for public art projects, I’ve seen policy applied in various ways. Another one of Mr. Robinson’s projects – Reflections on the River, for the Regional Municipality of Wood Buffalo – was ground-breaking in its dedication to thorough community consultation on both siting and art selection. The project was recognized at this year’s Creative City Summit as one of Canada’s best public art projects of 2018.

I believe that the “Percent for Public Art” model, which requires developers to commission artworks or provide cash-in-lieu to the city’s public art fund, has good bones. But developers are allowed to game the system. For Spinning Chandelier, Westbank bundled three additional development contributions to cover cost overruns on Mr. Graham’s piece – potentially depriving the community of three other artworks. And by allowing the developer to secure “on site” status for an off-site installation on public property, the city is setting the stage for more public art to be curated by developers whose selections are self-serving – and, like the chandelier, might be alienating to the community. The philanthropic model is not immune to self-interest but, without the city-developer quid pro quo, it’s far less vulnerable to corruption. Such contributions, in addition to a well-applied public art program, can enrich our cultural landscape immeasurably.

The imagery of Spinning Chandelier, its funding and its placement all highlight the disparity that defines so much of Vancouver today. In contrast, those who funded and produced Windward Calm aim to give back.

It is this impact that sets these two artworks so far apart. Mr. Robinson frequently receives letters of gratitude from patients who have been comforted and inspired by his artwork. They often write of the peace and empowerment they feel and the sense that they are no longer alone. Defenders of Spinning Chandelier argue that the ironic nature of Mr. Graham’s piece gives it social value. But irony elevates ideas above people, whereas Windward Calm comes from a place of deep respect for those who encounter it.

These debates around art and policy are critical to community well-being. Mr. Graham has reflected on the controversy surrounding his work: “I’ve thought about these things more too, and it’s probably not something … that I would initiate right now,” he said. As the conversation continues, let’s give some thought to what kind of artwork can speak to our community – meaningfully, respectfully – and what kinds of programs can best support the creation of that art. And just as we critique the projects that have fallen short, let’s celebrate the vision, integrity and achievements of the ones that succeed.

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Art

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

Published

4 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

1 month 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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