Art
Maple Syrup Art: A Journey in Canadian Identity (Or lack thereof) – Capilano Courier
Jason Arkell-Boles // Columnist
Trying to create art that helps support ‘Canadian Identity’ can feel at once impractical and impossible. We act as if we’re independent as a nation, but as much as we hate to admit it, we’re just America’s cold, occasionally kind and culturally-void neighbor. For a contemporary Canadian artist to get big, they essentially have to make it in the US. Why is Canadian identity in art such a contentious issue? And if you want to make a ‘Canadian’ artistic statement, where should you start?
In my final year of film school, I’m at the stage where I need to begin writing films that I feel are a reflection of my personal identity, if I only knew what that was. Without an exciting childhood or essence of cultural identity unique to me, I need to figure out what I want to talk about. In search of a story to tell, I’ve been trying to contextualize what ‘Canadian Identity’ truly means. Essentially I’m trying to figure out who I am and why I’m here.
I could write about my childhood stories, but I feel that they’ll have no specific Canadian edge to them, and creating a unique voice to oppose the stories of Hollywood could be challenging. So I turned to the Canadian media I consumed growing up, which only amounts to YTV and the Trailer Park Boys, and I’m on the fence about basing my national identity on Ricky or Bubbles. There’s still Canada’s natural landscape, and the connection I share with it. As a settler, I feel an obligation to leave this land and its stories to the peoples who truly have a long and fulfilling connection with it—the talented Indigenous filmmakers, for which there are many entering the scene, such as queer filmmaker of Cree/Métis/Danish descent Adam Garnett Jones, or Alethea Arnaquq-Baril, who’s creating an incredible body of work centered around Inuit life and culture.
In discussing Indigenous artists, nothing has felt more Canadian to me than Kent Monkman’s work, whose exhibition Shame and Prejudice is now showing at the Museum of Anthropology until Jan. 3. What makes Monkman’s work so good is that it is innately anti-Canadian. To critique colonialism, Monkman created probably my favourite Canadian-made art piece ever, The Daddies. It’s a recreation of Robert Harris’s painting Meeting of the Delegates of British North America to Settle the Terms of Confederation (1884), with all of them now staring at Monkman’s alter ego, the nude Miss Chief Share Eagle Testickle. Along with this, Monkman’s depictions of Indigenous families being separated by the RCMP provides a less comedic and more tragic depiction of Canada’s historic evils. Monkman shows the harsh truths of Canada, and this type of work makes the lack of unified Canadian identity all the more understandable.
From this, I decided to turn away from national identity as inspiration, and rather focus on my geographic location in an attempt to see who else creates work inspired by the lands of the Pacific Northwest, and where their identity stems from.
In discussing the feeling of the Pacific Northwest, certain Washington-based musicians do it best. My personal favourite being Phil Elverum, singer-songwriter and multi-instrumentalist of The Microphones and Mount Eerie. His music takes the lush forests, bleak mountains, and foggy atmosphere of the Northwest and uses it as a tool to contextualize his individual experience. His lyrics tell stories by directly referencing nature, like the track Seaweed, where Elverum writes:
“I can’t remember, were you into Canada geese?
Is it significant, these hundreds on the beach?
Or were they just hungry for mid-migration seaweed?”
Tragic, beautiful, and without a doubt environmentally influenced, this type of songwriting consumes the familiar climate and exports it as a common language understandable by residents of the Pacific Northwest. Which is why, ultimately, Elverum and his work both musically and aesthetically are a huge inspiration for what I try to do in filmmaking.
My challenge now is figuring out how to steal from Elverum. His lyrical ability to express emotions through natural metaphors is something I’d love to grow at, but I don’t know how to transfer this style into a film. Which brings me to my next point, which I think is the true gateway to finding your artistic and cultural voice—experimentation.
Canadian film history has a strong and significant history with the experimental. Take Norman McLaren, who spent his entire career working in experimental animation, whether creating a visual representation of music, such as in Boogie Doodle (1941) or experimenting with the origins of stop motion in the Oscar-nominated A Chairy Tale (1947). Also in the scene were Michael Snow and Joice Weiland, an experimental filmmaking power couple who produced work like Snow’s Wavelength (1967), an emotionally-packed analysis of office space, and Weiland’s Reason over Passion (1968), a textile and film work which was entirely inspired by Pierre Elliot Trudeau’s quote “Reason over Passion.”
I don’t think the high amount of experimental work coming out of Canada is any coincidence. We are a diverse nation built on violence, colonialism, and immigration—all of this culminating in the cultural void we experience today. Learning what we can from the Indigenous artists and experimental filmmakers working in the North, it becomes clear that Canada cannot be defined by nationhood or a certain artistic style. Rather, identity must be found in the voices of every individual who wishes to contextualize their experience. Our work needs to be cognisant in how it recognizes and reconciles the past, while also accepting and showing compassion for the stories of those who are new to the country. We must develop and support the cultural mosaic of Canada, by experimenting, educating ourselves, giving a platform to new and under-represented voices, and ultimately, telling the truths of our sense of home.
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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