Art

B.C. graduate pressured to change artwork critiquing her high school’s accessibility barriers

Published

2 months ago

July 13, 2024

Lexis De Meyer displays her artwork at Robert Bateman Secondary in Abbotsford, B.C., on June 29.Jimmy Jeong/The Globe and Mail

For months, Grade 12 student Lexis De Meyer had been anticipating her high school’s year-end art show. But as the 17-year-old delivered a speech to the school community about her student project focused on inclusivity and accessibility, joy eluded her.

The speech wasn’t her words. Rather, it had been censored by school administrators who disagreed with Ms. De Meyer’s observations after she spent weeks getting a first-hand look at the shortcomings those with mobility challenges face in the school.

“It didn’t feel honest; it wasn’t what I wrote. It was very not what I intended to write,” she said in an interview.

Ms. De Meyer had been enrolled in the art activism class at Robert Bateman Secondary School in Abbotsford, B.C. The class encouraged students to take a stand on a social issue and use art to drive change. As part of the program, students create large-scale artworks that highlight these issues, culminating in a year-end exhibition to showcase their pieces.

Ms. De Meyer latched onto a subject in a personal way: She had broken her ankle playing rugby, forcing her foot to be confined in an air cast and requiring her to use crutches. Over the next few weeks, she experienced the accessibility barriers her school presented: School entrances lacked functioning automatic doors; only two out of the three floors had accessible washroom stalls; there were just five of the special keys needed to use the elevator.

She wrote a letter detailing her concerns and sent it to her principal Lance McDonald and Sean Nosek, the superintendent at the Abbotsford School District.

“Reviewing our school for accessibility has never been more relevant to me and it is sad to say that Robert Bateman would not get a passing grade,” she wrote.

Days later, Mr. McDonald met with Ms. De Meyer and promised to order more elevator keys, but he insisted the school was up to the accessibility code.

Around the same time, Ms. De Meyer started work on a painting as her final project for the art activism course. Her piece portrays a girl in a wheelchair at the bottom of a set of stairs, gazing up at her classroom, which is inaccessible to her. The stairs bear the words: “There is no elevator to success. You have to take the stairs.”

In the statement that accompanied the painting – a requirement of the class – Ms. De Meyer shared her personal experience and expressed hope that the school and the district would make changes to ensure they lived up to their pledge for student success, equity and inclusion.

A week before the art show, which was taking place on June 15, Ms. De Meyer’s teacher asked her if she would like to speak at the event.

But the day before the exhibit, Ms. De Meyer said her teacher informed her the school administration had insisted on modifying her speech to avoid anything that could portray the school in a negative light.

Ms. De Meyer then received the school’s revised version of her speech.

Lexis De Meyer spent weeks preparing her speech and artwork, only to find out at the last minute that both her speech and artistic statement had been altered by the school administration.Jimmy Jeong/The Globe and Mail

In her original, Ms. De Meyer wrote: “I turned to the lessons we learned in our class and wrote a letter to our principal, Mr. McDonald, and the superintendent, Mr. Nosek, about the lack of accessibility and the barriers I was facing at Robert Bateman. I also researched the accessibility code and wrote another letter detailing areas we could improve.”

However, the edited version reads: “I turned to the lessons we learned in our class and wrote to people in positions who can assist with possible changes in the future, knowing that there are many things to consider. I also researched the accessibility code and learned a lot about the ways the government is trying to help remove barriers.”

Ms. De Meyer was stunned.

“It felt really bad to get this speech. It’s farther from the truth,” she said.

Just moments before she was scheduled to speak in front of a crowd of more than 100 people, including the city’s mayor, she was once again pulled aside by her teacher and told that the administrators insisted on altering her artistic statement as well. If she didn’t agree, the booklet containing all students’ contributions would be withheld.

Ms. De Meyer teared up. She said she didn’t want to risk her classmates’ work, so she let the revised version, which largely removed references to her personal experiences and her plea for improvements in accessibility, cover her original statement.

There was no response to e-mails from The Globe and Mail to the principle and superintendent. But the school district issued a media release on June 28 in which Mr. Nosek said administrators are investigating the circumstances surrounding the censorship of Ms. De Meyer’s speech.

“We understand that this action may have silenced an important student voice and caused frustration. In the Abbotsford School District, we value student voice as a fundamental pillar of public education. This situation is a critical reminder of our commitment to transparency, and moving forward, we will ensure all student voices are respected and heard,” he said.

In the same media release, Mr. McDonald offered an apology on behalf of the school for the frustration and disappointment this has caused. The release said school administrators and teachers are “committed to learning from this experience to ensure all students feel fully seen, heard and empowered as advocates in this course and throughout our school.”

Shirley Wilson, chair of the Abbotsford Board of Education, said in the media release that steps are being taken to rectify the accessibility issues Ms. De Meyer raised.

Ms. De Meyer, who’s now enrolled at the University of the Fraser Valley, is looking ahead to postsecondary studies. Her experience arising from the art activism class, she said, reinforced an earlier career choice.

She wants to become a lawyer.

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Art

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

Published

4 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

4 weeks 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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