Quebec-based builder Broccolini has launched a public art contest inviting artists to submit ideas to cover a massive outdoor wall at its $140-million Maison Radio-Canada project in Montreal.
The idea of creating public art to honour the heritage of the waterfront neighbourhood was hatched by the City of Montreal at the inception of the project. Broccolini’s director of marketing and communications Jean Langlois noted the sector has a centuries-old history, including a period when the neighbourhood was called the Faubourg a m’lasse — the molasses precinct.
That community, with thousands of residents and numerous restaurants and factories, was razed in 1963 to make way for the first Radio-Canada headquarters, now being replaced.
The contest call went out Dec. 9 and the deadline for submissions is Jan. 15.
“So far the response has been incredible,” said Langlois. “There has been lots of interest, lots of good comments, there are people who are sending us messages, ‘great idea, I know this artist.’
“I think it is a great thing, it involves the community in a building that is going to be iconic in Montreal.”
The canvass — the windowless wall on the Principal Studio building — measures 665 square metres. The four-storey building is located on Rue Alexandre-DeSeve not far from Rene Levesque Boulevard East, within sight of the Jacques Cartier Bridge and the old Molson Brewery plant that was sold this year for redevelopment.
The story goes that the Faubourg a m’lasse designation came from the sweet smell of molasses stored in barrels in the busy waterfront area, aromas that mixed with emissions from the brewery and the Canada Rubber plant in the area.
Broccolini produced an extensive heritage report for the contestants to study, with images of old buildings such as the Ecole ville-marie, the maison Hubert Lacroix, Clark’s packing house, workshops and foundries all potential inspiration.
The once thriving area suffered a decline in recent decades but it’s on the rise again, Langlois said.
“The neighbourhood has not always been the nicest, it lacked a little love, but there is a revitalization going on with the new CBC building a part of that and the Molson site is going to be redeveloped too. We want to give back access to the waterfront to the citizens,” he said.
The expansive broadcast centre site, extending to Papineau Avenue, was designed to be a beacon for the public, said Langlois, as part of the broader community rebirth. The architect was Olivier Legault of the firm Beique Legault Thuot and he will sit on the four-person jury that will select the winning artistic vision.
“The statement that is being made from the CBC, they wanted something open to the community,” Langlois explained. “There is a space where people can gather, you can see right through the main lobby from Papineau so they wanted it to feel welcoming to the public.
“The old facility was dark, this one is all windows, open spaces. In the lobby you can see right into the two major radio studios. We wanted to feel close to the community.”
The build was very quick. Construction launched in 2017 after approval from the federal treasury board. There was limited excavation, speeding the process. Broccolini will hand over the keys any time now, Langlois said, but Radio-Canada will take its time moving in because of new communications technology being employed that will require ample testing.
“We had a huge team on the project, it is something we were proud of,” he said. “It was an honour to have been chosen, design-wise and for our ability to deliver the project. We were going to make sure we did not disappoint.”
Meanwhile, the community will be sitting back as Broccolini works with the winning artist on the art installation. Langlois expects it to be completed without delay next year but right now there is a big unknown — what form the vision will take.
The jury will select three finalists, each of whom will receive $ 3,500 for their proposal. The selected artist will be paid for the creation of their work.
“Implementing this will depend on what is submitted and chosen,” he said. “Depending on the medium and the vision of the artist, that will figure into when it is going to be up on the building. But the sooner the better.”
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.
