Art

‘Zone of Interest’ and Why Great Art Has to Feel Unsafe (Guest Column)

Published

7 months ago

March 8, 2024

On a recent podcast, filmmaker Steven Soderbergh pivoted the conversation to Alfred Hitchcock’s work, examining why, decades later, the auteur’s grip on audiences remains so tight. “[The reason] we still watch Hitchcock movies, and that they don’t feel as dated as some other films, is that they’re all about guilt,” Soderbergh posited. “Every Hitchcock movie is about guilt — and guilt’s not going anywhere.” If what Soderbergh says is true, then why is guilt so evergreen?

I listened to the podcast after watching Jonathan Glazer’s The Zone of Interest, a masterpiece that belongs in the category of Great Art (an imperfect term, but one I stand by). I wondered why Glazer’s film — about a German family attempting to build a normal life in the shadow of Auschwitz during World War II — seemed to rise above the competition in a very strong year for movies. I believe that Hitchcock’s preoccupation with guilt, and Glazer’s sharp gaze on how we bury that emotion, play into a similar fear of ostracism. Guilt taps into something that’s difficult to express out loud. It is an “unsafe” feeling — if uttered, it could lead to being shunned. It causes us to keep secrets.

Great Art taps into those hidden feelings, offering an emotional space that can’t exist in public life. Many well-meaning movies don’t reach greatness because they express values that are already safe to say out loud at a dinner party. “War is a terrible thing to experience,” for example, is easier to affirm than what The Zone of Interest says: We are willing to ignore atrocity to preserve our personal comfort.

Such unsafe ideas appear throughout film history. They can be found in recent titles like the Argentinean film The Delinquents (freedom from white-collar work is worth literal jail time) and the French film Saint Omer (motherhood can ignite the urge to destroy, not protect) as well as in classics like The Godfather (loyalty to your family can kill you), When Harry Met Sally (men and women can’t be friends without sex getting in the way) and The Shining (the most dangerous person in a woman or child’s life can be the husband or father protecting them). As obvious as they might seem, these ideas are difficult for us to express outside the protective bubble of entertainment: They explore value systems that disrupt the fragile order to which Western culture adheres. They threaten our own sense of safety, our intrinsic sense that we are good people and allow us to publicly live for a couple of hours in a space we privately all know exists.

One ringing example is the American cultural conversation around race. We live in a world in which the idea that “racism exists,” or “racism is bad,” are no longer radical to express on film. They form the core of such morally safe films as Paul Haggis’ Crash and Peter Farrelly’s Green Book, and well intentioned biopics and histories, movies that reinforce the visibility of bad vs good, movies that suggest we can neatly separate racists from anti-racists.

By contrast, Jordan Peele’s Get Out was a major commercial success that broached a truly unsafe racial idea: that Black people should never fully trust white people, even the ones who perform as allies. It’s an idea our society can’t truly accept while still functioning as is. Get Out remains frighteningly relevant because it doesn’t just remind us that racism is real: it reminds Black people they can’t escape it. Almost three decades before, Spike Lee’s similarly provocative Do The Right Thing articulated its own unsafe idea (riotous anger is warranted) so effectively that people feared the movie would incite violence.

With notable exceptions, contemporary American films tend to affirm cultural ideas that are already safe to say. It is no coincidence that this is happening while conservatism is rising, in the form of consolidated media companies, slashed DEI initiatives, banned books and the persistence of right-wing extremism. We are losing our capacity for cultural discomfort, and more crucially, we are losing the space to hold secrets in community — a key component of the movie-going experience.

Two thousand twenty three was a good year for unsafe ideas becoming visible and Oscar nominations reflect a few of those works. But we must be rigorous in holding the Academy accountable in prioritizing truly great, risky films. “Oscar bait” is a pejorative term for a reason, as it generally refers to a comfortingly familiar type of drama or spectacle. But when we reaffirm cultural values that feel safe to say out loud, the impact of that movie becomes more superficial. Great movies are the ones that leave a residue: They provide a pond for our biggest secrets to swim in.

Kishori Rajan is the SVP of Production and Development at Viva Maude, a production company founded by actress and producer Tessa Thompson. Previously, she won a Peabody Award as an Executive Producer of the HBO series Random Acts of Flyness.

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Art

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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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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