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Is it possible to capture a sense of wonder? A new art exhibit gives it a shot

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South Korean artist JeeYoung Lee’s Loveseek, pigment print, 2014.courtesy of the artist

I should begin by telling you: I believe in magic. I’ve encountered it many times in my life, when the reasoning mind goes quiet and the moment seems bursting with possibility. It is the feeling of wonder. And I’ve felt it most of all through art.

Wonder is perhaps the zenith when it comes to the kinds of experience art can provide us. However, it’s also elusive. What inspires wonder for me may not be the same for you. That makes it both exciting and a little audacious that the Art Gallery of Hamilton has staged an exhibition completely dedicated to it. Wonder gathers 30 artists – all Canadians save for one – whose work courts our curiosity.

It all began, funny enough, as a show about realism, explains curator Tobi Bruce. But when reality right now feels especially unsettled – what with fake news, artificial intelligence and a chasmic political landscape – it seemed to her equally important to investigate how reality is manipulated, challenged and invented. “What are the kinds of works,” she asks, “that take us outside of ourselves and make us question who we are, how we are and where we are?”

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JeeYoung Lee, The Best Cure, pigment print, 2007.Courtesy of the artist

Those intellectual underpinnings may return to you on the ride home, but they’re not what will drive you through the show. Standing in the gallery, what you will experience foremost is the pursuit of that electric feeling. What confounds? What dazzles? What demands a closer look? And there are enough spectacular works on view that anyone will catch the feeling at least once.

Fittingly, Wonder begins with a portal. Attendees enter through Frolic Trellis by Stephen Altena (one of six Hamilton locals included). A mass of paintings and drawings clipped from the past six years of the artist’s daily studio practice forms a grand doorway. Each cutting is a picture of a tiny marvel the artist has encountered: blooms sketched en plein air here and figures found on toile de Jouy fabric there. The display invites viewers to first admire the big, then the small and then the both at once. “I want visitors to be overwhelmed, like you would be stepping into someone’s beautiful garden,” Altena says. “Overwhelmed, but then, like in a garden, you stop and begin to look at the layers of flowers.”

In the next gallery over, Robin Arseneault’s abstract figures, titled Dancing Men (Troupe), enact a rollicking vaudeville routine, boisterous and sprightly, though technically, as inert as the wood they’re carved from. Tim Whiten’s most solemn Awk – a leather tunic with a shark’s jaw burst through the chest cavity – hangs in counterpoint nearby, commanding reverence and quiet contemplation. The recent Governor-General’s Award winner considers himself a maker of cultural objects, and Awk feels like a magical artifact or a holy relic, but one belonging to no religion in particular; except perhaps instead if belongs to the mysteries of human experience.

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Stylo Starr, planetary bodies: luna, analog collage, 2023.Courtesy of the Artist

Across the room, Evan Penny’s sculptural portrait Camille, portraying Canadian performance artist Camille Turner, draws visitors closer almost magnetically with the uncanny power of its hyperrealism. Penny is known and collected around the world for such astonishingly lifelike works, made from hair and fleshy silicone, materials the artist has borrowed from the special-effects industry. The magic here issues from a discrepancy in expectations, the artist says. The work contains as much detail as a photograph, but it exists, bafflingly, in three-dimensional space, just as you and I. It’s “art’s job,” Penny says, to inspire wonder, and to push beyond the threshold of the ordinary. “As we move through life, we’re moving from the known to the unknown constantly, and so we need some assurance that that unknown is a place worth entering. I think art does that. Its function is to make representations that are novel enough that they move you forward.”

Of course, there’s also wonder’s other meaning – to ponder or question – and there are plenty of works that engage that, too. Beside a gorgeous, but more conventional magic-in-the-mundane oil painting of Jell-O by Mary Pratt, you’ll find one of her best renderings of Donna, her friend and also her husband’s mistress, who’s captured here in a private moment locking eyes with the viewer through the reflection of the bathroom mirror. Nearby, an Alex Colville that could prompt a whole mystery novel shows a woman undressed with a man in tuxedo watching from the background, a handgun displayed prominently on her vanity. There’s Carmela Laganse’s unorthodox furniture; Chloe Wise’s decadent urethane foodscapes, their syrups and sauces dripping down the plinths; and Kim Adams’s two-headed bicycle, which you can only delight to picture in action.

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Emmanuel Nwogbo, The Nigerian Prince: Coming to Halifax, printed digital collage, 2019.Courtesy of the Artist

“When we wonder as a verb, it’s always generative,” Bruce says. “And wonder as a noun is transportive.”

In one of the final galleries, Chun Hua Catherine Dong’s Out of the Blue – No. 3 is an exuberant arrangement of laboratory gear, artificial flowers and cutesy 3-D-printed animals. Dong’s middle school teacher in China prohibited female students from using the chemistry lab. Here, the artist revisits the childhood memory, now a glorious and fantastical subversion: the laboratory they could only ever dream of.

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Chun Hua Catherine Dong, Out of the Blue – No.3, 3D-printed sculptures, artificial plants, Plexiglas, laboratory accessories, 2023.Courtesy of the Artist

Then, in the backroom, a true grand finale for the show about wonder. Xiaojing Yan’s Spirit Cloud is a completely otherworldly thing. Made from more than 33,000 freshwater pearls, the cumuliform body afloat in the gallery approaches the sublime. It compels your gaze, appearing to reshape itself as you explore it. And there, with your own private cloud to spot, surely, your imagination will be ignited once more.

“When I experience wonder, it feels like a doorway to the infinite has opened up,” the artist says. “It’s a reminder that there is so much more to life, so much beauty, mystery and possibility waiting to be discovered. … In moments of wonder, we are like children again, seeing the world with fresh eyes.”

 

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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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