Art

Didactic Sobey Art Award finalists encourage agreement, but not contemplation

Published

2 years ago

November 10, 2022

Divya Mehra’s Afterlife of Colonialism, a reimagining of Power. The Winnipeg artist is one of the five finalists for this year’s Sobey Art Award, the $100,000 annual prize for an emerging artist that will be presented Nov. 16.BWALLACE/National Gallery of Canada

A sacred figure of the goddess Annapurna was welcomed home to India last year after Winnipeg artist Divya Mehra discovered records at Regina’s MacKenzie Art Gallery showing the small statue had been stolen from a shrine on the Ganges. Meanwhile Mehra, like Indiana Jones snatching the idol in Raiders of the Lost Ark, replaced the stolen sculpture with a bag of sand, now carefully tucked into the museum storage case where the figure once lay.

Mehra is one of the five finalists for this year’s Sobey Art Award, the $100,000 annual prize for an emerging artist that will be presented Nov. 16. (The finalists represent five regions, and the four runners-up receive $25,000 each.) The exhibition of their work now showing at the National Gallery of Canada in Ottawa includes a mural-sized photograph of Mehra’s little sandbag sitting in the MacKenzie’s storage.

Mehra also contributes a letter to the new King Charles III suggesting he return the Koh-i-Noor diamond to India – it was taken by the British from a 13-year-old maharajah in 1849 – and a sandbag that might replace the giant gem. That bit of repatriation may prove more complicated.

You can see Mehra’s successful Annapurna project as an act of museology, of politics, or of art, but wherever you position it, it proved both practical and potent: Indian Prime Minister Narendra Modi may now take all the credit, but it was due to her intervention that something concrete happened.

Stanley Février’s Installation view.BWALLACE/National Gallery of Canada

That’s a rare event in an artistic career. We don’t demand that art change the world, only that it reflect it – or perhaps transcend it. Most of the work in this exhibition is a retort to colonialism and it may sway minds or provoke thoughts, but it is unlikely to result in tangible acts of decolonization. So why make it? These artists, so certain of their themes, seem uncertain of the answer.

Stanley Février is a Quebec artist and critic of the institutional racism of Canada’s museums and public galleries. His Sobey work includes photographs of a performance he organized in which figures shrouded in black body suits surrounded the Musée d’art contemporain in Montreal to protest against the lack of artists of colour in its collection, and then ran the museum’s annual reports through papers shredders. Here the paper shredders are lined up like a little graveyard, while votive candles bearing the logos of Canada’s museums sit in reverential rows. Apparently, we museum lovers are worshipping a dead thing.

Krystle Silverfox’s All That Glitters is Not Gold.BWALLACE/National Gallery of Canada

At least Février, like Mehra, has a wicked sense of humour. Krystle Silverfox is a Vancouver artist whose family comes from the Selkirk First Nation in the Yukon and whose largest installation for the Sobey show is a wall-hanging that features the unravelling of a Hudson Bay blanket, symbol of the historical exploitation of Indigenous people. If only this issue was as easy to untangle in the outside world as it is to depict on a gallery wall.

Silverfox also contributes a series of abstract photographs that feature unidentifiable black swooshes or valleys that she calls Landmarks. More mysterious, these are more engaging than her sculptural combinations of the blankets with copper pennies or copper wire, a reference to the mines that have scoured the Yukon. Perhaps the landmarks are also scars on the landscape; their obliqueness demands their slow consideration not as statement but as art.

Tyshan Wright’s Installation view.BWALLACE/National Gallery of Canada

Halifax artist Tyshan Wright is a descendant of the Jamaican Maroons, who escaped slavery and fought the British to live freely on that island. Coincidentally he wound up in the one place in Canada with a piece of that history: In the 18th century, 549 Maroons were transported to Halifax by the British, where they resisted assimilation before eventually settling in Sierra Leone. Wright faithfully recreates traditional Maroon drums, horns and stools, in another bid to rewind history.

Because these objects are so precisely detailed and set aside in their own room with a video of Wright drumming, his work offers one of the few occasions in this show where the viewer is encouraged to contemplate rather than merely agree. (To be fair, contemplation of any of this art is made particularly difficult by Mehra’s other contribution, a Taj Mahal bouncy castle that requires a loud blower to keep it inflated.)

Azza El Siddique’s Measure of One.BWALLACE/National Gallery of Canada

In this often didactic company, the odd one out is Toronto artist Azza El Siddique, represented by her large installation Measure of One, a metal scaffolding with troughs of water and a rack of grey clay pots. The piece suggests both antiquity and contemporaneity, creating an almost sacred enclosure that only hints at the presence of the steel maker and the potter. El Siddique researches ancient Nubian and Egyptian guides to the afterlife but whether you know that or not, there is a sense of uneasy quest in her work as the viewer tries to place themselves in this sparse architecture.

Despite the gaudy colours of Mehra’s bouncy castle or the painstaking craft of Wright’s Maroon reproductions, these artists and their research-driven approaches are typical of contemporary art where form seems subservient to content. Yet historically it’s the dynamic relationship between the two that makes art interesting: The vessel is as important as the elixir. It’s worth remembering that the Sobey Art Award is a prize for emerging artists. Finer form may yet blossom from a generation that has content all figured out.

The Sobey Art Award exhibition continues to March 12 at the National Gallery of Canada in Ottawa.

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Art

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

Published

5 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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