Art

How Toronto’s Art Scene Is Making a Global Impact – Artsy

Published

11 months ago

October 24, 2023

Art Market

Maxwell Rabb

Oct 24, 2023 4:34PM

On the shore of Lake Ontario, Toronto’s art scene is defined by the city’s variety. Drawing from a vast pool of multicultural influences (the city is the most diverse in the world), Toronto houses a rapidly growing art scene fostered by its tight-knit community of galleries. In recent years, Canadian art has made strides in the global art market, with Toronto-based artists leading the charge. Art Toronto 2023, open from October 26th through 29th, will spotlight how local galleries are playing a pivotal role in this growth.

Nicolas Rukaj, now at the helm of Rukaj Gallery—initially established by his father in 1981—has observed a pivotal shift in the Canadian art world. He notes that today’s Canadian painters aren’t pressured to move abroad for recognition, a change he believes is indicative of the globalization in the art market more broadly.

Rukaj pointed to the re-emergence of William Perehudoff, an abstract artist whose talent remained overlooked for years, and expressed optimism about the trajectory of art originating in Canada.

“The standard way of becoming big as a Canadian painter is you attend art school in the U.S., you make a name in the U.S., and then you come back after you’ve developed your market,” Rukaj said. “But now, you don’t have to move because a lot of painters get their inspiration from living in Canada. There’s a sense of hope for a painter where ‘I don’t have to move to Red Hook with everybody else and paint. I can paint here and still be a force.’”

Exterior of Odon Wagner Gallery. Courtesy of Odon Wagner Gallery.

This artistic momentum is largely thanks to the city’s thriving art infrastructure, allowing local artists to build recognition and hone their practice without leaving the country. The city has a wealth of nonprofit institutions, such as the Art Gallery of Ontario (AGO), the Museum of Contemporary Art Toronto, and Mercer Union.

Additionally, commercial galleries, such as Odon Wagner Gallery and Daniel Faria Gallery, are generating a constant stream of collaboration between artists, collectors—both international and domestic—and the local community. According to a survey from the Toronto Art Council, 70% of Torontonians regularly attend, volunteer, or donate to the city’s artistic and cultural institutions and events.

“We are fortunate to have a city that offers a wealth of chances to view and experience showings of fine art,” Rafael Wagner, managing director at Toronto’s Odon Wagner Gallery, told Artsy, mentioning exhibitions including Marc Chagall at Wycliffe College at the University of Toronto, and Keith Haring’s upcoming exhibition at AGO. “Toronto is blessed to have such ambitious institutions,” he added.

The influence of these establishments hasn’t gone unnoticed in the art community, especially for local risk takers. Daniel Faria, founder of Daniel Faria Gallery in Toronto’s West End, believes that “a vibrant scene includes all types of venues, including the established senior programs, but mostly the smaller younger spaces showing challenging work and taking chances. This is the case for any city, and it’s very strong in Toronto at the moment. Chances are being taken, which is always inspiring.”

Exterior view of Daniel Faria Gallery. Courtesy of Odon Wagner Gallery.

Highlighting this, Daniel Faria Gallery is set to showcase Vancouver-based Douglas Coupland’s “The New Ice Age” during the fair week. Faria elaborated on Art Toronto’s local impact, sharing that it offers “cross-pollination between collectors, gallerists, artists, and museums from across the country. The fair adds a dynamic energy to Toronto, and it is one of the best weeks of the year for the local scene.”

Bau-Xi Gallery, a bastion of the city’s contemporary art scene since 1976, has championed diversity in Toronto’s art scene for decades, especially on the international stage. “There is a diversity that is being fostered by galleries within the city—both commercial and institutional, encouraging a critical discourse,” noted Ellen Kirwin, the sales manager at the gallery.

Kirwin believes that the “‘Canadian landscape’ has global appeal.” For instance, the gallery’s artists—Erin Armstrong, a young Toronto-based painter; Gavin Lynch, a Canadian painter based in Wakefield, Quebec; and Kyle Schuermann, a painter based in Northern Ontario—have all experienced recent international success. Lynch’s paintings are “Canadian landscapes for the digital age, the ‘Group of Seven’ electrified,” according to Kirwin, referring to the traditional school of Canadian landscape artists like Frank Johnston and Arthur Lisme, who believed that a distinctive Canadian art could be found in nature.

Interior view of Bau-Xi Gallery. Courtesy of Bau-Xi Gallery.

Across Toronto, artists like Armstrong and Lynch are carving a space in the Canadian art world, inspiring local collectors to purchase domestically rather than internationally sourced art. As Kirwin told Artsy, “Canadians are increasingly looking to be challenged by their collections, not necessarily adhering to the tropes of traditional ‘Group of Seven’–styled landscapes, or the sentimentalities of Canadiana. Galleries and patrons are looking for their collections to reflect their values.”

These evolving tastes reflect not only a maturing art market, but also a deepening engagement with art on a global scale. Every year, with 110 galleries and more than 20,000 visitors, Art Toronto bridges Canada’s art community and the international art market. “Galleries and artists no longer need to travel south to meet and network with high-profile curators and visionaries,” Mia Nielsen, director of the fair, told Artsy.

William Perehudoff, Zephrus #17, 1968. Courtesy of Rukaj Gallery.

Across Canada, meanwhile, artistic communities are thriving in Canada’s other major cities, who will convene around Art Toronto. The city and the fair have uplifted galleries, including Art Mûr and Pangée in Montreal. Beatrice Larochelle, exhibitions and communications coordinator at Art Mûr, noted that the fair “is a way for us to gather their production in the same spot, at one of, if not the largest fair in the country. Toronto’s art market is quite different, mostly quite bigger than ours in Montreal.”

Clara Puton, associate director of Pangée based in Toronto, revealed how important the city and the fair are to Canada’s art ecosystem. “Visual arts are a cornerstone of the city, with spaces hosting local, national, and international artists,” she told Artsy, calling the fair “one of its most buzzing moments of the year.”

Maxwell Rabb

Maxwell Rabb is Artsy’s Staff Writer.

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

Published

6 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

1 month 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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