Art

‘It’s not niche anymore:’ Climate change themes everywhere in Canadian art – CityNews

Published

5 years ago

December 29, 2019

Brett Story made a film about climate change that doesn’t once use the phrase.

Instead, “The Hottest August” walks a camera down everyday streets and asks people: “How do you feel about the future?”

“I was reflecting on my own disinterest in watching climate change films, despite a very profound investment and sense of the stakes,” said the Toronto-based filmmaker, whose work has won awards around the world.

“One of my own frustrations with a lot of climate change films is that they assume the problem is that we don’t have information. For me, there’s a different set of questions I wanted to ask.”

Canadian artists from singers to sculptors are doing the same. From writer Margaret Atwood’s climate fiction, or cli-fi, “MaddAddam” trilogy to an upcoming album from singer/songwriter Grimes, climate change permeates Canadian art.

“Climate is a hugely prominent topic and has been for a little while,” said Julian Carrington, programmer for Toronto’s Hot Docs and Planet In Focus documentary festivals. “It’s not niche anymore.”

“Absolutely,” said Mia Feuer, a Winnipeg-born sculptor teaching at the California College of the Arts. “As a grad student, I don’t remember climate issues being addressed in people’s work. I would say now, it’s absolutely everywhere.”

The challenge is to make work that addresses an inescapable fact of modern life without churning out agitprop.

“We’re not just getting together and making signs to take to the protest,” Feuer said.

For some, climate change is a new lens through which to look at some old themes.

“Where do we as individuals fit with society? Where does society fit with nature?” asks Edmonton poet Alice Major, whose most recent collection is titled “Welcome to the Anthropocene.”

“That just kind of grew constantly in me and that’s what the title poem is about — where do we belong?”

For others, the work itself raises the issue.

Feuer often uses petroleum-based materials such as Styrofoam. One afternoon, she was sitting on the banks of the Suez Canal watching tankers glide by.

“It was almost like a light bulb fired off in my mind. I needed to understand where these materials come from.”

Eventually, that led to work such as “An Unkindness,” an assemblage of what looks like oil-soaked industrial detritus that has shown in Washington’s prestigious Corcoran Gallery.

Whatever the inspiration, art isn’t a lecture, said Marcus Youssef, a Vancouver playwright whose one-hander “Dust” has been performed across North America.

“We as humans have a natural resistance to being hectored,” he said.

“(Art) is a perspective that isn’t didactic. It reflects some sort of human response to the question that has the potential to affect people more deeply or in a surprising way.”

Not that artists are averse to changing people’s behaviour. They just think there’s a better way than haranguing them.

“I like to make films that respect audiences and give people space to do thinking and feeling on their own terms,” Story said.

“That’s what art can do — make us both feel alive and also able to see things differently. I think that’s a precondition to being political actors in the world.”

“There’s a potential through the arts to connect in an emotional way, in a spiritual way,” said Feuer. “That might be how people might be moved to seek out change, to ask bigger questions.”

Major agrees.

“Poetry is not a screwdriver. It’s not something you have clearly defined results from.

“Poetry comes out of something happening in our hearts and good poetry does connect. That connection — you have no idea what comes out of that, but it could be a small motivation to pay attention.”

Audiences are receptive. Major said “Welcome to Anthropocene” drew reviews and attention as far afield as Los Angeles.

When Feuer showed her work in Calgary, “it was very positive.”

“I was hesitant to show it, (but) it had a great reception.”

Good art, including art about climate change, brings people together, said Youssef.

“One of the places where political art can fall is that it makes it easy to go, ‘Oh, that’s the bad guy.’ I actually don’t believe there is a bad guy.

“It’s trying to find the humour and humanity in everybody, the recognition of the degree in which we are all complicit.”

This report by The Canadian Press was first published Dec. 29, 2019.

— Follow Bob Weber @row1960 on Twitter

Bob Weber, The Canadian Press

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Art

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

Published

21 hours 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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Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks 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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