Art
Michelle Latimer’s ancestry claims undermined the important work of Indigenous creatives – The Globe and Mail
For the past few days, the Indigenous arts community has been reeling from the shock of another high-profile arts professional who has made inconsistent statements about their background. Last time, it was the Joseph Boyden storm that rocked Indigenous literary arts, and this time, Michelle Latimer, director of Trickster and Inconvenient Indian, is being called upon to address the ambiguity in her claims to Indigeneity over the years.
Community members are taking to Twitter and Facebook to openly discuss how they feel this is another example of a white settler acquiring fame and financial gain by securing funding meant for Indigenous peoples in the arts. People are asking: How could this happen? How could someone have taken up so much space for so long with no accountability?
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As an Anishinabekwe artist and visual anthropologist, I have an intimate relationship with the long-standing history between Indigenous arts and colonialism. It was through art that non-Indigenous peoples first gained access to Indigenous peoples. They used Indigenous art to bolster problematic theories of human development and civilization that placed the Indigenous peoples, whose art least resembled Western art, at the bottom of the evolutionary ladder. At the same time, Western artists misappropriated Indigenous cultures, including their art forms, in the creation of films, photographs and other visual masterpieces that grossly misrepresented Indigenous cultures and/or buried aesthetics born out of Indigenous artistic and intellectual traditions within their modernist expressions.
This exploitation continues to happen in both the art world and academia, and while it is ethically fraught, it makes perfect sense to those who are guilty of it. It makes sense because it follows the logic of settler colonialism – that anything belonging to Indigenous peoples, their identity, their art or their land, may be mined and extracted from in order to produce some sort of economic or intellectual benefit. The logic is that once someone stumbles upon or “discovers” some aspect of Indigenous being, it is appropriate to stake claim and take … and take … and take more. And this has always been a direct assault against Indigenous sovereignty. Sovereignty over land, body and story.
This is why Indigenous creatives including film directors, producers and actors are so important. A director is gifted with the responsibility of helping share Indigenous stories with the public. They are not simply collecting and telling other people’s stories. Rather, they are making choices that ultimately reflect their own relationship with what has been shared with them. So when an Indigenous person chooses to entrust their stories to an Indigenous writer or director, they often do so because they believe that the individual has the lived experience, cultural values and tools to hold these stories as their relatives, with utmost care and respect. They have faith that the person has the cultural intelligence and also intuition to enter into meaningful and careful relationships with their stories and thus make good choices that will lead to positive outcomes for our families, communities and respective nations. When this happens, it is a powerful act of Indigenous visual sovereignty because not only are Indigenous stories made visible, they are made visible in a way that reaffirms and strengthens our kinship and social relations.
These trusting and intimate relationships in Indigenous arts have been so important to reclaiming and exercising Indigenous sovereignty, and so when individuals enter into a relationship with Indigenous peoples and their stories under misleading pretenses, it undermines the important work that so many have struggled to make possible.
Some of my non-Indigenous friends have asked me whether they should continue to support the show Trickster in light of what has happened. My response to them has been, yes! Watch and witness the brilliance and beauty of the characters and their stories and connect them to the talented literary artist who birthed these ideas and stories into existence. Learn more about the identities and backgrounds of the Indigenous community members who made this production possible – where they come from and the communities and nations that claim them. When these kinds of truths are prioritized and placed front and centre, it will make it much more difficult, if not pointless, for someone to try to hide in, and benefit from, the cracks of uncertainty for so long.
Dr. Celeste Pedri-Spade is an associate professor of Indigenous Studies at Queen’s University.
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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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