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Cree curator Gerald McMaster reflects on how an Indigenous lens can change how we see art – The Globe and Mail

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2 years ago

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Gerald McMaster, a Cree curator and artist, is retiring from OCAD but will continue to work on other projects including Indigenous curation.Ashley Fraser/Globe and Mail

Throughout his long career, Cree curator and artist Gerald McMaster has kept notebooks as convenient places to record thoughts, compose texts and make sketches.

There are about 70 of them now showing at the National Gallery of Canada in Ottawa, part of a small display to acknowledge McMaster’s recent honour: a Governor General’s Award in visual and media arts. A few of the notebooks are open to show pages of dense writing and precise drawings of faces, bodies and a series of moccasins, alongside his notations.

“It’s my curatorial life on display through these notebooks. Writing and drawing were so synonymous for me, just putting something on paper,” McMaster said in a recent interview.

Writing and drawing – or language and image – are also closely linked in his critical thinking, as he has worked to establish an Indigenous approach to seeing and showing art.

“Language helps us to conceptualize the world,” said McMaster, who grew up speaking Plains Cree on the Red Pheasant First Nation reserve in Saskatchewan.

“We see the world through this linguistic lens. And so if we’re speaking English and learning only Western art history, we are going to see the world through that lens. The work that I’ve been doing is to try to go back to original languages to see what’s in them.”

This philosophy can have very practical implications. At the Ontario College of Art and Design University in Toronto, where McMaster recently retired from teaching, it means courses in Canadian art start long before Europeans arrived.

“If you come to Canada, it is an Indigenous lens through which you are going to be seeing, and being presented with. I think that’s the direction which we’ve been moving toward. It’s exciting because it’s much richer.”

And it can have critical implications. McMaster had always thought the Cree word, tapasinahike, which he had known since childhood, just meant “drawing.” But researching the language as an adult, he realized there were subtleties not contained in the English translation. Tapasinahike might be better translated as making a truthful mark or doing something in a truthful way.

“When I looked up drawing in the dictionary, not one connotation indicated that drawing was a truthful act. So, I thought, maybe we’re on to something here. Maybe we’re contributing a new, additional meaning to the notion of drawing.”

It made sense to McMaster because he has researched 19th-century ledger art, the transitional art of the Plains First Nations that mainly recorded battle exploits. (It was named for the source of the paper, the pages of settler account books.)

“Putting marks down, making their drawings, making their stories, they had to be truthful,” McMaster said of these warrior artists. “Otherwise you were castigated, you weren’t a serious warrior.”

McMaster looks over an installation at the National Gallery of Canada featuring the Birks’ collection of trade silver, displayed in two parallel rows representing the paths of Indigenous people and settlers.Ashley Fraser/Globe and Mail

The implication that art making is a form of truth-telling or accurate record-keeping seems simultaneously more demanding and more expansive than traditional Western concepts of art as something primarily linked to aesthetics.

“When we think of art today, we think of artistic licence, but this didn’t give you licence to make up stories.”

It was this kind of idea McMaster was developing at the Wapatah Centre for Indigenous Visual Knowledge that he established at OCADU. (The university is now looking for another scholar to carry on research in the field, while he will stay in touch as a professor emeritus.)

He is not the first Indigenous curator to revolutionize settler art institutions, crediting Tom Hill, former director of the Woodland Cultural Centre in Brantford, Ont., and artist Robert Houle as the real pioneers. It was Houle who recommended McMaster for his first curatorial job in 1981 at what is now the Canadian Museum of History in Gatineau, Que.

But he wasn’t being invited into an art gallery – he was being asked to curate Indigenous art in an institution that, in those days, considered it to be ethnographic material.

“Struggling to get Indigenous artists recognized and accepted into the mainstream art world, that took decades. Of course, today all our museums now have Indigenous artists or, in many cases, there are Indigenous curators who are active participants in their stories, their collections, their acquisitions and exhibitions,” he said.

“That’s been quite an amazing turnabout from the time period when I began.”

Meanwhile, McMaster has often reached out to Indigenous artists in Australia and New Zealand, where he says the shared English language makes contact easy. He has also connected to Colombia and Brazil with the current Arctic/Amazon show he co-curated at Toronto’s Power Plant, making the links across the hemisphere.

In that regard, he is following an influence that dates to his early years in Saskatchewan where the Cree-Shoshone artist and teacher, Sarian Stump, had introduced him to the Indigenous cultures of South America.

“My early days were coloured by this notion of a global Indigeneity. That’s what we talked about, this view I had very early is now kind of infiltrating,” McMaster said, referring to contemporary discourse.

He continues to make contact with Australia: He will be spending next year as a visiting professor at the University of Sydney. And he is also working on a yet-to-be-announced Canadian museum exhibition for 2025.

“I’m not sitting back with a drink in my hand,” he said of his recent retirement from OCADU.

McMaster has now returned to the Ottawa-Gatineau region, moving to Chelsea, Que., to be close to his grandchildren. Across the Ottawa River, at the National Gallery, there is another of his marks: In a circle of moccasins on display in the Canadian and Indigenous galleries, he has added “the curator’s footprints.”

They are two strong shapes in dark ink carefully pressed into the circle of First Nations footwear by a figure who walks firmly through Canadian art.

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

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1 day ago

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September 13, 2024

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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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2 weeks ago

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September 2, 2024

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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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4 weeks ago

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August 18, 2024

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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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