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Domestic Warfare: Thelma Rosner at the Woodstock Art Gallery – Woodstock Sentinel Review

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Visitors to the Woodstock Art Gallery would be forgiven for mistaking Thelma Rosner’s paintings for rugs or embroideries upon first viewing. Made up of thousands of brushstrokes carefully assembled in waves of moody colour, Cross Stitch #1 (2011–12) and Cross Stitch #8 (2017) take inspiration from Afghan war rugs and Palestinian cross-stitch.

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Visitors to the Woodstock Art Gallery would be forgiven for mistaking Thelma Rosner’s paintings for rugs or embroideries upon first viewing. Made up of thousands of brushstrokes carefully assembled in waves of moody colour, Cross Stitch #1 (2011–12) and Cross Stitch #8 (2017) take inspiration from Afghan war rugs and Palestinian cross-stitch. They draw on the ways women caught within deadly conflicts continue practising their art, keep their traditions alive and communicate their experiences. Upon close inspection, the mesmerizing field of Xs in Cross Stitch #1 transforms into a town cornered by jet planes and missiles. Cross Stitch #8, meanwhile, evokes blood splatters in a smoky haze.

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Rosner is a London, Ont.-based artist who has spent decades of her impressive career exploring women’s work, decorative arts and the cultural consequences of religious conflict. Decoration, pattern and textiles have long been associated with women (often with the negative connotation of being lesser artforms) and are used by Rosner to think through women’s place in art history, as well as the intersections of art and domestic labour.

An earlier example of Rosner’s use of textile imagery may be familiar to frequenters of Museum London — She is Lost Forever (1992) was featured in the 2018 show Embodiment. In this enormous painting, an abstract tempest of red, gold and blue brackets a historical portrait of a noblewoman, whose head and lower half are interrupted by an intricate carpet and a unicorn tapestry. Weaving, abstraction and portraiture are contrasted in one of Rosner’s signature segmented compositions. Another striking example is Still Life with Lace Tablecloth (1998–99) from the collection of McIntosh Gallery, where abstract bands resembling yellow clouds and dark mountaintops are paired with a pile of headless fish, hypodermic needles and a close-up of Battenburg lace.

“Perhaps we are returning to the view that ornament and decoration express a profound aspect of our lives: the need for order and ritual,” pondered Rosner in 1999, speaking to the rekindled interest in decorative arts thatwas taking place at the end of the millennium, and which continues into the present. “We are acknowledging our observation of patterns in the environment, our connection with the cycles of nature, and the significance of the repetitions and ceremonies of daily life” (“Thelma Rosner and James Patten in conversation,” Thelma Rosner — Still Life, 1999).

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Cross Stitch #8 (2017) by Thelma Rosner
Cross Stitch #8 (2017) by Thelma Rosner jpg, WD

Just like the textiles on which they’re based, Rosner’s paintings required a huge amount of focus and order to create. Cross Stitch #1 alone comprises 23,808 crosses, each only about one centimetre square in size. It is this dedication to pattern and repetition that has garnered it a place in Woodstock Art Gallery’s current exhibition, A Moment of Mindfulness, curated by head of collections Nell Wheal. Inspired by the meditation technique of mindfulness, this new exhibition deals with themes of reflection, heightened awareness and intentionality, but doesn’t limit its repertoire to artworks that are relaxing or easy to digest. It highlights how mindfulness can also be used as a tool for engaging difficult personal and political situations, exemplified by Rosner’s cross stitch paintings and their reflections on the creativity and resiliency of the women of Afghanistan, the West Bank and Gaza Strip.

Decorative arts have often been given short shrift in art history, but these inspirations don’t foreclose Rosner’s paintings from discussing highly charged subjects. Thankfully, neither do they limit their visual power.

You can view Thelma Rosner’s work in A Moment of Mindfulness, which runs at the Woodstock Art Gallery until Sept. 17.

Reilly Knowles is the curatorial and collections assistant at the Woodstock Art Gallery, which gratefully acknowledges support for this position from the Young Canada Works program.

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

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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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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

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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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