Art
At Art Toronto, a Third of Galleries Are Showing Indigenous Artists – Hyperallergic
Support Hyperallergic’s independent arts journalism.
At the entrance to Art Toronto is a land acknowledgment: the fair, it says, takes place on treaty land of the Mississauga of the Credit First Nation, “an area on which the Haudenosaunee, the Wendat and the Anishinaabe have thrived through time.” In Canada, which has over 630 First Nation communities and more than 50 Indigenous languages, such a recognition is essential. But it has a special significance for this year’s edition of the country’s largest art fair, where a third of the more than 60 participating galleries are showing works by First Nations artists.
Indigenous artists have been represented at the fair before — Montreal dealer and longtime participant of Art Toronto Pierre-François Ouellette, for instance, has brought works by Cree artists Kent Monkman and Meryl McMaster to the show for years. But the impressive turnout of First Nations artwork in the 2021 edition is likely due to an increase in the number of galleries exhibiting and representing Indigenous artists both in Canada and abroad, says Mia Nelsen, director of Art Toronto.
“There was no call out to galleries to submit any specific work, only to submit their best work,” Nelsen told Hyperallergic.
The physical show opened to the public today at the Metro Toronto Convention Center and runs through the weekend, but a parallel virtual version of the fair, which includes viewing rooms and virtual reality exhibitions, is accessible until November 7.
“As Canada’s international art fair, we have an opportunity to connect with a wide and diverse audience to share the story of Canadian art,” Nelsen said. “The First Nations perspective is essential to that narrative.”
Also worth noting is the presence of galleries that specialize in the work of First Nations artists, more than ever before at the fair. Five of them — K Art in Buffalo, New York; Feheley Fine Art in Toronto; and Fazakas Gallery, Ceremonial / Art, and Marion Scott Gallery in Vancouver — show exclusively Indigenous artists. K Art, which opened its 2,000-square-foot space last year, is also Indigenous-owned, founded by Dave Kimelberg of the Seneca Nation of Indians (Bear Clan).
“Indigenous art has so much to offer and I think sharing and amplifying Indigenous voices within the contemporary art world is a huge asset to the conversation,” Fazakas Gallery director and curator LaTiesha Fazakas told Hyperallergic. “Showing Indigenous artwork at art fairs really helps to advance those voices and create an opportunity to deepen and enrich the dialogue.” The gallery has two presentations at Art Toronto, a group booth as well as a site-specific installation of laser-cut painting and assemblage works by Cree Métis artist Jason Baerg that reflect on the original Mohawk word for the city, “Tkaronto,” meaning “where there are trees standing in the water.”
Devan Patel, co-owner and director of Patel Brown Gallery, believes “a real conversation about Canadian art can’t take place without a presence of Indigenous voices.”
Patel Brown’s booth at Art Toronto features Indigenous works alongside pieces by creators from different backgrounds. Japanese-Canadian artist Alexa Hatanaka’s meticulous linocuts on handmade washi paper join stunning colored pencil drawings by the late Inuk artist Tim Pitsiulak. Sleek patinated bronze sculptures by Oluyese, whose work is often informed by his Yoruba heritage, meet vibrant acrylics by Native Art Department International, the collaborative project of Indigenous Toronto-based artists Maria Hupfield and Jason Lujan.
Art Toronto is also hosting conversations and programs both in-person and online during the run of the show, some of which can be watched on-demand, such as a panel with Patricia Marroquin Norby, hired as the first full-time Native American art curator at the Metropolitan Museum of Art last September. Norby joined a discussion about “decolonizing museums and collections” with curator John G. Hampton and Indigenous artists Jason Baerg and Julia Rose Sutherlan, moderated by Greg Hill, senior curator of Indigenous art at the National Gallery of Canada.
Expanding the visibility of Native American, First Nation, and other Indigenous artists at fairs like Art Toronto, which draw collectors and curators from around the world, is an important step in redressing their marginalization in both the institutional and commercial mainstream. Still, work remains to be done, not just in terms of representation by the numbers but to complicate perceptions of what art by this large and diverse community can look like. That range and breadth is on display at the fair, from Michael Nicoll Yahgulanaas’s wall-mounted sculpture “Falling Tide” (2020), rendered in copper leaf on a metal car hood, to Sonny Assu’s “Breakfast Series” (2006), cereal boxes with a Pop Art edge that subversively raise issues faced by First Nations peoples, with names like “Treaty Flakes” and “Lucky Beads.”
“It’s important to showcase contemporary Indigenous art to challenge and expand the reductive and expected aesthetics of Indigenous art in the art world, and allow the work to be appreciated beyond its cultural identifiers,” Patel said. “Most importantly we have to cultivate and champion underrepresented voices to empower and support the next generation of Indigenous and BIPOC leaders.”
Artists Debra Baxter and Dawn Cerny curate this group show of women sculptors linked to Bard’s MFA program, now on view at form & concept gallery in Santa Fe, New Mexico.
Driven by the individual interests of each cohort, this program based in Austin, TX promotes intellectual curiosity, visual acuity, and direct engagement with the larger world.
With The Future of Ice, John Zurier manages to reduce each painting to what is essential only, yet he maintains an incredible specificity in each.
Exhibition or project grants of up to $10,000 are available to artists working across a variety of media, including painting, drawing, sculpture, and photography.
Agustín Fernández’s visual innuendos seduce the viewer into lingering on the threshold of visual perception.
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.
[unable to retrieve full-text content]
Ukrainian sells art in Essex while stuck in a warzone BBC.com
Source link
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.
With grief lingering, Blue Jackets GM Waddell places focus on hockey in wake of Gaudreau’s death
PSG says defender Nuno Mendes target of racial abuse after a French league game
Slovenia’s Tadej Pogacar wins Grand Prix Cycliste de Montreal
12 Bizarre Things People Did Just To Make Social Media Content
AP source: Bears acquiring quarterback Nick Foles from Jaguars – Sportsnet.ca
dynaCERT Inc. Invites You to Join Us at the Vancouver Resource Investment Conference | INN – Investing News Network
-
Sports21 hours agoArmstrong scores, surging Vancouver Whitecaps beat slumping San Jose Earthquakes 2-0
-
News21 hours agoAs plant-based milk becomes more popular, brands look for new ways to compete
-
News18 hours agoLabour Minister praises Air Canada, pilots union for avoiding disruptive strike
-
News3 hours agoNova Scotia premier repeats calls for Ottawa to pay for protecting Chignecto Isthmus
-
News3 hours agoEmir of Qatar to visit Ottawa on what will be his first official trip to Canada
-
News3 hours agoTIFF audience prizes for ‘Life of Chuck,’ Hip doc; Rankin among Canadian winners
-
News18 hours agoLooking for the next mystery bestseller? This crime bookstore can solve the case
-
News21 hours agoInflation expected to ease to 2.1%, lowest level since March 2021: economists
