Art
Art and Journaling Project Helps Break Down Prison Walls for Indigenous Men – TheTyee.ca
Elder Roberta Price was finishing making dozens of bundles of sacred plants — tobacco, sage, cedar and sweetgrass — for Indigenous men in B.C. prisons when she got a call warning that the gifts would not be allowed.
Sacred plants like tobacco and cedar are often used to cleanse both people and spaces of sadness, and to provide strength and grounding to those who carry them, said Price, who is from the Coast Salish Snuneymuxw and Cowichan Nations.
But while tobacco is sacred in many Indigenous cultures and communities, it’s prohibited in jails or prisons in Canada.
Price quickly substituted lavender and revised the pamphlets that came with the bundles.
But she says the rule is just one example of the colonialism and anti-Indigenous racism underlying the prison system.
Price is a co-principal investigator for Critical Research in Health and Health Care Inequities at the University of British Columbia’s School of Nursing.
And she’s part of a team of UBC researchers who are distributing hundreds of art and journaling kits to Indigenous men in prisons and in halfway houses in a bid to alleviate the dual mental health tolls of incarceration and the pandemic.
The kits are aimed at encouraging the men to explore their experiences through art and words and, importantly, share them with members of their communities. The project has partnered with Indigenous community organizations to build connections. Price’s bundles are meant to provide spiritual guidance and strength during a time of heightened isolation.
Co-lead researcher Helen Brown, an associate professor at the UBC School of Nursing, said the community participation is a key part of the project.
“Their connections with the community help them to reach and see the impact of the work they were doing beyond the present walls, which gives them a positive sense of themselves that they hadn’t necessarily experienced to that point,” she said.
Prisons are harsh and isolating in normal times, but virus-driven restrictions on visitors and activities have drawn increasing attention to the mental health on those who are incarcerated.
Work, activities, time outdoors — “all of these positive impacts on identity, wellbeing and giving to others come to a grinding halt,” said Brown.
Price’s bundles and the wisdom that accompany them are an important component of the kits that will be distributed in two medium-security federal prisons and five halfway houses in B.C. in an effort to improve mental health and maintain cultural connections for the men.
The team hopes the program will expand to all correctional facilities in the province in the near future, as well as to Indigenous community organizations across B.C.
The idea didn’t just come out of thin air. The researchers were able to build on years of work with Elders and incarcerated men on a similar project.
In the now-halted Work 2 Give program, Indigenous men who were incarcerated made furniture, cultural objects and clothing for members of the Tsilhqot’in First Nation in the province’s interior.
Brown’s team, who began studying the initiative in 2014, found that it was not just making and sharing the gifts. The process built relationships between the men and communities that helped them heal and remain connected to their Indigenous cultures.
“As we went around talking to men in the communities, we heard more and more and more about the importance of relationships between First Nations communities and Indigenous incarcerated people against the backdrop of over-incarceration of Indigenous peoples in British Columbia,” said lead researcher Brown. “And so the layers of meaning just kept unravelling over time.”
The damage and trauma of being removed from one’s culture and family is already known in Indigenous communities across Canada. Residential schools and foster care have prevented children from learning their language, traditions and culture.
Price says the disproportionate incarceration of Indigenous men in Canada is yet another version of the same colonial policies in modern times.
A January report by Canada’s correctional investigator Ivan Zinger found that 30 per cent of incarcerated people are Indigenous in Canada, while just five per cent of the population are Indigenous. That number has nearly doubled from 2000, when about 17 per cent of those incarcerated were Indigenous.
“We all had our own prisons, our own senses of being trapped,” said Price, who was forcibly removed from her family by social workers as a young child and forbidden from speaking her language with her sister while in care.
“And to lift someone up, it is so important, because when you are ripped away from your family, what you are missing is that unconditional love you receive from your parents, your grandparents and your family.”
Brown and co-lead researcher Kelsey Timler acknowledged that the kits are not meant to resolve the structural harm done by incarceration in Indigenous communities.
“It’s an attempt to create a small thing that’s kind and decolonial and centres the voices of Indigenous peoples,” said Timler, a PhD candidate at UBC.
Price sees her own healing, guided by Elders from her community, as a journey that has no end.
She hopes the kits — even without tobacco — can be an act of love to those incarcerated during their own healing journeys.
“I’d rather just honour that system with the rules and the regulations and just continue to be respectful around the teachings as an Elder, that’s our role,” said Price, talking on speaker phone. When she smiles, she says, her cheeks regularly press against the phone and hang up the calls.
“There was lots of unconditional love, and care and respect put into the whole process so that when those people pick them up, they’ll have a feeling of peace and unconditional love.” ![[Tyee]](https://thetyee.ca/ui/img/ico_fishie.png){kind=small}
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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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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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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