The Art Gallery of Guelph has launched a new season of exhibitions this month and people are making the visit, both in-person and virtually.
Since closing in March due to the COVID-19 pandemic, the gallery reopened its doors in July.
“Visitation has been strong. For many, the gallery is a safe environment and an open space for learning where individuals and families can explore new art and ideas,” says Shauna McCabe, director at the Art Gallery of Guelph (AGG).
Today, visitors explore the gallery with additional social distancing and health and safety precautions in place.
Attendance numbers are limited, and visitors will find signage, spacing, directional markers and hand sanitizers throughout the facility.
“Prior to the pandemic, events at the gallery offered an opportunity for community members to engage directly with art, artists, curators and fellow art lovers in conversation and hands on learning,” McCabe said.
“Since restrictions on in-person gatherings were introduced, the gallery has found new ways to share exhibitions and educational content online via the website, e-newsletter and social media platforms.”
With the return of in-person visitors, virtual programming has also grown in popularity
“Virtual programming has been well received. In July and August, the gallery offered a new virtual summer camp program, Camp-To-Go, that combined online learning with kits full of art materials. Campers and parents alike enjoyed the combination of live instruction and hands-on artmaking,” McCabe said.
“Since March, the gallery has made documentation of current exhibitions available online for visitors around the world to enjoy from home. In a sense, exhibitions are now available globally, 24/7.”
Online virtual school programs will continue to be offered at the gallery.
“We are introducing a virtual program for kids on Saturdays and hosting upcoming talks related to exhibitions as well. To support at-home learning, the gallery launched several programs available on our website as part of our #MuseumAtHome initiative,” says McCabe.
“Schoolhouse Studio Sheets, for example, is a series of fun at-home activities inspired by artworks in the gallery’s collection. In addition, the gallery has developed curriculum-based materials for teachers based on current exhibitions.”
Established in 1978 as the former Macdonald Stewart Art Centre, the AGG operates today with three sponsors – the University of Guelph, the City of Guelph and the Upper Grand District School Board.
“The new season of exhibitions speak to the possibilities for generative relationships with land and environment,” says McCabe.
“Featuring artists from across the Americas, the exhibitions on view offer a dialogue that connects decolonization with pressing issues of climate change, environmental sustainability and social justice.”
One of the new exhibitions, Sin Cielo / Skyless, depicts Clemencia Echeverri’s ongoing exploration of the social dynamics, cultural practice, and history of Colombia, specifically the after effects of mining in the county’s northwest.
Also, Carolina Caycedo’s A Landscape Is Never Natural, explores the interconnectedness of nature and social systems in the exhibition.
Grounding, curated by Maya Wilson-Sanchez, includes artwork made from the ground, work that uses as its material basis, the same valuable natural resources that drive world economies.
Visitors to the AGG can still catch Christi Belcourt’s exhibition, Uprising which continues until October 11.
Uprising is a mid-career retrospective of the work of Michif (Métis) visual artist Christi Belcourt. It brings together over 30 paintings, celebrating her creative achievements over 25 years of artmaking.
This exhibit is complemented by the work of knowledge holder, storyteller, and artist Isaac Murdoch, whose iconic images, such as Thunderbird Woman, are symbolic of the Indigenous resistance movement against resource extraction.
“The Art Gallery of Guelph offers compelling encounters with artists from around the world for visitors of all ages,” McCabe said.
And art isn’t only found inside the gallery.
“Extending the social space of the gallery beyond its walls, the AGG’s Sculpture Park is the most comprehensive contemporary outdoor art collection at the public gallery in Canada, with permanent installations by regional, national and international artists,” says McCabe.
Whether in person or on-line, education is at the heart of the all the gallery has to offer.
“As an educational organization, the gallery is always interested in exploring new tools that support online learning and research,” McCabe said.
The AGG continues to reflect issues that are important to the community.
“In the last few months, it has become clear that art institutions have a critical role to play in recognizing and challenging historic oppression, concerns reflected throughout our exhibitions, programs and collections,” McCabe said.
“The Art Gallery of Guelph aims to address issues that matter to our communities through our work with artists, with a vision focused on being an inclusive and participatory art museum at the heart of the community.”
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.
