Art
Meet the Indigenous artists blending traditional art forms with pop culture, modern medical images – CBC.ca
Ruth Cuthand’s recent art incorporates beadwork, a traditional and well-known medium to Indigenous artists. But the subject matter is more ripped from the headlines: an image of the COVID-19 virus, spike proteins and all.
The artwork, made in 2020 and titled Surviving: COVID-19, was shown at the Mackenzie Art Gallery in Regina.
Another beadwork piece, this one depicting the smallpox virus, was shown as part of a Rembrandt exhibit last year at the National Gallery of Canada in Ottawa.
Cuthand is a mixed media artist who is Plains Cree and a member of Little Pine First Nation in Saskatchewan. Many of her other works depict medical or biological material, including other diseases like syphilis or the bubonic plague; a cross section of a brain resembling a CT scan; and even artwork of viruses physically placed on a KN95 respirator mask.
Some of her pieces are particularly evocative when viewed through the lens of the pandemic. Much of her pandemic-era work is rendered with glass beads that lend a shimmering rainbow to typically clinical imagery — such as the monochrome CT scans that inspired her brain-like images.
Cuthand, 68, is one of several Indigenous artists blending traditional art forms with non-traditional elements or themes, from current events to pop culture, to create new takes on the Indigenous experience.
“I wanted to make it look like you were peering through a microscope. And I just have this fascination with the push and pull of how … these are really seductive, gorgeous images. You get sucked into them until you realize: Ohh, ahh, it’s smallpox!” she told Unreserved’s Rosanna Deerchild.
“So yeah, you have that tension.”
Sometimes, avant-garde Indigenous artists face pushback for the ways they mix the old and the new.
Blake Angeconeb, an Anishinaabe artist and member of Lac Seul First Nation in northern Ontario, paints in the Woodlands style popularized by renowned Anishinaabe artist Norval Morrisseau.
While Morrisseau’s work often depicted traditional Indigenous myths and spirituality, Angeconeb, 32, incorporates contemporary pop culture references, including The Simpsons, the late actor Betty White and Lego figurines.
That cultural mashup style earned him an unfavourable review from a peer in 2016.
“One artist in particular, one that I really admired and inspired me to start painting, was not very happy,” Angeconeb said, recalling the reaction to his painting that featured a Lego figurine.
“[The artist] sent me a long email about incorporating cheap plastic with Woodland art. That’s what he referred to the Lego man as.”
That criticism was hard to hear, Angeconeb recalled. But before long, his friends and fellow artists encouraged him to continue to paint whatever he wanted. It energized him to continue.
He says he’s been able to find an audience of younger fans who connect with the same cultural touchstones that he did, while also introducing them to the Woodlands painting style.
‘Culture is not static’
According to Cree knowledge keeper Albert McLeod, insisting on immutable rules for traditional Indigenous art isn’t the best path forward, because its history is ever-evolving, and responsive to the lives and experiences of its creators.
“Culture is not static, you know. And we can’t go back 300 years. We have to recognize that the people who lived [back then], that was their world. It’s not our world, right?” said McLeod, who has family connections to Nisichawayasihk Cree Nation and the Métis community of Norway House in northern Manitoba.
When artists like Angeconeb and Cuthand create new spins on older art forms or themes, he explained, they are engaging with symbols of the past and reshaping them into something for the modern era.
That innovation is especially important in how it reflects Indigenous people’s survival, in light of the damage that the residential school system wrought throughout Canada’s history.
“The Indian residential school [system] did a lot of damage to Indigenous art practice [and] ideas of art expression,” he said. “It was intentional to invalidate that as a cultural or historic expression of Indigenous peoples.”
Today, he says, Indigenous artists are both reconciling with the past and charting new paths with everything from beadwork and ribbon skirts to films, music and even memes.
Cuthand’s work has long grappled with that dual mission. Her beadwork depictions of viruses, for example, invoke the colonial past using modern, scientific imagery such as medical scans or viruses under a microscope.
Beads were often used to trade, she explained, and while settlers brought new tools and technology from across the Atlantic ocean, they also brought virulent, non-native disease that ripped through the Indigenous population.
Surviving and thriving through the pandemic
With all its medical-tinged imagery, Cuthand’s work may have resonated especially well with audiences during the pandemic.
She says she’s continued to make a living throughout the last two years — far from a guarantee for a line of work that often relies on in-person exhibits.
For her next project, she’s hoping to level up her beadwork and sculpt three-dimensional models of items like a brain or the COVID-19 virus.
Meanwhile, Angeconeb has done well enough that he’s recently been able to quit his day job to make art his full-time career.
“It’s just surreal,” he said. “Like, the fact that I can comfortably support myself and my partner by painting and creating? It really is the dream for me, and I’m very grateful to be here.”
WATCH | Animated short Paddling On Both Sides by Blake Angeconeb and Buffy Sainte-Marie:
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His recent pandemic-era output includes a dream project: collaborating with Buffy Sainte-Marie, who did voiceover for a short animation he made as part of the Gord Downie and Chanie Wenjack Fund in 2021.
They have since collaborated on a second project that he says will be released soon.
“It’s crazy because I painted a picture of her probably … three years ago, just because I look up to her and everything like that,” he said. “And then all the sudden I’m driving around with her to go do research for her next project. It was an amazing day.”
Written by Jonathan Ore. Produced by Kim Kaschor.
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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