Art
Indigenous art show explores role of kinship in culture while works convey pain, hope, beauty – CBC.ca
In Unmarked, a painting now showing at a Toronto art gallery, a young Indigenous girl holds a human skull in her hands and stares at the viewer, her eyes full of sadness.
D. Ahsén:nase Douglas, a Kanien’kehá:ka painter with roots in Kahnawà:ke Mohawk Territory, created the artwork in January 2020, more than a year before the discovery of unmarked graves of children at Indian residential schools in Canada.
For Douglas, who considers himself a figurative painter, Unmarked depicts the loss of culture, language and children that occurred because of the Canadian residential school system. He said residential schools took away and “destroyed” the next generation of Indigenous people.
The painting is especially relevant now, he added.
“Most of my relatives have gone to residential school. I carry a lot of their stories, especially my auntie. It’s part of what I know as an Indigenous person,” Douglas said.
“I wanted to express essentially a feeling of loss, but also a feeling of sadness that I felt for the loss of the children as well as our culture and our language,” he added.
“The thing that a lot of people in Canada don’t realize is we’ve always known that children were missing. We’ve always understood. Even during the Truth and Reconciliation Commission, a lot of our elders weren’t believed. It wasn’t something that they felt was important enough to investigate. It’s something that we already knew.”
Unmarked is one of 29 artworks by 12 Indigenous artists that make up the Wisdom of Kinship exhibition at Toronto’s Leslie Grove Gallery, which is run by the Artists’ Network, a group of independent Canadian artists. The exhibition, which opened last Thursday, runs until Aug. 22. Douglas has seven paintings in the show. The works explore the role of kinship and community within Indigenous culture.
“All of these paintings in one way or another relate to relationships,” Douglas said.
“Relationships are very important for Indigenous people. It’s probably the most important thing. Wisdom of Kinship is an expression of those relationships.”
Lisa MacIntosh, a photographer based in Brant County and whose family is Abenaki First Nation, has the only photograph in the exhibition. It’s called Water First and it features Lucy Paibomsai from Whitefish River First Nation.
“There is power here; community, connectedness, truth, injustice. There is a story here, it’s message is raw and shameful. The lack of clean, safe drinking water in First Nations is one of the greatest violations of human rights to water and sanitation,” MacIntosh said in an email.
“When you look at this image, I hope you ask questions. I hope you recognize the power of our youth. I hope you see injustice. I hope it makes you feel uncomfortable. I hope you are inspired to demand change.”
‘We have to make allies,’ curator of show says
Diane Montreuil, a Métis artist and educator, curated the show. Montreuil and Nathalie Bertin, a Métis multidisciplinary artist, juried the show together. It is the first Indigenous art show to be organized and financially supported by the Artists’ Network.
“We have to make allies, and plant a seed of relationships, nourish it, and this will lead to reconciliation,” Montreuil said in a news release.
The show comes as other Indigenous artists are unveiling new works in Toronto and across Ontario. Last weekend, for example, some Indigenous artists unveiled a series of murals in a laneway in downtown Toronto.
The artists said the discovery of burial sites at Indian residential schools has put a new spotlight on their history and culture. Douglas agreed.
“We’re in the process of making history. It’s almost as though all paths are coming to a single point,” he said.
Douglas also teaches part-time on a freelance basis.
“I tell my students, artwork is an expression of who we are, our personal histories, our experiences and our culture. All of my paintings will express these elements to a certain degree.”
Another painting by Douglas in the show is Resilience. The painting is of a young boy, with his fist in the air. A crowd of people behind him represent those who have passed. The boy, despite the loss behind him, still has the strength to stand and resist.
Douglas said Indigenous children are always described as being “resilient,” but he finds that adjective strange because it’s a trait used to survive.
“If it was a non-Indigenous child, you wouldn’t use the word ‘resilient’ to describe them. You could call them smart, or beautiful, or intelligent, or athletic. You would use these other terms,” he said.
“In a lot of cases, people will describe Indigenous children as resilient. It’s a good thing, but it’s something that our children have had to learn to be in order to survive. I felt there was something not right there. It was something that was forced upon them because of residential schools, reserves, the poverty that they live in,” he said.
A description of the painting reads: “Resilience depicts the continuing and seemingly endless supply of courage, strength and will power that our Indigenous youth are able to muster in the wake of continued social injustice. It is a battle cry of sorts in which the young will be tasked with continuing the fight for equity and sovereignty of culture within colonial Turtle Island.”
Douglas has a solo show at the Orillia Museum of Art and History in November that runs until April. He says his work, although it explores Indigenous themes, does not follow the characteristics of what is typically considered “Indigenous Art” in North America.
The Artists’ Network will donate proceeds from the show to the Save the Evidence Campaign at Woodlands Cultural Centre in Brantford, Ont. The campaign aims to turn the former Mohawk Institute Residential School into an interpretive historic site and educational resource to ensure what happened there will never be forgotten.
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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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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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