Art
Fake Indigenous art is the tip of the iceberg of cultural appropriation
If you’ve ever walked around Vancouver’s Gastown area, you’ll have surely seen the many art galleries and souvenir shops scattered about the streets.
Venture inside these trendy tourist locations, and you’ll find beautiful, handmade art pieces — often done in recognizable styles from many Indigenous cultures. According to The Pretendians, a new documentary from The Passionate Eye, over a billion dollars are spent annually on Indigenous art in these shops.
Of course, as consumers, many of us assume that these pieces of art are authentic. That is, we are told and believe that the so-called Indigenous art is made by Indigenous artists.
More and more, however, it is being revealed that a great deal of this so-called authentic Indigenous art isn’t made by Indigenous people at all. Instead, it is made by non-Indigenous individuals and businesses who have taken on Indigenous identities and aesthetics. These people are often called “pretendians” by those immersed in the issue.
Among other harms, pretendians make a profit off of people’s desire for Indigenous culture and items. You might think this is a rare issue, but it actually happens all the time.
An investigation by data journalist Francesca Fionda, one of the experts featured in the film, found that out of 40 shops in Gastown, 75 per cent appeared to be selling inauthentic art.
This case of pretendianism in art raises some important questions: How do we tell what is “real” versus what is “fake”? Can we ensure Indigenous people aren’t being made to compete against non-Indigenous people in a market that should be accessible to them? And how big of an issue is this really?
These are the types of questions that The Pretendians, hosted by Indigenous author and playwright Drew Hayden Taylor, seeks to explore. And given that the prominence of pretendians seems to be growing, it is important that we take these explorations seriously.
Drew Hayden Taylor does some undercover shopping with Francesca Fionda, finding some suspicious art products that are not authentic.
Determining what is real and what (or who) is fake
Outside of the art world, a range of non-Indigenous people are taking on Indigenous identities, too. Perhaps you have seen headlines about it online and in the news: distinguished university professors, filmmakers, authors and others who have made a living off of their alleged “Indigenous perspective.”
There are dozens of respected and often highly decorated individuals who cannot substantiate their claims to specific Indigenous communities, who have outright lied about their family history or who base their claim on a single, extremely distant Indigenous relative.
In The Pretendians, Taylor travels to Ardoch Algonquin First Nation, which describes itself as “an Anishnabek community that is located in the Madawaska, Mississippi and Rideau watersheds.” Ardoch is not a federally recognized First Nation and, more importantly, many Algonquin voices and communities say it’s not Algonquin at all.
There is a lot to discuss about Ardoch — not only that they appear to have very few checks and balances in place to be considered a community member. In the documentary, Anishinaabe professor Veldon Coburn says that, for some time, all you needed to do was complete a self-declaration form on Ardoch’s website.
“It exists as a website, it’s a facebook page.” The Ardoch Algonquin First Nation doesn’t exist physically as a territory or community, but has many members who claim Indigenous heritage.
Many feel that this lack of criteria makes the Ardoch community simply an avenue for pretendians to validate their dubious identity claims. This can become an especially distressing situation when communities like Ardoch involve themselves in important politics and policy-making decisions, like treaty negotiations, as Coburn says they did in the late nineties.
At the same time, it is important to hear the cautions from Indigenous people who are worried that we too easily rely on conditions like government recognition to be considered a “real” Indigenous person or group. These voices remind us that Indigenous citizenship and identity are, so often, complex and don’t fit neatly into checklists we might want to make in an effort to assert who we truly are. We should not take these concerns lightly.
So, as you can see, the issue is complex — and it seems to have reached a boiling point.
Who gets to decide if someone is Indigenous or not?
Many Canadian institutions do not have processes or standards in place to distinguish Indigenous people from pretendians. And in lieu of any formal processes, some people have taken it upon themselves to fill those gaps.
We have seen coverage of a university hiring committee denying an Indigenous job candidate for not producing specific documentation proving his status — despite his very real identity and community relationships. In other cases, social media accounts have been created (often anonymously) to expose people believed to be making false claims to Indigenous identity.
So this brings in the other part of the conversation: How do we deal with the pretendian problem?
Frequently, debates are being had within Indigenous communities about this question. People ask: How do we determine who does or does not belong, and who gets to make that decision? Can there be any standard way to know when our communities and nations are each so distinct? Is social media the appropriate place to have these conversations about identity? If not, where and how should we have them? Who benefits from how we are having these discussions, and who falls through the cracks?
There are no clear answers — but many conversations to be had
When it comes to these questions, there seems to be no consensus — even as the pressure for answers mounts, and more people realize how implicated they are in the pretendian conversation.
But whether you are a consumer having to question the authenticity of your Gastown art, a hiring manager responsible for bringing Indigenous candidates into your place of work, or part of an Indigenous community that is navigating these conversations, Drew Hayden Taylor will hopefully be able to offer you some insights.
Importantly, I say insights, not answers. A single documentary cannot possibly answer all of the monumental questions the pretendian phenomenon has evoked. However, as it appears that pretendians aren’t going anywhere anytime soon, we should assume that neither will the speculation about how to go forward — or the insistence that the topic of Indigenous identity is too important to ignore, even in this complex world. As long as this is the case, we will need to have conversations like those The Pretendians seeks to have.
Watch The Pretendians on The Passionate Eye.
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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