Montreal, a city renowned for its rich cultural tapestry, has welcomed a groundbreaking addition to its cultural landscape. On February 24, 2022, Afromusée, Quebec’s inaugural Afro museum, opened its doors to the public. Situated within the vibrant Espace Mushagalusa gallery and cultural center, Afromusée aims to illuminate the historical and contemporary narratives of the African presence in Canada.
At the heart of Afromusée’s inaugural exhibition is the pioneering work of Dorothy Williams, a dedicated historian who has devoted over four decades to documenting, archiving, and narrating the stories of African Canadians. Williams embarked on this journey following a pivotal conversation that highlighted the need to capture Black information, stories, and narratives in Canada.
Dorothy Williams, along with other historians, researchers, and archivists, is instrumental in shifting the narrative and increasing awareness of Black history across the country. Her efforts, often conducted independently, have played a crucial role in bringing to light the significant contributions of Black Canadians dating back to the 16th century.
The inception of Afromusée aligns with the vision of Mushagalusa Chigoho, the founder of Espace Mushagalusa. According to Chigoho, understanding one’s history fosters pride and contributes to building a better society. He emphasizes that the African Canadian experience, integral to the country’s identity, has been underrepresented and insufficiently integrated into the broader Canadian narrative.
Chigoho contends that Black people have been instrumental in building Canada for centuries, and recognizing the African Canadian experience is essential for a comprehensive understanding of the nation’s history. The challenge, he notes, lies in making this information more accessible to the public.
Afromusée’s inaugural exhibition, titled “L’Afrique Montréalaise,” is set to run throughout 2022 until February 2023. The exhibit showcases Dorothy Williams’ work alongside contributions from other historians, researchers, and archivists. “L’Afrique Montréalaise” presents stories, archives, artifacts, and traces of African descendants in Quebec and across Canada.
Mushagalusa Chigoho chose Dorothy Williams as the first spotlight for Afromusée due to her tireless efforts spanning four decades. Williams, a creator of the educational tool “ABC’s Canadian Black History Kit” for school teachers, has been a driving force in advocating for the recognition of Black Canadians in history.
The exhibit provides insights into Williams’ life and her relentless commitment to documenting the history of Black Canadians. Williams emphasizes that Black history extends far beyond what is traditionally acknowledged, challenging the misconception that it began in the 1960s.
While Afromusée currently exists as a physical space, Mushagalusa Chigoho envisions its expansion into a virtual space in the near future. The museum also plans to become a traveling institution, reaching communities across provinces. Afromusée is actively seeking partners to facilitate the exportation of the museum to various locations.
Chigoho extends an invitation to the community to engage with Afromusée’s work and educate themselves on Black history. The museum, open every day from 10:00 AM to 5:00 PM (except Mondays), encourages online registration through its website.
As Afromusée unfolds its narrative, it signifies a crucial step in recognizing and celebrating the diverse and profound contributions of African Canadians to the nation’s identity. The museum stands as a testament to the resilience, richness, and significance of Black history in Canada, inviting all to explore, learn, and contribute to this transformative journey.
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
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.
