“The Essential Project” photography series by Jules Gagne profiled 20 Peterborough-area artists and their pandemic experiences, including The Theatre On King artistic director Ryan Kerr and theatre artist and writer Kate Story. (Photo: Julie Gagne)
By March 17, 2020 — a day that shall live in infamy — every artisan fair, community space, concert hall, club, festival, gallery, museum, and theatre in the Kawarthas had gone dark, which led to a never-ending list of cancelled cultural events that has since devastated the arts and culture sector.
Like a black hole, from which no light can escape, the pandemic consumed everything in its path; yet, somehow, this year has miraculously seen much incredible work in the arts.
2020, our year of the virus, has also been the year of art in spite of all.
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In the early days of uncertainty, people all over the world turned to the arts — whether they binged-watched Netflix, read books or poems, scrolled through collections of images and inspirational quotations, or listened and danced to music, art made the lockdown bearable.
As much of our lives went online, so too did the arts. Local musicians, poets, dancers, actors, artisans, and visual artists created much online content to keep us inspired and connected during the first lockdown.
Local musicians brought us memorable moments such as the #TogetherAtHome video with Blue Rodeo’s Greg Keelor and the Peterborough Singers’ virtual choir performance of the song “Bobcaygeon” in support of Pinecrest Nursing Home where COVID-19 claimed the lives of 28 residents. The Live! At the Barn video series safely connected us to our favourite local musicians.
VIDEO: Live at the Barn! featuring The Weber Brothers
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Public Energy Performing Arts livestreamed archived performances of theatre, dance, and circus-arts in The Rewind Room, which provided financial support for the featured artists.
Local photographer Julie Gagne documented local citizens and business owners for her portrait series “Within”, which inspired The Essential Project that Gagne created with the Electric City Culture Council (EC3) to raise awareness of the precarious situation of local artists and arts organizations during the pandemic. As part of EC3’s Artsweek SHIFT, local painter John Climenhage chronicled the vacant, ghostly locked-down spaces onto canvases.
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As lockdown restrictions began to lift in the summer, artists found more ways to safely present their work to audiences.
The First Friday Art Crawl safely resumed to celebrate the completion of Peterborough’s newest mural. Galleries such as Artspace and The Art Gallery of Peterborough featured exhibits by appointment and the Apsley Autumn Studio Tour restarted.
Peterborough illustrator Kathryn Durst in front of her public art mural in the alleyway of the Commerce Building in downtown Peterborough. The mural, commissioned by the First Friday Peterborough volunteer committee and Commerce Building owner Ashburnham Realty, was celebrated on September 4, 2020. (Photo: First Friday Peterborough / Facebook)
Some local musicians were able to return to work on patios or behind plexiglas in our many clubs, while outdoor performances such as The Verandah Society and drive-in concerts in both Lindsay and Peterborough made the most of the warmer weather while it lasted.
Countless more online performances became available as the colder weather and the second wave of COVID forced us back indoors. Most recently, In From The Cold broadcast and livestreamed on Trent Radio, and the Peterborough Symphony Orchestra’s holiday concert, Comfort and Joy, gave audiences near and far a collective musical experience. Many organizations and individuals turned towards research and development to make sure artists have the safety, security, and time to continue to create their work.
Notably, 4th Line Theatre brought on award-winning artist Beau Dixon to begin developing institutional strategies to deter the systemic discrimination faced by artists who are Black, Indigenous, people of colour, or living with disabilities. Artspace hosted ‘Breaking Down Stereotypes’, photo-based community art project from the First Peoples House of Learning featuring Indigenous students at Trent University. EC3 and Public Energy also demonstrated their commitment to diversity via declarations, programing, and exhibitions.
Artspace, EC3, and Public Energy all announced artist in residence programs to foster creation during the pandemic, including performer Brad Brackenridge as the 2021 artist in residence at Artspace and poet Justin Million as downtown Peterborough’s first artist in residence — a partnership between EC3, the Peterborough Downtown Business Improvement Area (DBIA), and Leslie Menagh of Madderhouse Textile Studios.
Against all odds, works of art — across all disciplines — have escaped the black hole that is this godforsaken pandemic. Though it is paramount that we celebrate the remarkable adaptation, improvisation, and resilience required of our local artists to create art in spite of all, we must also recognize that we are at risk of losing our beloved cultural institutions and practitioners.
A maquette of “Portage”, a bronze work by Madoc artist James C. Smith, in the Rain Garden south of Maryboro Lodge (home of the Fenelon Museum) in Fenelon Falls. The final sculpture, to be installed in the Rain Garden, is an homage to the location’s history as a portage and gathering area of First Nations peoples. It features three life-sized bronze canoe paddle figures participating in a portage. (Photo courtesy of Fenelon Arts Committee)
The arts and culture sector – an immense economic driver — is among the hardest-hit in the economy. The situation is dire. For this reason, the most important work that has been done in the arts this year is the oft-invisible, behind-the-scenes administrative and fundraising work.
New partnerships were formed among the arts community, such as the Peterborough Performing Arts Recovery Alliance, a group of local performance venues and arts organizations that formed to to advocate, organize, and lobby for support.
The sheer volume of fundraisers is both a testimony to the love for the arts and the generosity of our communities; and, an indication that the financial support available through multiple levels of government is inadequate.
Much like the team of professionals assembled by the Allied forces during WWII for the Monuments, Fine Arts, and Archives program (also known as the “Monuments Men”), the Electric City Culture Council (EC3) proved to be champions for the arts here in Nogojiwanong/Peterborough, fighting tirelessly to preserve the arts.
An artist’s rendering of the completed outdoor amphitheatre in Fenelon Falls. Although it was planned before the COVID-19 pandemic, the open-air amphitheatre will allow for safe, physically distanced live performances to take place. (Image courtesy of Kawartha Works Community Co-operative)
Long before the CERB program was expanded to include artists, EC3 immediately provided urgent, short-term financial support to local professional artists who had experienced the sudden loss of artistic income due to the COVID-19 pandemic by means of Micro Subsistence Grants. They also disseminated crucial information and resources regarding relief funds and grants for artists and arts organizations.
EC3 also worked closely with the Greater Peterborough Chamber of Commerce, the Peterborough Downtown Business Improvement Area (DBIA), and Peterborough & the Kawarthas Economic Development to ensure that artists and arts organizations could participate in vital digital initiatives such as gift card programs and digital marketing consultancy sessions.
Throughout the pandemic, EC3 has been quietly raising funds for the Peterborough Arts Alive Fund which, thanks to Peterborough city councillors Kemi Akapo and Keith Riel, recently saw the City of Peterborough’s Budget Committee pledge to match the $40,000 relief fund.
The Electric City Culture Council (EC3)’s Peterborough Arts Alive fund was established to help charitable arts organizations in the Peterborough area make it through the COVID-19 pandemic. (Graphic: EC3)
2020, our year of the virus — of art in spite of all – has given us much to celebrate and even more to lament. Though there is hope on the horizon, it seems distant as we brace ourselves to enter 2021 in another lockdown. For better or for worse, we have made it this far and, together, we can make it to the other side.
Together, we can ensure the arts will be ready and waiting on the other side to help us process this collective trauma — that we can return to all of the things that make life worth living.
If you have the means (and if you’d like to get a charitable tax receipt before the end of the calendar year), please consider making a donation to the Peterborough Arts Alive fund, administered jointly by EC3 and the Greater Community Foundation of Peterborough, to help keep the arts alive in Peterborough.
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.
