Art
Concordia's Art Volt Collection aims to help launch the careers of fine art grads — University Affairs – University Affairs
The initiative includes a ‘bootcamp’ in art marketing and sales skills.
A newly launched art collection aims to support graduating students and recent alumni of Concordia University’s faculty of fine arts as they launch their careers in the competitive commercial market, while simultaneously giving the general public an opportunity to buy or rent artworks.
The Art Volt Collection (AVC) is the latest initiative of Art Volt, a platform launched in March 2020 with a variety of programs helping to help Concordia’s fine arts alumni as they transition out of school.
The new collection features about 140 artworks from 25 artists working in a variety of media, including print, painting, photography, video, ceramics and textile installations. The collection officially launched with an event at Maison du Conseil des arts de Montréal on May 17.
“It’s very important for artists to have support in the years after they graduate,” said Camille Bédard, head of AVC. “The three to five years that follow graduation are the most critical ones, because this is when artists decide if they will continue or not in their artistic path. Art Volt is there, at this pivotal moment for them.”
The not-for-profit service is supported by the Peter N. Thomson Family Innovation Fund. In 2019, the Peter N. Thomson Family Trust gave a $5.6 million gift to Concordia’s faculty of fine arts. That donation supports three areas, including the innovation fund. Each year, the AVC will make a call for submissions to acquire new art, from artists who have graduated in the past five years. Graduating students and alumni submit their work to be reviewed by a professional jury, made up of faculty, artists and curators.
Twenty-five artists were selected for the first collection, a number that could grow in the future, Ms. Bédard said. The artists’ work is showcased online, providing exposure and connections to patrons interested in renting or buying pieces, and there’s are also plans for future in-person exhibitions.
Another major component of AVC is professional development. Prior to the collection’s launch, the first group of artists attended a day and a half of “bootcamp” training, covering topics including how to properly package artwork, price pieces, and how to write a bio and artistic statement. “All the workshops that we give at the bootcamp are skills that they don’t necessarily learn at school, but they need,” Ms. Bédard said.
That focus on professional development, alongside the jury process for selection, sets the collection apart from other university initiatives that rent or sell student art. “It’s really about supporting their careers as they enter their professional life. We’re covering a wide range of skills that are part of the artistic life, but that you don’t learn while you’re at school,” Ms. Bédard said. “Art Volt is somewhat of a transition between university and real life.”
One of the artists in the first collection is Alexey Lazarev, a Montreal-based multidisciplinary visual artist who graduated from Concordia in 2019. He first participated in the Art Volt platform’s workshops and presentations before successfully submitting his work to the collection. A few of his pieces sold at the launch event, and a few more have sold through the collection’s website.
“Participating in a program like this has helped me understand the realities of the business, what it takes to be an artist, and to have some sales and make some money. It’s also good for visibility and to make new connections,” Mr. Lazarev said. “I think more universities should do a program like this; it really adds value.”
While the program’s model is unique to Concordia, Ms. Bédard sees opportunity for other universities to adapt it to meet their own needs. “I would suggest thinking, what do your artists and students need, in terms of making it into the art world? What can you offer them to help them? Maybe it’s providing them with skills and certain tools, or maybe it’s exposure,” she said.
Already, the collection has helped showcase student artists to the broader university community by providing opportunities to buy or rent original art. “There are lots of offices in universities but there was previously no way to have artworks by students in those offices,” Ms. Bédard said. “With the collection, we’ll bring artworks of Concordia students into Concordia offices, instead of having just random artworks.”
Anyone can purchase or rent artwork from the collection, but first they have to become a member of the AVC. Annual memberships start at $25, and philanthropic donations of $250 or more include automatic membership in the collection, alongside other perks. Artists set their own prices for their pieces, and the AVC takes a 30 per cent commission on sales, which Ms. Bédard said is lower than the industry standard of 50 per cent.
Already, plans are underway to expand what is available through the AVC so that graduating students and alumni from all nine departments in Concordia’s faculty of fine arts are eligible for transitional support. Acquiring a theatre play is not the same as acquiring a painting, Ms. Bédard said, so the focus will be less on buying and selling and more on providing artists with increased visibility and connections in their fields.
One way to do that is through partnerships. For example, performances will take place this August and September featuring the work of Concordia students in dance, visual arts and theatre at Art POP, the visual arts segment of the POP Montreal International Music Festival.
“The collection has just started, and already there are so many more ideas that we have in mind to develop,” Ms. Bédard said. “Having access to that visibility and exposure is really key.”
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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