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Indigenous curator’s departure from AGO underscores tensions over Israel-Hamas war at art institutions

Published

10 months ago

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Wanda Nanibush, curator of Indigenous Art at the Art Gallery of Ontario, at the gallery in Toronto on Jan. 25.Chris Young/The Canadian Press

The Art Gallery of Ontario’s Indigenous curator Wanda Nanibush left her job last week in what the institution calls a mutual decision, following years of outspokenness that caused friction with some at the gallery and in the arts community – which came to a head with the Israel-Hamas war.

Ms. Nanibush is a celebrated Anishinaabe curator who joined the AGO in 2016 as the inaugural curator of Indigenous Art and co-head of the Indigenous and Canadian Art Department. She recently won the Toronto Book Award for her co-authored book Moving the Museum and was a jurist for the 2023 Sobey Art Award.

She has publicly supported Palestinian causes both recently – including in a since-deleted social-media post viewed by The Globe and Mail – and in the past, including in a 2016 feature for Canadian Art magazine. In that story, she linked the experience of Indigenous peoples living in Canada to that of Palestinians. “Colonization marks a before and after where identity is radically altered by loss,” she wrote.

Stephan Jost, chief executive of the AGO, wrote to gallery staff last week about Ms. Nanibush’s candour.

“One of the many things I always heard from Wanda was her honesty, which at times resulted in difficult conversations, including in the last few weeks,” Mr. Jost said in a memo obtained by The Globe. “She unswervingly inserted Indigenous art and artists, with grace, honesty and pride – which has changed our sense of history and our collective future at the museum.”

The AGO confirmed Ms. Nanibush’s departure but declined to give the reasoning because it was a personnel matter. Ms. Nanibush could not be reached for comment.

Three people connected with the AGO told The Globe that Ms. Nanibush’s vocal opinions – not just about Palestinians and Israelis but including that subject – had both benefited the institution since her arrival and rankled some of its staff and supporters. The Globe is not identifying these people because they were not authorized to discuss the matter.

But the situation highlights the tension that can exist in the role of institutional curators – that is, whether they should let art and artists speak for themselves or whether they should contribute to the confrontational nature of art.

One of the sources said that Ms. Nanibush’s departure was a mutual decision that would allow her to speak more freely without the expectations that come when representing a nationally recognized institution. This echoed remarks from Mr. Jost’s letter to AGO staff.

Division over the Israel-Hamas war has been spilling into the art world in recent weeks. While freedom of expression and dissent are core tenets of art, the war has upset the delicate balance between those tenets and the art institutions that rely on donations, sponsorships and community connections.

A growing number of Indigenous scholars, activists and artists in Canada have expressed solidarity with Palestinians, who they believe are undergoing similar treatment to what Indigenous peoples have experienced under what they describe as a colonial state that has uprooted and mistreated them.

At an Edmonton Oilers game earlier this month, for instance, The Bearhead Sisters, the Juno-winning musical group from Paul First Nation, brought kaffiyehs – traditional Arab headdresses – with them as they sang Canada’s national anthem from the ice, later directly expressing solidarity with Palestinians.

But some Canadians active in a support group of the Israel Museum in Jerusalem claim that Ms. Nanibush “perpetually denies that Jews are indigenous to Israel.” In a letter leaked to social media this week, which The Globe has verified, they wrote to Mr. Jost accusing Ms. Nanibush of “posting inflammatory, inaccurate rants against Israel.” (The letter did not cite a specific post, and Ms. Nanibush appears to have since deleted all social media.)

One of the sources with knowledge of the reasons for Ms. Nanibush’s departure from the AGO said that the letter did not play a role in the decision for her exit and disagreed with some of its contents.

The signatories of the letter included Pearl Berman, executive director of the group, called Israel Museums and Arts, Canada; and Sara Angel, a former long-time arts journalist and Chatelaine editor who now runs the Art Canada Institute, a not-for-profit based at the University of Toronto’s Massey College.

In an e-mailed statement, Ms. Berman pointed out that the letter did not call for Ms. Nanibush to leave the gallery but said that it pushed for “substantive” antisemitism training and for the AGO to make use of the International Holocaust Remembrance Alliance working definition of antisemitism.

Ms. Berman added that “as police have noted, this is a time of rising hate against Jews in Toronto and around the world.”

The IHRA, an international organization focused solely on Holocaust issues, has proposed a non-legally binding definition of antisemitism that some say could be used to silence those critical of Israel.

When demonstrators interrupted last week’s Scotiabank Giller Prize gala to protest the sponsor bank’s stake in an Israeli arms company, and were later charged, more than 1,500 members of the publishing industry signed an open letter calling for a ceasefire in the Israel-Hamas war and for charges to be dropped.

And one media organization pulled sponsorship from the U.S. National Book Awards last week over fear that finalists would make a pro-Palestinian statement on stage, which they did.

Even as Canada’s arts institutions have spent recent years working more closely with Indigenous curators and artists, three of the country’s flagship museums and galleries have lost their Indigenous curators in recent years. On top of Ms. Nanibush’s exit from the AGO, Lucy Bell stepped down from the Royal British Columbia Museum and Archives in 2020, and Greg Hill lost his job at the National Gallery of Canada last November.

 

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

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6 hours ago

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September 13, 2024

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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

Published

2 weeks ago

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September 2, 2024

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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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4 weeks ago

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August 18, 2024

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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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