Art

‘We need to talk about class in the art world’

Published

1 year ago

July 21, 2023

Ever since the advertising mogul and collector Charles Saatchi gave the term YBA (Young British Artists) to a group of largely working-class British artists in 1992, there have been multiple failed attempts to shoehorn movements into similarly snappy acronyms. But none have failed so deplorably as the Evening Standard’s Young London Artists—or YLAs—a term which surfaced in a headline this week to describe a “new wave of disruptors” said to be “refreshing London as a cultural epicentre”.

The list—which includes curators, journalists and gallerists as well as artists—is remarkable, not for the calibre of its entrants (who are undoubtedly successful), but for the debutantes, heirs and it-boys and girls it profiles without a hint of irony. Isaac Benigson is described as an “artist and socialite”, while Alaia De Santis, the daughter of swimwear designer Melissa Odabash and tech tycoon Nicolas De Santis, is “bolshy, beautiful and back in London after a year and a half in New York”. India Rose James is dubbed a gallerist but also a “platinum blonde Soho heiress” and Robin Hunter Blake, who is a regular on the London party scene, arrived to photograph the group “in velvet loafers and a taupe suit”. Then there’s Phoebe and Arthur Saatchi Yates, “the ultimate art couple” helped—as the article notes—by the fact that Phoebe Saatchi Yates is Charles Saatchi’s only child. And so the art world turns.

The article does nod to the difficulties faced by working-class people trying to make a living in the creative industries in London, and includes Nnamdi Obiekwe and Zina Vieille who, via their business VO Curations, provide affordable studio spaces to hundreds of artists. The article even begins by noting how the recent Structurally F–cked survey compiled by A-N The Artists Information Company found that artists in the public sector are paid a median of £2.60 an hour. To follow this appalling fact with such snapshots of privilege is wincing, but indicative of a culture in which we choose to ignore hard truths.

No wonder class remains a taboo subject in the art world. According to a 2018 report by Create London and Arts Emergency, just 18.2% of people in the arts are from working-class backgrounds. Alongside pay, one of the biggest structural barriers to career success is housing, a sector now in crisis 40 years after former Tory prime minister Margaret Thatcher’s ill-judged right to buy scheme. While an older generation of people were able to buy their council homes for below market price in the early 1980s, it has left millions of younger people now renting insecure and grotty accommodation, most of it bought under right to buy and now privately rented at unaffordable rates.

In no small twist of fate, it was Saatchi himself who helped Thatcher rocket to power in 1979 with a political poster showing a dole queue snaking out from an employment office. The strap line read: “Labour isn’t working”, and underneath, in smaller type, “Britain’s better off with the Tories”. Thatcher won a landslide election, beginning 18 years of Conservative rule.

We are now 13 years into another period of Conservative rule and the British art world is crumbling under the strains of funding cuts and a downgrading of culture. Earlier this month the Labour leader Kier Starmer finally broached the class issue, acknowledging the barriers that impede social mobility, which has gone into reverse. In a bid to combat kamikaze Tory policies to cut arts education funding by 50% to focus on “high-value subjects”, Labour has pledged that every student, irrespective of background, will have access to the arts until they are 16.

Education for all—not working harder or “going for broke”, as Phoebe Saatchi Yates implores in the article—is fundamental here. These days, the vast majority of artists are literally broke, and to peddle the myth that being more industrious will lift you out of poverty is degrading. We urgently need structural change—and the fastest way for that to happen is for those with generational wealth and invaluable social, media and political networks to help nurture the arts more widely and deeply.

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Art

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

Published

2 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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