Art

Toronto art collector showcases Black community, identity and power

Published

3 years ago

February 4, 2022

Kenneth Montague is the founder of Wedge Curatorial Projects, a non-profit organization with a focus on Black identity in contemporary art. Aperture, an art book publisher, has recently published a volume dedicated to the photography in his collection, titled ‘As We Rise’.Ebti Nabag/The Globe and Mail

Toronto dentist and art collector Kenneth Montague grew up in Windsor, Ont., and his parents would sometimes take the family across the border to attend baseball games or visit the Detroit Institute of Arts. It was there he first saw a riveting image shot in 1932 by New York photographer James Van Der Zee showing a Black couple in raccoon coats posing beside their Cadillac roadster outside a row of brownstones. This statement about the wealth and pride of the Harlem Renaissance immediately grabbed the attention of a boy who was the only Black kid in his class: In Windsor, he and his parents, who had arrived in Canada before the wave of Caribbean immigration in the 1960s and 1970s, were a little Jamaican island in a white sea. This swank couple introduced him to a wider world, one where every month was Black History Month.

“I’m going across the river [to] Detroit and its rich Black American culture in the seventies,” Montague said in an interview.

“I’m seeing the movie Shaft, with my older brother. … And all these movements are happening that seemed extremely exciting and important to me, Black power movements … going with my mom to get her hair done at the House of Beauty in Detroit. Motown music playing … seeing a young Diana Ross come out of Motown records, I remember that as a little kid, with her little white gloves on. Wow, there’s another way to live here. It was opening my eyes up to the multitude of experiences of Black people.”

Years later, he sought out Van Der Zee’s widow and bought a print of the photograph. That was how he began collecting art.

He has concentrated exclusively on Black artists, establishing the Wedge Gallery in Toronto in 1997 and then the non-profit Wedge Curatorial Projects, to show and support their work. Today, that Van Der Zee photograph is one of dozens included in As We Rise: Photography from the Black Atlantic, an art book issued by Aperture, a non-profit U.S. photography publisher. The subtitle is a geographic reference to West Africa and the countries of the diaspora: the Caribbean, Canada and the United States. The main title is a phrase Montague’s father, Spurgeon, would use to describe the responsibility to lift your community with you.

Montague, whose mother, Ellen, was a hospital dietician and whose father was a teacher, had an artistic streak and played in a reggae band. “I was a good son who enjoyed getting a guitar for my birthday because I did so well on my math test. … I was going to be a doctor, dentist or lawyer, choose one,” he said.

Kenneth Montague said he cites an iconic image by British photographer Vanley Burke of a Birmingham boy in 1970 flying the Union Jack on his bike, as the inspiration for his work. Vanley Burke/Aperture

The same week that he got into the University of Toronto dental school, the band was offered a record contract. Montague has no regrets about going for the safer route. “It ended up being a great choice,” he said, describing how dentistry paid for his art habit and let him scout purchases during dental conventions. “I might have become a dissatisfied 50-year-old musician.”

As Montague began collecting, he started the Wedge Gallery, so named for the shape of his Richmond Street loft in the Queen West neighbourhood. For five years, it hosted salons and exhibitions devoted to a growing collection of work by Black photographers. Montague built the venture as a testament to Black identity and also liked the idea the gallery was wedging itself into the mainstream. He continues to connect to the work in that way, citing an iconic image by British photographer Vanley Burke of a Birmingham boy in 1970 flying the Union Jack on his bike, proclaiming his Britishness during the period that saw the rise of the anti-immigration National Front in the United Kingdom.

“It was a very provocative, courageous thing. … This young kid is saying, ‘Hey, I’m proudly British. I was born here and this is who I am.’” Montague relates directly: “I was a 10-year-old kid that had a bike and I remember having a Canadian flag on it. … I know it seems facile [but] it’s like the boy inside the man. … It happens now just as much: I’ll see new works by contemporary artists that I feel reflect my life, my family’s life and my community. It all springs from a very subjective and personal story. So, there is a cohesiveness to the collection: It’s not just random pictures of Black people.” (As We Rise divides its photographs into three categories: community, identity and power.)

Overwhelmed by numbers of visitors he couldn’t accommodate in the loft, Montague eventually shut the Wedge Gallery and kept the collection going as a non-profit foundation without a dedicated physical space. He has expanded his interests well beyond photography, collecting works by such African-American artists as designer Stephen Burks, painter Henry Taylor and multimedia artist Deanna Bowen, as well as the work of British painter Lynette Yiadom-Boakye. Montague also collects Canadian artists including Stan Douglas, Michèle Pearson Clarke, Kapwani Kiwanga and Sandra Brewster.

While a lot of art by African Americans is being snapped up these days, much of it is by white collectors in the United States.

“Aperture understands the specialness of the collection – a Black collector collecting Black artists in Canada,” Montague said. The publisher is also planning an exhibition of the photographs at the Art Museum at the University of Toronto and Vancouver’s Polygon Gallery later this year.

After serving for several years on the African acquisition committee at London’s Tate Modern gallery, Montague shifted that focus to Toronto. Since 2015, he has been advising the Art Gallery of Ontario on its acquisitions in the field, and was instrumental in its recent appointment of a curator for the art of global Africa and the diaspora.

“I want young kids to go to the Art Gallery of Ontario and have that experience I had of seeing this art and saying, ‘That is me – or that is who I want to be.’”

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Art

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

Published

3 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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