Art
Métis history showcased in public art display in Winnipeg bus stop – Folio – University of Alberta
When Métis artist and architect Tiffany Shaw-Collinge was commissioned to design an artwork for the Markham bus station in Winnipeg, she wanted to use the stop to showcase Métis land rights. She reached out to the president of the Métis Nation of Alberta, Audrey Poitras, who knew exactly who Shaw-Collinge needed to talk to.
She suggested Shaw-Collinge reach out to Frank Tough, an historical geographer in the University of Alberta’s Faculty of Native Studies. Tough leads the Métis Archival Project (MAP) Research Lab, which, for more than 20 years, has conducted research on Métis history and land rights.
“Always in the back of our minds while we do our research is connecting a person today with historical records of the past. So for us this [art project] was a novel way of doing that,” Tough said.
Shaw-Collinge received permission to use the glass walls of the bus stop to showcase scrip records—the system by which the federal government offered land allotments or money to Métis people for their land rights—and did a community-wide call asking interested Métis people to submit their family scrip records for inclusion.
The records she received, however, were disappointing.
“If you’re Métis you can go and look for your family name on the Library and Archives website, but the results are just low-quality replications, and the site is not easy to navigate,” Shaw-Collinge said.
She went to the provincial archives to scan records in high resolution, but found this to be too expensive.
“It would have cost me thousands of dollars to do it properly,” she said, “So then I reached back to Frank. I didn’t realize what a goldmine [the MAP Lab] was.”
Over its 20-year history, the U of A’s MAP Lab has digitized thousands of scrip records into high-resolution, high-quality images.
“This is the approach we’ve been taking since 1993, to make these documents accessible,” said Tough.
To enhance online access, the MAP Lab worked with the Métis National Council to create a database of archival scrip documents that relaunched in 2019. It was the easy access to these documents through that database that facilitated Shaw-Collinge’s art piece.
“What we did was match up some of the names that she had with our records, and provided not just the applications, but other related documents as well,” said Tough.
“When I talked with Frank, he helped me frame the whole work. He said scrip is just one part. If you want to talk about Métis-specific land rights, you have to talk about land use and occupancy,” said Shaw-Collinge, who added she thinks of Tough and the MAP Lab as collaborators on the work due to their large contribution.
Tough showed Shaw-Collinge a map from 1870 that depicted how the area around the Red River, now known as Winnipeg, was used by Métis people: where they would go for sugaring (maple syrup), fishing, duck hunting and berry-picking, and the river cart trails used for buffalo hunts.
“It shows not only how they lived along the Red River, but how they moved around the land for resources that sustained their unique way of life. I love this imagery because it talks about Métis people specifically,” said Shaw-Collinge.
Shaw-Collinge integrated the map into her work, replicating it into the concrete sidewalk of the bus stop. She also created five sculptural markers, like obelisks, to represent the five trading posts indicated on the historic map. Each marker shows images and information related to the history of each fort, including Louis Riel’s 1870 provisional government, formed at Upper Fort Garry, and Pembina Post, which was known as an assembling point for a large number of buffalo hunts.
The quality of the documents the MAP Lab provided for Shaw-Collinge makes the historical feel of the art piece more immediate to the people at the bus stop who view it, said Christina Williamson, a PhD candidate at Carleton University and a research associate in the lab.
“This bus stop allows the average person to see these historical documents as almost a primary source. I think sometimes people think that history occurred in black and white, this just feels more tangible,” said Williamson.
Shaw-Collinge and Tough share the hope that incorporating this artwork into an everyday space like a bus stop increases awareness of the unique culture and history of the Métis.
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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