Art

Empowering Art review – Indigenous masterworks full of wonder and sorrow

Published

2 years ago

March 10, 2023

When the artist Simeon Stilthda saw a picture of Egypt’s Great Sphinx in a missionary bible in the 1870s, he carved his own version of it. Stilthda was a member of the Haida people in the Pacific Northwest of the Americas and his carving was a tribute from the indigenous culture of this region to ancient Egypt, thousands of miles and years away. It’s not just a wonderful sculpture – round the back, the Sphinx has a Haida hairstyle – but a piece of art theory in wood. Stilthda draws eye-opening parallels between his community’s religious art and that of the Pharaohs.

Like the ancient Egyptians who conjoined a human and lion to create the Sphinx, the Indigenous peoples of North America’s Pacific Northwest have a magical eye for nature. This compelling exhibition transports you to vast coniferous forests and the open ocean where humans and animals are close. This style of Pacific Northwest art, with its blocky curved patterns, appears to emulate the black and white markings of one of the region’s ruling creatures, the killer whale. Not only do orcas feature on totem poles along with birds mythic and real, but their “abstract” appearance is reflected in a style that brilliantly stretches and warps reality.

Empowering Art is a radical and satisfying survey of nearly 250 years of Pacific Northwest culture, created in close collaboration with Indigenous artists and scholars, and drawing on Britain’s extensive collections of the art of the Haida, Tlingit, Nuu-chah-nulth and other communities. In 1778 the British explorer James Cook led the first European meeting with these peoples: at that time, writes artist haa’yuups in the catalogue, “virtually every man in each of our villages on the Westcoast could carve a dugout canoe, paddles, dishes and spoons … every man was his own Leonardo”. The power of these popular traditions, already millennia old, can be seen in 18th-century prints of the objects Cook collected: a mask in the shape of an otter’s head proves the later naturalism of masks by Stillthda – which imitate real faces uncannily – was not just an impression of the whites’ art but an Indigenous heritage.

This enthusiastic exhibition seems to me to reveal the way forward for exhibiting world art at a time when some believe the very ownership of “ethnographic” pieces by Britain’s museums is wrong. There are works here from Oxford’s Pitt Rivers Museum, the British Museum, the Wellcome and not least Ipswich Borough council: “some gifted, some traded, some stolen”, as haa’yuups writes. There are also contemporary artworks, from a 21st-century totem pole to video installations, that reveal a fiercely, joyously living culture. The show has a historical clarity that doesn’t disguise the violence Indigenous peoples have suffered but goes beyond the restitution debate to open up all the wonder and dreaming and sorrow these objects contain.

The masks alone are enough to inspire whole theories of art – and they have done. Anthropologists like Claude Lévi-Strauss and Franz Boas were fascinated by the complexity and variety of the ritual masks first brought to Europe by Cook. Here you are greeted by a row of them, fantastic faces that subtly mix myth and fact, imagination and observation: by putting on a 19th-century mask of the Thunderbird you could imitate or even become this mythic creature that waters the earth. Alternatively you could don a vividly mimetic Haida mask of a wrinkled old woman, another entrancing piece lent by the Pitt-Rivers Museum. And, in a contemporary take, you can mask as Marlon Brando.

At the heart of the show is the Potlatch, the weightiest collective event of the Pacific Northwest world. Chiefs and powerful people would invite neighbouring villages to a Potlatch feast where everyone took part in a meal served from beautifully carved wooden bowls: there’s one here in the shape of a canoe. At the Potlatch, everyone got a gift, for this was a world rich in material things.

The combs, figurines, model canoes, fighting knives, straw hats and other chunkily lovely artefacts could all have been Potlatch gifts. The gift relationship was binding: the debt conferred power. But it was the very opposite of capitalism, and perhaps that was why it was specifically banned by Canada in 1885. The ban lasted until 1951.

The assault on indigenous culture still scars memories and it sends a chill through the exhibition. A wall-filling photograph of the ruinous hulk of St Michael’s residential school is a measured way of documenting these outrageous institutions: right through the 20th-century Indigenous children were taken from their communities, their hair was cut to symbolise the killing of the “Indian” in them, some were sexually as well as physically abused – and worse, as has been shockingly revealed by recent excavations of mass graves.

Sonny Assu (Ligwilda’xw Kwakwaka’wakw) calmly comments on the horror of it with his 2024 artwork Leila’s Desk: on an old wooden school desk sits a bar of soap, symbolising what actually happened to his grandmother when she was made to wash herself on her first day as school, suddenly made to feel she was a “dirty Indian”.

The final display of contemporary north-west Pacific creativity could seem sentimental in the face of such brutality. But it’s a convincing testimony to the endurance and survival of a rare artistic vision. The patterns and creatures of traditional art are engraved into the skyline of Montreal and projected on to the walls of a room you want to dance in.

These mind-bending designs don’t need to be analysed, only enjoyed and shared. And everything in the show has a universal lesson for us now. For each object here contains the secret of living inside nature, alongside the otter and the whale.

Empowering Art: Indigenous Creativity and Activism from North America’s Northwest Coast is at the Sainsbury Centre, Norwich, from 12 March 2023.

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Art

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

Published

5 days ago

September 13, 2024

Harry Miller

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.

Art

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

Published

2 weeks ago

September 2, 2024

Harry Miller

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

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Art

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

Published

1 month ago

August 18, 2024

Harry Miller

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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