Major art institutions across North America are often called out for shallow displays when it comes marginalized artists. The Art Gallery of Ontario launched their newest department on October 29, as part of an ongoing process to address a lack of Black art collected and exhibited in the gallery.
The department of Arts of Global Africa and the Diaspora is a new arm of the institution dedicated to collecting all kinds of work—from photography to sculpture—from the African continent and beyond. They will work in tandem with other departments throughout the gallery.
Julie Crooks, the former associate curator of photography, is at the helm of the new department.
“The notion of Global Africa is that Africa lives in all of the individual departments at the AGO,” Crooks says in a phone interview.
Community outreach and meaningful programming are integral to the new department. The AGO created an acquisitions advisory committee called the Friends of Global Africa to ensure the wider community is reflected and has a voice within the institution.
Under the leadership of curator of photography Sophie Hackett and Crooks the department acquired works from photographers Paul Kodjo from the Ivory Coast, Malik Sidibé from Mali, and Dawoud Bey from the United States.
While associate curator of photography, Crooks was directly involved in acquiring the Montgomery Collection in 2019. It’s a collection of over 3,500 historical images from the Caribbean islands, including Jamaica, Trinidad, and Barbados.
Courtesy Montgomery Collection
“This was already happening [before the new department was launched] and I think interest in broader African diasporic history and stories certainly started with my tenure at AGO or even before I was hired. The first show I did was Free Black North in 2017. Then, of course, after I was hired I did Mickalene Thomas. So, there have been incremental examples of interest in more transnational stories and African diaspora artists, but I think it does become more formalized with an actual department. And, you know, the work continues.”
We spoke with Crooks to get the low-down on the department’s goals and how it hopes to impact the institution.
When did the AGO decide they wanted to devote a department to this work?
Julie Crooks: “I have been actively talking about this possibility more or less since I started. There is the Frum Collection of African Art, which has no dedicated curator, that will now be under the purview of this department. I was always interested in what kinds of discussions we could start around occupying that absence. I was speaking to my curator colleagues internationally about what this could look like. What is Global Africa in terms of a department? How does that manifest itself within the larger institution? And, of course, the events of the summer, George Floyd’s murder, the movement around Black Lives Matter obviously amplified even more the need for my position and this department.”
I’m also wondering if having a department that is devoted to African and African diasporic art will maybe mitigate or stop tokenistic representation?
“Absolutely. One of the goals is to broaden and be inclusive of what we call modern, contemporary African art and to start rigorous research and collecting in that area. It isn’t tokenistic, rather than seeing one art object related to this area, you begin to see a cluster that is meaningful and thoughtfully acquired. It’s also reflecting the multiplicity of perspectives from the continent of Africa and the African diasporic experience. There are multiple stories and narratives to be told through the various works that we collect and they can’t be told through a singular painting or photograph or sculpture. The history is too rich and too complex. That’s why you need a department that can be steadfast and focused on building these stories.”
Is there a hope that having a department that focuses on Black African diasporic art will bring more of Toronto’s Black community in to see exhibitions?
“I do hope so. I think that we’ve seen it already with the Mickalene Thomas show in 2018. Pre-COVID, before everything was locked down for Black History Month I organized a tour called “Discovering Blackness in and out of the vault”. I pulled paintings and some photographs that reflected a range of Black experiences and histories. There was a lot of interest and most of the comments I got were, ‘Why isn’t more of this work on the walls? Why isn’t there more access to this work?’ So, it’s important to reflect our community through the work that we acquire, which is a very large, interested, sophisticated community. They want to see works that are telling a myriad stories about Black experiences.”
Tell me a little bit more about the Friends of Global Africa, because I know that there is a concerted effort for the community to be involved in this department.
“It’s a support group of about 15 people that is drawn from members of the community. Each department at the AGO has an acquisitions committee that comes together under the leadership of a specific curator. This group is trying to change the way we think about those committees by including graduate students as well as folks who have an interest in art. Maybe they’re collecting, maybe they’re not, but there’s a range of different kinds of knowledge. It’s quite democratic in that way.”
I like the inclusion of graduate students.
“Yeah, that’s not usually done because these committees are seen as exclusive. We are trying to dismantle, with this department, all the structures that don’t allow for access to the institution. How do we rectify that? By including graduate students who are interested in the field, who are perhaps interested in curating. They are scholars who I think can offer a lot to the conversation, but it also creates a kind of pipeline in terms of training the next generation. They have access to the people around the table, they have access to the curators, they have access to the work.”
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.
