Freelance artists await more information on how online art-making and royalties may affect emergency benefit eligibility - The Globe and Mail | Canada News Media
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Freelance artists await more information on how online art-making and royalties may affect emergency benefit eligibility – The Globe and Mail

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As out-of-work Canadians begin to apply for the Canada Emergency Response Benefit (CERB) on Monday, many self-employed artists across the country continued to wait for news as to what kind of financial relief would be available to them amid the COVID-19 pandemic – and when it might come.

For musicians, writers, actors and another artists used to piecing together a living wage from multiple sources, the resourcefulness that usually helps keep them afloat has now put access to CERB payments into question – due to an eligibility requirement to have “no employment or self-employment income.”

Would the sale of a CD or two on a website, or the modest revenue from an improv class delivered via Zoom render an artist ineligible? Could a paid live-streamed performance for the National Arts Centre’s #CanadaPerforms series – which aims to aid artists in this time – backfire when it comes to the bottom line?

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Rebecca Blair, a harpist based in Vancouver, was one of many artists wondering if she might need to cancel certain work in order to receive an emergency benefit that would be of greater financial value.

Blair’s earnings from performances – including regular gigs in seniors’ centres – have dropped down to zero due to COVID-19, but she continues to teach harp over video networking. Her monthly income is down to about 20 per cent of what it normally is – and she expects, if she’s lucky, to pull in $500 in April. But she notes: “If you lose students, you might lose them forever.”

On Monday, Prime Minister Justin Trudeau said the government would announce soon how those working 10 hours a week or less would be able to qualify for CERB. He further promised, “We will also have more to say for those who are working, but are making less than they would with the benefit.”

A timeline for this information was not announced, however. Canadian Heritage Minister Steven Guilbeault said in a statement e-mailed to The Globe and Mail that, in creating CERB, the government had “prioritized a rapid relief over perfection.”

“We are adjusting so that it doesn’t penalize certain people like gig workers,” he wrote. “We are also aware of the question of artist royalties and whether certain financial payments designed to help artists in need during the COVID-19 crisis will be considered.”

In addition to individual artists, arts institutions that manage the programs that have sprung up to help them are waiting for that information. The Citadel Theatre in Edmonton, for instance, has been holding onto the fees they plan to pay local artists for daily Stuck in the House performances broadcast on the theatre company’s website, so as not to compromise anyone’s eligibility for CERB.

“I know that many of my colleagues that are looking at similar programming giving opportunities to artists, are curious about how they can compensate artists without affecting their eligibility,” said Citadel producer Jessie van Rijn.

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Bobby Theodore, a playwright, translator and screenwriter based in Toronto, wondered whether he would have to hold back payments to himself. He had applied for the first payment of CERB having not received any income in 14 days, but, in the absence of clear information, he was uncertain if he’d have to leave cheques for small royalty payments uncashed to stay eligible – for instance, the $100 he is expecting from Playwrights Canada Press next month.

“I think there could be people who are afraid to get penalized and won’t apply [to CERB],” he said. “[The lack of clarity] is forcing people to make moral choices that they shouldn’t have to.”

Theodore hoped but was not confident that the government’s forthcoming information would clearly address more freelancers in his situation – who are not regularly paid on a weekly or monthly basis.

“My income works on an annual basis: I might make $20,000 in the month of April, but I might not make any money for the rest of the year,” Theodore said. The writer estimates that he has already lost 20 per cent of his expected annual income due to the COVID-19 crisis – and but notes that the two-year outlook for his finances could be even more devastating with theatre productions postponed or cancelled possibly into the new year.

Guilbeault hinted that further action specifically for the arts sector might be on the way. “We want to be there to support the arts and culture sector in these challenging times and are looking at a different array of measures.”

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

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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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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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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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