COLUMN: What the heck is a Cultural Media Art Centre, anyway? - Nelson Star | Canada News Media
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COLUMN: What the heck is a Cultural Media Art Centre, anyway? – Nelson Star

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By Brian May

A few years ago — quite a few actually if you care to be chronological — the Star described The Civic’s grand plan as a “cultural media centre.” Since then we’ve woven variations on the phrase into press, speeches, and applications. Then, based on an application earlier this year, one of our potential partners asked: “What exactly is a Cultural Media Art Centre?” A good question. Crucial in fact.

Basically, the idea has been with us from Day One. In 2012 the Nelson Civic Theatre Society realized three things — the single theatre business model was obsolete, the Civic required technical upgrades to become viable, and the community wanted more from their theatre. Those realizations set the agenda.

The 2013 strategic plan stated that a “primary objective was to be financially self-sustaining — and secondly to be a ‘social enterprise’ — generating income while achieving social and cultural goals.” By May 2014 that translated into architectural concepts that the Star described as “three contemporary, acoustically isolated spaces for film, performance, and other community use — positioning this much-loved civic asset as Nelson’s cultural media centre, a dynamic cultural hub and a key component of Nelson’s vibrant downtown.”

Getting back to that question though – why “Cultural Media Arts Centre?” Isn’t that just a catchy phrase? No, it’s not. Can we still just say “I’ll see you at the Civic?” Of course you can. These are some of the thoughts we shared with a funding partner.

Over the years, numerous artistic disciplines have fallen under the umbrella of “media arts,” including: computer art, digital art, electronic art, interactive art, kinetic art, multimedia art, network art, sound art, space art, and video art. “Cultural” use simply adds more options and is true to the original purpose for the whole Civic Centre. These definitions suggest ideas. A Cultural Media Art Centre provides the venue to explore them.

Canada-wide these centres have common elements but varied goals. Some show film as part of their education or outreach goals, while others show film as a necessary part of their funding stream. Concentrations range from film development to community building, or to larger visual arts programming. Each is unique.

In smaller urban areas a Cultural Media Arts Centre should serve multiple purposes – provide entertainment that fits a community’s unique character, develop economic opportunities, support creativity, and help build community through dialogue, seminars, and partnerships. That will become the definition for The Civic Media Arts Centre. It allows us to show more cinema, engage more sectors of the community, and take advantage of more opportunities.

Just this year the Vancouver Foundation authorized a $288,600 grant for The Civic Theatre and Ymir’s Tiny Lights Festival to develop a rural arts inclusion lab. The foundation chose the Civic because it “is a large and established charitable arts organization with professional space and broad reach, able to host gatherings and amplify the stories and experiments that develop.” We were honoured by their selection and trust.

The goal of the lab is to address the lack of diversity and inclusion in rural arts opportunities and then create possible solutions. The issue touches on funding models, poverty, social justice, and racism — problems that are amplified in rural settings. The results will be shared to help the foundation and many other organizations in their programs and decision process.

As executive director Eleanor Stacey said, “Inclusion means ensuring equitable space for everyone. In our community, voices are marginalized for many reasons, from gender to income to age to ethnicity. Finding avenues to ensure accessibility is key.”

That’s just one example of what a media arts society can explore. The future will suggest more. The present suggests we’re ready to move forward. Seven years after setting our agenda, Nelson has a theatre screening film 360 days a year, maintaining a venue without subsidies, building a business without debt, developing a film industry group, investing over $700,000 in technical upgrades, and learning from collaborations with independent theatres and media arts centres across North America. We now have the people, the connections, and the capacity and these efforts opened many doors.

The Civic is here for good and we’re ready to open more doors.

See you at the Civic.

Brian May is assistant gardener, baking tester, and board member of the Nelson Civic Theatre Society.

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

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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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Ukrainian sells art in Essex while stuck in a warzone  BBC.com



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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

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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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