Art
You can’t ban embroidery! Why Arts Council England’s crackdown is a stitch-up – The Guardian
At first glance, an artwork might not appear outwardly political. Yet it is not enough to see it for aesthetic purposes only. Art requires us to pay attention, to question – and appreciate – what we are looking at, but also to see what lies beyond it. Take textiles, an art form historically deemed as “decorative” by the establishment, because of its association with women’s work. But what this categorisation actually reveals is a deep political subtext – the struggle for women’s rights of the last 500 years.
Relegated from the high arts in the Renaissance, the lowly status of textiles was cemented by the Royal Academy in 1769, when the newly founded society banned embroidery from its exhibitions. This influenced women to reject the medium if they wanted to be taken seriously as artists. The Bauhaus school marginalised women in its weaving workshop and, while some female artists of the 1970s used the needle as a form of protest, it is telling that, despite this being 2024, a group show dedicated to this art form still feels like a very rare treat.
Unravel, which opened at the Barbican last week, is a show that explores how threads are woven in a web of “gendered labour, marginalisation, colonisation and trade”, as its co-curator Wells Fray-Smith tells me. For instance, Two-sided Work Clothes Quilt: Bars and Blocks, 1960, by the female African American group of Gee’s Bend quiltmakers, conveys a violent history: the enslaved people in plantations that supplied the indigo dye for denim had a working life expectancy of seven years.
Landscape painting, too, is a genre of art rooted in multitudinous histories, as exemplified in Soulscapes – a new exhibition at the Dulwich Picture Gallery in London bringing together art by people from the African diaspora. There are politics to be found in abstract expressionism too – a style which emerged in a climate of cold war politics after the second world war. The Ukrainian-born Janet Sobel took up painting aged 45 in 1938, turning to gestural drips because it was the only way she could make sense of her emotions, and the horrific acts of the Nazis.
Art is not a one-dimensional entity. It involves different responses, purposes and possibilities. It exists for the power of communication, as a voice for the underrepresented, as a form of resistance and as an outlet for both maker and viewer.
This is why I found it alarming when Arts Council England announced it had updated its policies, warning that “political statements” made by individuals linked to an organisation can cause “reputational risk and may breach funding agreements”. Funding for the arts should not be dependent on artists taking a particular political line. The ACE is supposed to be an arms-length organisation that distributes funds, not one that seeks to make political interventions into what artists do.
This is not the first time governments have clamped down on artistic communities. In the UK during the first world war, the Defence of the Realm Act legislated for the censoring of artworks that represent naval or military images (in 2014, Arts Council England funded a programme that responded to this). And, of course, totalitarian governments have always sought to censor artists, one notorious example being the Nazis’ seizure of 15,000 artworks of mainly Jewish artists who they deemed “degenerate”, and exhibited for the purpose of mocking them.
Recently, artists have been discouraged from making statements about the Israel-Hamas war. In Berlin, senator for culture Joe Chialo threatened to adopt a clause that required any recipients of government funding to commit themselves against “any form of antisemitism,” which many artists saw as denying expressions of support for Palestine. More than 4,000 artists signed an open letter objecting to the proposal, which was overturned.
In times of crisis, expression is sometimes all we have to hold on to. For most, it is the only form of resistance, and a way to highlight injustices and inequality. Artists are not a dangerous species, they do not destroy lives and deny people their rights. Artists hold up a mirror to the world, and, in the words of Emily Dickinson, tell the truth but tell it slant.
Art history is the social history of the world, steeped in the context and conditions in which it is made. To deny someone the right to make their work freely – whether in textiles, landscape or abstract painting – is to deny expression, and the act of making, and looking at, art itself.
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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