Art

Felicia Gay working to change narratives through art in Sask. – Regina Leader-Post

Published

5 years ago

February 21, 2020

“I knew I had a lot to say, … and it was a way for me to talk about the lens that I come from as a northerner, and as a woman.”

A man with chiselled features and serious brown eyes looked out from a billboard on 20th Street in Saskatoon. His right hand held a hammer high.

Wally Dion created this portrait. Putting it on a billboard in 2006 was Felicia Gay’s idea.

“I thought it would be really great to have it on a billboard in the core neighbourhood, so that when people are driving by on their way to work … there’s just a strong, beautiful Indigenous man, who’s a worker,” said Gay.

“His image was really pushing up against a stereotype that people just accept on 20th Street. … I think the perception is that every Indigenous person you see there is on welfare and not working, which is not true.”

Since Gay began curating art exhibitions 15 years ago in Saskatoon, interrupting the dominant narrative has been her goal.

She sought to do so at Wanuskewin, the last place she worked in Saskatoon. And it’s her aim at the MacKenzie Art Gallery in Regina, where she’s now a curatorial fellow.

Another of Gay’s first examples of using art to change a narrative was the Moon Lake Series, photographs Gay created with artist Joi Arcand.

“It was so emotionally draining that I never made art again. It was traumatizing,” said Gay, reflecting upon a sepia photograph. As the model in the photo, Arcand’s eyes are closed, head leaning against a tree. She’s covered in a blanket, which is covered in leaves.

This photo was part of the exhibition Give Her A Face, which showed at AKA Gallery and was dedicated to six missing and murdered Indigenous women — Calinda Waterhen, Shelly Napope, Eva Taysup, Mary Jane Serloin, Janet Christine Sylvestre, and Shirley Lonethunder. Serial killer John Martin Crawford was convicted of killing the first four women. Waterhen, Napope and Taysup’s remains were found in 1994 at Moon Lake near Saskatoon.

“When I was 16, this case made such an impression on me because I remember distinctly that all these women were identified as street workers, women that were in dangerous situations, basically saying that they kind of caused this violence upon themselves,” Gay recalled. “They were never given the dignity of having a picture in the newspaper.”

Gay curated the exhibition, designed to make people see “that these were human beings, these women were human and deserved better.”

Felicia Gay, a curatorial fellow with the MacKenzie Art Gallery, stands near the entrance to the gallery in Regina.

BRANDON HARDER /

Regina Leader-Post

Gay was born in Edmonton to a Swampy Cree mother and Scottish father — he had come to Canada, ironically, to work for the Hudson Bay Company.

She was raised in Cumberland House, 300 kilometres northeast of Prince Albert, a community well known as the Hudson Bay Company’s first inland trading post.

“I read a lot and I loved art. But I didn’t know anything about art history. I didn’t know anything about Indigenous people actually having a visual culture and contemporary art,” said Gay.

She left Cumberland House as an 18-year-old to attend the University of Saskatchewan, where she says an Indigenous art history class with Ruth Cuthand opened her eyes.

“For the first time I saw that there are all these contemporary Indigenous artists that have utilized visual culture to create voice, to kind of move and push gently, sometimes aggressively, at that dominant narrative. And I just became passionate about contemporary art.”

During university, Gay worked at the Snelgrove Gallery at the U of S, and at a small gallery in The Pas. She later worked for the Tribe Inc. artist-run centre.

“It’s like fate was just kind of pulling me the direction it wanted me to go and at some point I just had to kind of go all-in” as a curator, said Gay.

Felicia Gay, a curatorial fellow with the MacKenzie Art Gallery, stands in the gallery next to a piece entitled She Went To Town by her mentor Ruth Cuthand.

BRANDON HARDER /

Regina Leader-Post

“I knew I had a lot to say, … and it was a way for me to talk about the lens that I come from as a northerner, and as a woman,” she added.

Coming to the end of her art history degree, Gay was at a loss for job prospects.

She didn’t want to move too far from home — even now, Regina is farther away than she’d like to be.

“I was reading Linda Tuhiwai Smith, an article about language nests. And it was about how these local Indigenous women, kokums and women from the neighbourhood, they created these language nests to revitalize the Maori language. And holy crap, I was so inspired,” said Gay.

“I’m like, why the hell am I waiting for a job? I’ll make my own job, you know? I’ll start my own artist-run centre and I’ll do this for my people.”

She called her classmate Arcand and pitched the plan. They had a fundraiser, rented a storefront downtown on 20th Street, enlisted family members to help renovate, and kept fundraising.

The Red Shift gallery was born.

“It was a way for us to work strategically with our Indigenous art community so that they could either show their work to our community where they’re at, or else to help make career artists buff up their CV so they could get into the galleries if that’s what they wanted to do,” said Gay.

Felicia Gay, right, and Joi Arcand pictured in Red Shift Gallery in 2006.

Geoff Howe /

Saskatoon StarPhoenix

She felt it was important to give to the community, since she heard so often that she’d have to move to Toronto or Montreal to have a curatorial career.

“I did Red Shift gallery for five years with no pay, and I was teaching at the university as a sessional,” said Gay. She had three children (her fourth was born since) and was working on her master’s degree. She did all the administrative and physical work running the gallery, and she burnt out.

Red Shift closed in 2010.

“There’s so much expected from artist-run centre directors for such little pay that it’s totally unfair, but we need them,” said Gay. “They serve a real purpose in our community and they certainly need a lot more support than they receive. Because they reach people that wouldn’t necessarily come to larger public institutions, and they can be like a gateway for people to come to larger institutions and feel welcome … And that’s why I’m here, I think.”

Since October, Gay has worked as a curatorial fellow at the MacKenzie. She’s working part-time, primarily on researching the Kampelmacher collection that was donated in 2016.

She’s also pursuing her PhD at the University of Regina, about interrogating white supremacy and patriarchy within cultural institutions.

“I’ve worked in all different types of institutions — whether it was not-for-profit organizations, within academia, within artist-run centre culture, Indigenous cultural institutions — and throughout them all, I’ve experienced patriarchy and white supremacy that has touched me personally in various ways,” said Gay.

“So how do we create safe spaces? … There needs to be change within infrastructure, within how boards are enacted, lots of things.”

Felicia Gay stands in her workspace at the MacKenzie Art Gallery.

BRANDON HARDER /

Regina Leader-Post

She has other projects on the go, too.

At the MacKenzie, she’s bringing in Power Lines, an exhibition she curated at Wanuskewin featuring the work of Norval Morrisseau.

She is also working on a group exhibition called Touching Earth and Sky.

On the side, she’s guest curating this fall’s 2020 Biennal of Contemporary Art through the Remai Art Gallery.

And, she’ll be back in Saskatoon early next year for a large-scale exhibition of Ruth Cuthand’s work, which she’s curating at the College galleries on campus.

“It’s a lot of work. I have a lot on my plate, definitely, but I’ve done it before,” said Gay.

amartin@postmedia.com

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Art

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

Published

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

Published

4 weeks 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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