Art
How the University of Manitoba is decolonizing its art collection
The University of Manitoba is decolonizing its art collection, replacing problematic paintings and sculptures with contemporary Indigenous art.
“The university is ultimately a colonial institution that is designed to serve white people … and that needs to change,” said C.W. Brooks-Ip, registrar and preparator of the University of Manitoba Art Collection.
“We have had artwork that is by a white settler that depicts Indigenous folks in not really an accurate way, in sort of the mythologized way, that in some ways glorifies the white settlers — or at least reinforces their white supremacy.”
So Brooks-Ip created the Indigenous Student Led Indigenous Art Purchase Program, a two-year pilot project that aims to change that. The group of Indigenous students meets with artists and curators, visits studios and recommends artwork to purchase.
The move comes amid a larger debate about what to do with art that reflects a colonial and imperialist history.
A reminder of home and community
The committee has received $30,000 from the school’s Office of the Vice-President (Indigenous). It’s submitted 24 proposals for paintings, prints, physical pieces and an etching, by artists including Jackie Traverse, Christi Belcourt and Kent Monkman. The group hopes to acquire them over the summer, and show them as part of an exhibition at the School of Art Gallery in October before installing them throughout the campus.
Third-year student Jory Thomas, 20, says she jumped at the opportunity to get involved as the project’s committee co-ordinator.
She remembers how overwhelmed she felt starting her architecture degree at the university. At the time, she said, there wasn’t a lot of Indigenous art on campus.
“Seeing pieces like that reminds me of home. It reminds me of community and it creates that sense of familiarity that gets you comfortable with being here … and ready to learn,” said Thomas, who is Red River Métis.
“The university is sending a message to students [that] you are welcome here.”
Museums have started to confront how Canada’s treatment of Indigenous peoples is presented and some are getting access to federal funding for addressing residential schools.
Removed paintings
One painting removed from the university president’s office is a work by Lionel Stephenson, an artist living in Winnipeg between 1885 and 1892.
The painting shows Upper Fort Garry on one side of the river, with an Indigenous person sitting outside a teepee on the other shore.
“It’s kind of depicting a ‘We’re over here and they’re over there’ type situation,” Thomas said. “It’s not showing community and togetherness. It’s showing the separation between the river and the settlement.”
It shows “the threat of direct colonization,” Brooks-Ip said.
Another is a sculpture of a buffalo hunt by Thomas Holland, an American artist and polo player. It portrays an Indigenous hunter riding a horse and spearing a buffalo.
While the depiction may be historically accurate, it wasn’t created from an Indigenous perspective of cultural understanding, respect and gratitude for the animal’s sacrifice, said Thomas, whose clan animal is the buffalo.
Images like this perpetuate harmful stereotypes of angry, violent Indigenous people, fostering a hostile environment on campus, she said.
“Instead of this violent attacking of the bison, there might be a better option of a sculpture, where they’re preparing the bison that they’ve hunted, because we historically used all the parts of the bison,” she said.
A new piece
One of the new pieces is by Frederick Lyle Spence, also known as Thunder Bear, an Ojibway carver from Peguis First Nation in Manitoba. It’s a soapstone carving of a black silhouette of a goose, with a dream catcher in its body, called “Let your dreams fly, for they will bring you home.”
Spence carved it in March, and he said it’s been waiting for the right home ever since.
“If I’m not ready to let it go it, one of the things I’ve been told is that it’s meant to stay and absorb your love and your positive energy,” Spence said.
“And when it’s ready, it’ll go to its new home and then it’ll sit and give off that energy to whoever is around it.”
He said he felt humbled and honoured when the university asked to buy it, especially when he reflected on his own experience as a student at the University of Winnipeg, which he said made him feel ashamed of his identity and his “Peguis” accent.
“I didn’t feel welcomed. I didn’t end up having a huge community or connection with the university, which is sad.”
What to do with colonial art?
For years, art institutions have deliberated on what to do with works that reflect a colonial history — should they be relegated to vaults or reframed with an Indigenous perspective and context as an educational opportunity?
There’s room for both approaches, said Riva Symko, head of collections and exhibitions at Winnipeg Art Gallery-Qaumajuq, home to the world’s largest public collection of contemporary Inuit art.
“We do need to put things away to make space for other voices to be heard and seen. Sometimes we need to put things away because they’re traumatic, because they are harmful … especially to our Indigenous visitors and audiences,” she said. “And we don’t want to instil more trauma on our communities.”
However, she said, artworks can occasionally be reframed or retold from a different point of view, giving a new understanding of them.
In 2023, the Manitoba government said it would conduct a review to ensure all Indigenous-themed artwork displayed in ministers’ offices is created by Indigenous artists.
A provincial spokesperson said that review is now complete, and that all but one piece was confirmed to have been made by Indigenous artists. The remaining piece’s artist is unknown, and has been taken down until it can be identified.
Society is going through a paradigm shift, changing how we view our history and looking for new ways of dealing with our colonial past, Symko said. Art can spur conversation and dialogue, she said.
“The future will tell whether we burn them down, or whether we store them away and lock them in the vault, or whether we bring them out and use them for discussion.”
While Indigenous art is the focus right now, U Manitoba is currently auditing its entire collection and “keeping an eye out for things that might be problematic.”
If this pilot project can be extended or expanded, Brooks-Ip would also be interested in looking for art reflecting other racialized and queer communities.
The University of Manitoba is decolonizing its art collection, replacing problematic paintings and sculptures with contemporary Indigenous art.
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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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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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