Art

Six art exhibitions in Ontario you can visit this winter – The Globe and Mail

Published

4 years ago

December 4, 2020

Harry Miller

New York-based artist Moyra Davey’s exhibition, The Faithful, at the National Gallery of Canada in Ottawa.

Handout

Consider the humble phragmites. Also known as European common reed, the plant is a ubiquitous sight along highways and across wetlands in Ontario – its tufted stalks so commonplace that they are almost invisible. But it is in fact a killer hiding in plain sight, an invasive species that has been wreaking havoc on Ontario’s ecosystems for decades. Thanks to COVID-19, many of us can relate more keenly to the perilous feeling of being a species under threat of invasion.

While we do everything we can to protect ourselves against that biological menace, artist Cole Swanson has been constructing a sort of temple to this one. “The Hissing Folly,” a thatched pyramid of phragmites installed in the loft space of a historic barley mill at the Visual Arts Centre of Clarington in Bowmanville until Feb. 7 weaves together multiple layers of meaning. It draws parallels with the destructive consequences of imperial ambition – the grasses entered North America following the same ocean passage as European colonizers – while also recognizing that phragmites (which derives from a Greek word meaning fence, or screen) possess value as a material for construction. With reeds reaching into the rafters, this folly – an architectural oddity that exists primarily for decoration while signifying a greater purpose – looms as a reminder that nature will always challenge humanity’s attempts to dominate the land.

The natural world and the screen meet again in Chantal Rousseau’s exhibition at the Agnes Etherington Art Centre in Kingston, on view to Dec. 6, though this time with a welcome dose of whimsy. In Tap Dancing Seagulls and Other Stories, the Kingston artist sets her detailed watercolours in motion through the internet’s favourite medium, the animated GIF. A squad of squirrels does fitness training at a frenetic pace, repeating endless sets of exercises without any hope of rest. Two irritated-looking blackbirds stake claim to a Cheezie, wiggling back and forth forever in an interminable battle for some precious neon-orange cheddar dust. At first quirky and even a bit quaint, the animal characters appear increasingly agitated and anxious the longer you look at them. Who can blame them – performing the same routine in the same small space every day is making all of us go a little loopy.

Story continues below advertisement

The first Canadian artists to sit in front of a computer and decide to get creative get their dues over at McIntosh Gallery in London, where curators Adam Lauder and Mark Hayward present a landmark historical survey of first-generation computer art in Computational Arts in Canada 1967–1974, on view to Dec. 12. Western University was “one of a handful of universities across Canada to house a mainframe computer during that time,” Lauder says, so the artists who engaged with the technology were entering territory then occupied only by engineers and other specialists – not exactly the user-friendly interfaces we are now familiar with. Among highlights are dramatic, zigzagging paintings by Suzanne Duquet, who was a professor at the University of Quebec at Montreal. “She is one of the few artists that learned to code,” Lauder says. “Her paintings are based on programs she wrote herself.”

At the Art Gallery of Hamilton until Jan. 3, Rebel Opera is a retrospective exhibition covering four decades of work by pioneering artist Nora Hutchinson, who made key early contributions to feminist video art, performance and installation. Sung and spoken words feature heavily, with expressive and personal poetry recited over experimental music tracks in early autobiographical works and in later works that tackle social issues such as mental health. A teacher at the Ontario College of Art and Design, the University of Guelph, York University and the Dundas Valley School of Art, Hutchinson is revered not only for her artistic contributions but also for her role as a mentor to many in the media arts community. In Opera Around the House from 1987, which she has described as a “comedic tape about everyday life which combines the formalities of the opera format with songs about kids, dogs, cats, laundry, groceries,” she sings, “Courage comes from the word heart / Coeur, coeur, coeur.”

The Kitchener-Waterloo Art Gallery bravely interrogates its own city’s history of white supremacy and anti-Black racism in Black Drones in the Hive by Montreal artist Deanna Bowen, on view until Feb. 28. Opening on the 100-year anniversary of the gallery’s first exhibition by the Group of Seven, this research-intensive project acts to dismantle the myth of terra nullius espoused in the group’s work and bring visibility to the maligned narratives of Black and Indigenous survival in Canada. Bowen’s own family history is included in 1911 Anti Creek-Negro Petition, a reproduction of a 234-page document recording signatures of people opposed to letting those of mixed Black and Indigenous heritage enter Alberta – some of whom were Bowen’s ancestors. Barker Fairley, an early champion of the Group of Seven, was one signatory. In a video introduction to the exhibition, senior curator Crystal Mowry asks of today’s proliferation of digital petitions, “Who is collecting the proof of dissent? Will we be able to access that proof some time in the future?”

The question of what is worth remembering and preserving for posterity is central to New York-based artist Moyra Davey’s practice. Her exhibition The Faithful at the National Gallery of Canada in Ottawa, on view to Jan. 3, collects 54 photographs and six films – including a new work, i confess – that commemorate the detritus of daily life and chronicle everyday activities of ordinary people. The name of the show comes from a graphic T-shirt worn by a longhaired record collector photographed in one of her signature mail art works, and pays homage to the passion we have for surrounding ourselves with objects and people we hold dear. Nearly all of her works bear the trace of physical touch – a study of marks gouged into soft copper pennies from heavy use, folds and tape remnants left from photographs sent through the postal service – and remind us of the joy of being around strangers. Most commuters probably never thought they’d miss public transportation, but spend some time with Subway Writers, a series of people scribbling in notebooks while in transit, and prepare to feel nostalgic.

The Globe has five brand-new arts and lifestyle newsletters: Health & Wellness, Parenting & Relationships, Sightseer, Nestruck on Theatre and What to Watch. Sign up today.

Let’s block ads! (Why?)

Source link

Art

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

Published

6 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

[unable to retrieve full-text content]

Ukrainian sells art in Essex while stuck in a warzone BBC.com

Source link

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.

Source link