Art
Exhibition celebrates strength, beauty, struggle of Black community in Saint John
Kenneth Scott’s passion project started out with a simple question: “Would the Black community here in Saint John be interested in seeing an exhibition of photographs of the Black community from yesteryear?” Scott said.
The packed exhibition room at the Saint John Arts Centre on opening night suggested that Saint Johners, Black or otherwise, would.
Scott’s exhibition of vintage photographs, A time, A place, Our gaze, at the Saint John Arts Centre, celebrates a roughly 40-year span of history captured in 80 to 90 photographs.
The photos, taken with what Scott called a “friendly camera,” had a purpose: to show everyday people living their lives.
“The people that you see are probably happy and obliging to have their photograph taken and with that you can see their inner strength, their beauty,” he said.
“And at a time when, media-wise, we weren’t portrayed — we were caricatured … these photos kind of reinsert us into the grand narrative of the city.”
Born and raised in the port city, Kenneth Scott has assembled a collection of rare portraits and snapshots of its Black community, from the 1910s to the late 1950s.
Scott, a retired teacher, left Saint John to pursue his career in Ontario when he was 21. While he now lives in Toronto, he is still connected to the city through his mother and cares deeply about promoting the history of the Black community of the city.
He hopes that his exhibition can serve as a model for looking at history from the bottom up, instead of the top down, and to encourage others to see what pieces of history they may have hidden in their homes.
“We all have photographs, artifacts, mementos, parts of our history that don’t get a lot of attention but are profoundly important as the big curated shows by the people who get more media attention,” Scott said.
“I’m hoping that someone comes to this exhibition, they look around and say, ‘You know what, I’m going to go back to my house and go under the bed or in the closet and pull out my family photographs and decide how I want to share my family history with the wider community.'”
Looking into the past
Scott encourages people to look deeper, not just at what the photos depict, but what they suggest about the times.
“If you look into the pictures, instead of just looking at the pictures, you can also get a sense of the social and geographical areas that they lived in. There was poverty and racial containment, but it didn’t always define who we were,” he said.
“There’s a certain energy … it captured the humanity of people who spent a lot of time being dehumanized.”
Scott gathered many photos from his own family albums and got others by buying negatives. That’s how he obtained the picture of Bernice Dixon, which originally appeared in former Evening Times Globe newspaper.
On either side of her, “it gives the viewer an indication of what it would look like to live where she lived. The photograph was taken in a place called Union Alley,” Scott said.
The alley ran off the block between Coburg and Waterloo, behind what was once a popular store.
“If you’re looking at the Ideal department store, you went up a set of stairs and you were into Union Alley, which is a set of about probably 11 or 12 three-storey tenement houses,” he said.
“Cheap rents, a whole lot of disrepair … looking into the photograph you see ash and garbage.”
The picture was taken the day after a fire in one of the tenement houses.
“She apparently was very heroic on that day and helped children get out of the building, and she spent a little bit of time in hospital,” Scott said.
Drawn to the “quiet dignity in her pose,” Scott said he deliberated on whether or not he should crop the photograph, not wanting Dixon to be perceived negatively.
“But I thought it was important to leave the bottom part here, where you notice that she’s not wearing a shoe,” he said.
“I love this photo and on a very personal level, because my family also lived in this. She was a neighbour of my great-grandmother before they moved out of there.”
Examples of survival
New Brunswick Black History Society founder Ralph Thomas says Union Alley is an example of the city’s Black community “surviving.”
An example of “Black communities advancing Black communities, being on a next level of existing in the city of Saint John, in the province of New Brunswick. It’s a great example of ‘Yes we can,'” Thomas said.
Like Scott, Thomas said such photos offer a glimpse into the struggles of the time.
“We had situations, we had racism, we had discrimination, things going on that we battled … some of our strong leaders came from Union Alley,” he said.
“It’s one of the examples of the struggles that Black folks went through and came out winners.”
To Thomas, the pictures in this exhibition also serve as motivation.
“The photos show smiles on peoples’ faces,” he said. “And that alone tells us how we grew from the sad times and the grim faces and the hard times — just to exist.
“And to see those pictures sort of gives you that extra push, that — ‘Hey, they could smile back then when times were really severe. Hey, that’s a great example for what we can do moving forward with the help of everybody.'”
The exhibition will run until March 8.
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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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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