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Indigenous blankets inspire weave-like facade of new Vancouver Art Gallery – Vancouver Sun

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The copper-coloured metal weave facade of the Vancouver Art Gallery originated out of conversations with Metro Vancouver Indigenous weavers

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The stunning Coast Salish weaving design for the facade of the new Vancouver Art Gallery wasn’t the idea of a single person.

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It emerged from conversations between a group of Indigenous weavers and the lead architect for the project over several months.

The copper-coloured metallic weave for the building, announced early in November, not only honours the Indigenous people of Metro Vancouver, it also helped persuade philanthropist Michael Audain to donate $100 million for the new building on West Georgia.

The redesign process started when Anthony Kiendl , the new CEO and director of the Vancouver Art Gallery, organized his first official meeting in August 2020 with Musqueam weaver and artist Debra Sparrow and her brother, Chief Wayne Sparrow.

Debra Sparrow described Kiendl as someone who understands “that art is more than visual — it represents culture and history.

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“We sat in the cultural centre while (Kiendl) told us his vision of the gallery. He wanted to honour the land and the people.”

After the first meeting with Kiendl that so inspired Sparrow, it took about a year for the next stage to begin. Kiendl phoned Sparrow and asked if she would be willing to be part of local panel of Indigenous artist consultants for the new building representing the Musqueam , Squamish and Tsleil-Waututh . The others were Skwetsimeltxw Willard “Buddy” Joseph, Chepximiya Siyam’ Janice George, and Angela George.

Kiendl said the idea was to meet regularly on Zoom with Simon Demuse from Herzog & de Meuron , the lead architects on the VAG’s new building.

Sparrow said the new design emerged gradually. It developed out of conversations about the history of Indigenous people and the importance of blankets, not just to the Coast Salish but to all peoples of the world.

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In particular, the discussions focused on the twill weaving pattern which has been described as “the weft crossing the warp, over two and under two.” The warp is the threads held in tension into which the threads or weft are inserted over and under.

Weaving is especially important to Sparrow and the other weavers on the panel because of their role in its revival after disappearing for 85 years among the Coast Salish after contact with European settlers.

“The four of us talked about that as weavers. It is our responsibility to bring it back to the world in a way that embraces not only ourselves but other people, other cultures.”

Sparrow said putting a weaving pattern on the facade of the VAG takes weaving out of its “comfort zone” of blankets worn by people, and applies it in a new context on the exterior of a prominent building for everyone to see.

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At one point during the online meetings, Sparrow said, someone mentioned copper as a colour that represents the Northwest Coast.

Sparrow said while it was historically used by the Indigenous nations further to the north such as the Haida, Coast Salish artists have also used it as a kind of “world colour” in contemporary applications.

The VAG’s proposed woven metal facade has been described as a copper skin with a veil-like quality — it will shimmer and change its appearance depending on the point of view of the observer, the time of day, and the light. As well, people inside the building in spaces such as library, for example, will be able to look out through the metal weave over windows and see the city through a veil.

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Sparrow said she believes there is going to be many more examples of Coast Salish designs around the region as local Indigenous people weave “our way through the city” in murals and plazas and facades.

“As First Nations people, we have a vision and duty to wrap the city of Vancouver in our history and work,” she said at the news conference announcing the redesign.

“We want to weave all our cultures together in this building and wrap it like we do in a blanket.”

If fundraising continues as planned, the Vancouver Art Gallery hopes to start construction in November 2022. The redesigned building has been expanded by 30,000 sq. ft. to 330,000 sq. ft. and now includes an early education centre, accommodation for visiting artists, and a community space for Indigenous programs and celebrations.

Public and private pledges and donations for the new building have reached $240 million for the $400-million project. The VAG hopes to raise another $80 million from private donations and $80 million from government and community sources.

kevingriffin@postmedia.com


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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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