Art

Why Small Galleries Are a Vital Force in the Art Ecosystem – Artsy

Published

1 year ago

July 28, 2023

Small galleries are the heart of the art world, and are uniquely positioned to unlock direct access to their local art scene. They also play a vital role in shaping the broader art world, providing collectors and institutions with the opportunity to discover and support emerging artists and galleries.

But the costs of running a gallery can be more pronounced for small galleries, where simple administrative costs can become a make-or-break issue. At London-based NıCOLETTı, gallery director Camille Houzé emphasizes that location can also impact the overall budget. Houzé mentions the difficulties that come with running a gallery in the U.K., which is currently dealing with high inflation and Brexit-related issues such as increased shipping costs. These factors have affected what type of installation work the gallery can accomplish: Ambitious, large-scale works require inventive techniques, can come at the cost of the gallery, and can often puzzle collectors. “One of the challenges we face as a young gallery is to support radical practices—or artists working with mediums that collectors are less used to acquiring,” Houzé told Artsy.

One of the ways in which this tension can be alleviated for such galleries is to have their emerging artists partner up with multiple galleries, especially larger ones who may be able to support their ambitious installation goals. KJ Freeman of New York–based gallery HOUSING echoed a similar sentiment when discussing her reason for partnering with Karma to support the work of Nathaniel Oliver: Both galleries would get to work with the emerging artist, giving him an increased platform to reach newer collectors.

But for some galleries, building these partnerships, as well as with collectors and the local community, can be difficult. Having a space in a small town without a knowledgeable collector base takes a lot of hard work and optimism to be successful, noted Richard Lally, founder and director of Espace Lally, which is based in Béziers, a commune in southeastern France. “Getting noticed and attracting a steady stream of visitors can be tough, particularly if the gallery is located in a less frequented area or lacks a strong online presence,” he said. Lally is combatting this by working more with a more locally focused program of artists and increasing his online sales to bring in new collectors.

Some galleries are abandoning a brick-and-mortar practice altogether. Curator and gallery director Storm Ascher runs a nomadic practice with Superposition, which stages shows in temporary spaces. “Once considered a niche concept, the nimble model has now permeated art discourse, and I’m very optimistic about this,” said Ascher. “I think this rising generation of gallerists exemplifies a new level of sophistication unparalleled in history.”

Lally echoes Ascher’s points that small galleries are, sometimes out of necessity, creating more flexible spaces as a way to attentively meet the needs of their artists and maintain their business. For Espace Lally, its former brick-and-mortar spaces were ecologically and geopolitically constructed. Lally opened the gallery in Port-au-Prince, Haiti, in 1992, which followed the 1991 coup-d’etat and embargo placed on the country. Its original location closed in 2000 and reopened in 2010, only to be severely damaged by the catastrophic earthquake that year. Espace Lally has begun again in Béziers in 2020, and while the reception to the shows with artists such as Fatima Mazmouz and Laura Labri Laborie have been well received, it has been a long road for the gallery.

Art fairs are another key way for galleries to meet new collectors and institutions. Houzé emphasizes that small galleries tend to exhibit more ambitious works at fairs as they are willing to take a risk on an artist’s vision, while Ascher asserts that larger entities like museums depend on the presence of small galleries in these spaces during the fairs as they are critical sites for discovery.

For example, museum acquisitions made during fairs are often in support of emerging artists, like when the Brooklyn Museum acquired a Diedrick Brackens tapestry from Various Small Fires at Frieze New York in 2019. Small galleries are routinely utilized as a discovery tool, as they are more closely connected to their local art scene.

“Small galleries have historically played a significant role in the art world by providing emerging artists with exhibition opportunities and acting as platforms for experimentation and creativity,” said Lally. “They often have more flexibility in showcasing unconventional and niche art compared to larger, more established institutions.”

Ascher echoes Lally’s position when stating what Superposition’s mission. “Our mission-driven programs are borne out of personal struggles and experiences that have galvanized us to create a transformative impact,” she said. “It’s grounded in a genuine love for the art community, our culture, and a willingness to shoulder the burdens that artists face as they reshape perspectives or reflect their time period.”

Small galleries also tend to forge tighter bonds with their artists. For Houzé, small galleries are a source for discovering new artists and supporting their practices. “A young gallery has the capacity to give voice to artists coming from more diverse backgrounds, as well as to ask questions and promote discourses that may have been sidelined,” he said. “To ensure its sustainability in the future, we need the support of press, collectors and institutions.”

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

Published

6 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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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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