Art

‘We’re craving intimacy’: how art can show the power and limitations of trust

Published

1 year ago

August 21, 2023

Vulnerability, intimacy, and most of all trust are essential – albeit fraught – parts of our most important relationships. They can bring about the kind of connections that make life rich and meaningful, and they are what allow human beings to truly support one another, but they are also extremely complicated and often challenging to navigate. Through an intergenerational and diverse group of 11 artists, the Whitney’s new exhibit, Trust Me, offers audiences a chance to examine these concepts and their many different sides.

“Something that I hope people will come into the show and hold onto is the idea that trust is not always rewarded,” said Kelly Long, exhibition organizer and senior curatorial assistant at the Whitney. “This is a show about trust and also its failure. Who is the speaker? Who is asking for trust? Who is ordering trust? These are the questions that I hope people will take forward.”

Trust Me does an impressive job of showing audiences the true diversity and range of the photographic medium. Pieces here range from an intimate moment between friends captured by Genesis Báez to the innovative, cross-color processing of Lola Flash to the intricately layered photographs of Muriel Hasbun to the pioneering self-portraiture of Laura Aguilar. Long shared that she was eager to bring to this exhibit a new crop of photographic talent – a big part her purpose was embodying the trust at its center by building just that with a new cohort of artists.

“I’m a young curator entering into relationships with these artists,” Long said, “many of whom are also emerging in one way or another. Being able to find our way together, to offer support to one another and build something with each other – trust is so essential for that, and it’s something I’ve been trying out and figuring out in this exhibition. So it’s been very much a part of the process, and I’ve thought about ways to make that process really joyful and supportive.”

Juxtaposing the work of younger photographers, like Báez and Navajo artist Dakota Mace, with that of more established photographers, like Aguilar, offers a pleasing sense of freshness and serendipity to the exhibition. “I was excited to let poetry drive this exhibit,” Long said. “I wanted to let artists that you haven’t seen on a wall together before speak to each other.”

Three works by the celebrated Chicana artist Laura Aguilar bring gravity to Trust Me. One shows the artist spread out amid a landscape, her body almost merging into the rocks on which she lies, while the other two strike a much more political stance: in 1993’s Will Work For #4, the photographer holds a sign reading “Will Work for Axcess,” while in Plush Pony #2 she adopts a powerfully assertive, confrontational stance while wearing a white, A-line tank.

Rhyming with Aguilar’s works are two works from Jenny Calivas’s more recent series, Self-Portraits While Buried. In these, the presence of the artist is all-but effaced beneath murky waters and thick muds – Calivas seemingly adds her own voice to Aguilar’s themes of womanhood, erasure, and self-creation.

Long shared with me that the friendship between Calivas and Báez, who studied together at Yale, was, for her a largely hidden aspect of the show that added to its poetry and magic. “This is one of the really beautiful relationships in the show, whether or not audiences happen to know about it. We don’t have a label that says that these two artists are dear friends, but there they are, side by side, and that is something that I really treasure.”

Báez, whose art centers Puerto Rican women, offers three prints for the show, among them the delicate The Sound of a Circle. A deceptively simple shot of a girl whispering into another girl’s ear, it was the fruit of a lengthy and protracted struggle. “The Sound of a Circle is a very special work to me,” said Long. “Genesis usually carefully composes her photos, but this is an image where chance has really gotten in and contributed to that magic. Báez spent all day trying to make a photograph of a whisper, but not succeeding. She finally decided to take a break and went out to lunch with her subjects. Suddenly the sunlight just poured in, Genesis shoved all the plates aside, and she made this stunning, arresting, perfect image.”

Báez also contributes Crossing Time, an enigmatic photo whose subject seems to hold a string up to her own shadow, and and Parting (Braid), another enigmatic and ethereal shot of a woman braiding another woman’s hair. These snaps offer intimacy in the more classic sense, bringing alive our five senses in an uncommonly powerful way.

It’s this sensuality and embodiment that Long is eager to explore in Trust Me. “I think it’s no surprise that we’re craving intimacy after being separated from each other for so long,” she said. “There seems to be a particular urgency – maybe it’s curatorial urgency, or audience-driven urgency, as much as it is urgency that the artist themselves are expressing. It’s what we’ve all just lived through and are continuing to live through, finding each other and making meaning in this confusing world we’re inhabiting. It’s a different world, and I think people are entering museums in a slightly different way and looking for something slightly different.”

According to Long, the choice to make the show entirely of photographs added dimensions of her exploration of trust and intimacy. “There’s something very immediate about photography. Offers something very particular when thinking through intimacy. We all have a relationship with photography. There’s something very familiar and very easy about engaging with images of this kind, even when the content of these images may not be easy at all.”

Long also shared that she sees potential in photography to address deep ethical questions about art and to examine notions of redress for historical wrongs. That makes her excited to share Trust Me with the public and, hopefully, build trust.

“Any time you make a picture of someone or something, you’re entering into an ethical contract,” she said. “Photography has a really violent history of being used to categorize people – marginalized people – to really do violence. The artists here are working in ways that are recuperative, restorative, to offer new visions of reciprocity and build capacity. I think that’s an incredibly beautiful thing and a really beautiful moment for photography.”

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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

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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