Art
Basket weaving moves from potato fields into art and fashion worlds – CBC.ca
Gabriel Frey sits in his workshop, his towering frame hunched under a lamp, the only light illuminating the room. He shifts on his stool and grimaces slightly as he weaves one piece of black ash over another in a delicate but rhythmic dance.
“Our creation story is based in black ash,” Frey said.
“We have the mythical figure of Kluskap, who shot an arrow into an ash tree and within the heart of the tree was Wabanaki people.”
The traditional territory of the Wabanaki Confederacy, made up of the Peskotomuhkati, Abenaki, Mi’kmaq, Penobscot and Wolastoqiyik nations, is known as the “Land of the Dawn,” and its black ash has been a critical resource of the Wabanaki people for thousands of years.
Frey, who grew up in a Peskotomuhkati family of basket makers in Maine, has fond memories of his grandfather pounding an ash log with the blunt side of an axe in the yard.
Historically, ash baskets were made to serve a purpose. They were fish baskets or pack baskets when Wabanaki nations lived a more migratory life.
In Canada, weaving baskets became a means of survival after the Indian Act of 1876, which confined First Nations peoples to reserves, requiring them to get the permission of an Indian agent to leave to hunt or work to provide for their families.
Many families would work together to weave baskets to sell to nearby farmers for carrying potatoes or using in other ways.
“We’ve always made baskets,” Frey said.
But like other Wabanaki craftspeople, Frey has been pushing the medium beyond its old utilitarian purpose. These basket weavers are taking the craft out of the potato fields and into the art galleries. Even into fashion.
Though Frey was a bit late to the craft himself, he always knew it was in his roots.
“I didn’t really start making baskets until I was around 18, and that was when my grandfather was diagnosed with emphysema,” he said. “I kind of got a sense of the precious nature of the work that has always been in the family.”
Frey said he realized he suddenly had very little time to learn the craft — “a whole life of knowledge” — from his grandfather Fred Moore, known around the community in earlier years as someone almost too determined to respect tradition.
When Frey began to learn how to weave baskets, his grandfather wouldn’t allow him to use a mould. He first had to be skilled enough to freehand weave a basket.
Frey’s grandfather lived longer than the prognosis he was given, but his illness motivated Frey to spend time with his elder and learn.
Baskets for today
As he worked on his craft, Frey began to question what modern utility could look like, and how people could get the most use out of a basket today.
“How do you create something that still has this traditional form that can be carried forward and actually used, and can be even thought of as stylish, and actually interesting and be a representation of our culture that can be seen in an everyday form?”
He eventually came to the idea of making baskets to be used as purses, totes and fanny packs. Over time, he incorporated leather and other embellishments into the baskets.
Frey said he thinks his late grandfather would get a kick out of the baskets he’s making today using traditional techniques.
Frey admires the work of artists who have come before him as well as those creating today.
“I’m still surprised when I see stuff in art galleries,” he said, adding he still feels as if he’s learning.
Frey is happy society has come to appreciate Indigenous art.
“You know in the past it would’ve been the same amount of work but for five cents,” Frey said. “Now, our culture is in a place where it recognizes the amount of artistry that goes into it and actually feels comfortable paying for that.”
Inspiration from elders
Shane Perley-Dutcher has been weaving baskets a different way — with silver.
“I always call our traditional knowledge keepers ‘kitchen table artists’ because that’s where a lot of stuff was made,” Perley-Dutcher, a Wolastoqi silversmith from Tobique First Nation.
Though black ash is the traditional material of Wabanaki basket weaving, Perley-Dutcher drew inspiration from late elder Charles Solomon, who once wove potato baskets to sell to farmers.
Solomon later transitioned to a more unconventional material when the physical labour of pounding ash became too difficult.
“When he couldn’t pound the ash anymore, he still didn’t want to give up,” Perley-Dutcher said. “So what he did was he got people in the community to donate venetian blinds to him.
“He would take the venetian blinds apart and he’d still weave baskets,” Perley-Dutcher said. “Just the idea of not doing it … it was a weird thing for him.
“Creator gave me the ability to do something that my ancestors loved, that I love and that my grandchildren love, so why would I ever stop doing that?”
This profound message was what made Perley-Dutcher look at basket making from a different perspective.
With the words of his elders in mind, Perley-Dutcher began to make baskets from silver and other precious metals.
He considers himself “pretty novice” as a basket maker. But basket weaving has become a trademark of the jewelry that Perley-Dutcher makes.
“These are just some of the techniques I’ve learned at a young age, practised over my career and started to apply to a different medium.”
Both Frey and Perley-Dutcher attended the prestigious Santa Fe Indian Art Market in New Mexico over the summer and won in their respective categories for their work.
The two artists also have pieces in the Smithsonian Institution in Washington as well as the Abbe Museum in Bar Harbor, Maine.
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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