Hariri Pontarini Architects (HPA) have been selected to design a new, stand-alone art gallery at York University. The new building will become a centrepiece at the Keele Campus, building upon the rich history of the Art Gallery of York University (AGYU), and magnifying its reach into the local community and the world beyond.
Rendering of the winning design. Image courtesy of Hariri Pontarini Architects.
Boasting a contemporary, contextual design with the firm’s signature curves, HPA’s proposal stood out in the online design competition which saw a wide show of interest from strong contenders in the architectural community. Moriyama and Teshima Architects and gh3 were also on the shortlist. All three firms have received Governor General’s Medals in Architecture.
The new building will be located at the heart of the School of Arts, Media, Performance & Design, adjacent to the Harry W. Arthurs Common, steps from the subway station. The three-storey building will highlight contemporary and historic art and include a ground level event space with four separate gallery spaces set within a xeriscape garden.
AGYU’s collection currently contains 1,700 works including…
prominent donations of works by Norval Morrisseau and Andy Warhol
200 prints and sculptures by renowned and influential Inuit artists including Kenojuak Ashevek and Kananginak Pootoogook
paradigmatic work by Canadian “Automatistes” Jean-Paul Riopelle and Paul-Emile Borduas
American Modernists such as Helen Frankenthaler and Kenneth Noland
RISE, an internationally acclaimed film by Bárbara Wagner and Benjamin de Burca, featuring performances from some of Toronto’s most influential spoken word and rap artists.
Aerial: The new building will sit at the heart of York Keele Campus’ School of Arts, Media, Performance & Design, adjacent to the Harry W. Arthurs Common, between the Accolade East Building and the Centre for Film & Theatre. Image courtesy of Googlemaps.
Founding Partner Siamak Hariri cites his excitement to help reimagine the AGYU’s future, “To signify this transformation, we were inspired by metaphor and nature. Like a butterfly, each of the five wings of the new gallery extend their reach out to the campus and of course beyond. Responding to the AGYU’s aspiration to expand the social and civic role of the gallery, the building will have a powerful presence, a new presence, embracing the full University Common, and welcoming and attracting visitors to all the wonder it has to offer.”
The AGYU opened in 1988 and moved into its current 3,000 ft² in 2006. The new building, combined with the AGYU’s existing space, will form a unified art institution and an important hub for artistic engagement. “The new design reflects our vision of an accessible and collaborative art gallery that serves as a space for creation, exhibition and appreciation of diverse art and culture,” says President & Vice- Chancellor Rhonda Lenton.
Philanthropists and art collectors Joan and Martin Goldfarb donated $5 million towards the gallery, kicking off this expansion and flagging the importance of the arts on campus. The eponymous Joan and Martin Goldfarb Gallery will honour the Goldfarb’s long history of supporting the arts at York University.
Rendering of the winning design, aerial view from across the Harry W. Arthurs Common. Image courtesy of Hariri Pontarini Architects.
With this win, HPA adds to its notable cultural and institutional portfolio, which includes the recently opened Tom Patterson Theatre in Stratford, and the internationally award-winning Bahá’í Temple of South America.
You can learn more from our Database file for the project, linked below. If you’d like to, you can join in on the conversation in the associated Project Forum thread, or leave a comment in the space provided on this page.
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LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
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.
