Art
Mix of contemporary, historical Indigenous craftwork in Winnipeg exhibit shows art ‘still living and thriving’
A new exhibit in Winnipeg blends the old with the new to show that while Indigenous craftwork has a rich history, it’s also still very much a living artform.
The exhibit, called Gathering, features Indigenous beadwork, embroidery and quillwork from five contemporary artists alongside pieces from the collections of 11 Manitoba museums — with some items dating back to the 1800s.
Mixing contemporary pieces in with the historical ones is an important element of the exhibit, says Margaret Firlotte, a Red River Michif artist and the exhibit’s project manager.
“This art form is not gone, it’s not archaic, it’s not archived. It’s still living and thriving today,” she said.
The exhibit — presented by the Manitoba Crafts Museum and Library in partnership with the Ross House Museum — also offers a rare opportunity to see some of the historical work on display.
Smaller museums in Manitoba often have Indigenous craftwork that’s not on permanent display, or which requires a one-on-one appointment to view, Firlotte said.
“We wanted to honour those pieces, and bring them to light, and just give them the proper space and respect that they deserve.”
Andrea Reichert, the exhibit’s curator, said an important part of the outreach for it included informal viewing sessions of the pieces for Indigenous communities.
“It was an opportunity for them to see it up close, to compare things side by side,” she told CBC.
Preparation for the exhibit began about a year ago, but Firlotte said she wouldn’t call her work on it a “labour of love.”
“Labour is the wrong word, because if you enjoy beadwork, working alongside with these pieces and with the communities, then it’s not really work,” she said.
Putting the exhibit together involved extensive research and outreach to museums and Indigenous communities in western and northern Manitoba.
Artwork from museums in Dauphin, Portage la Prairie, Souris, The Pas and Winnipegosis is displayed in the exhibit, alongside works from several Winnipeg museums.
The exhibit, which opened on March 3, has drawn visitors from Alberta and British Columbia who came just to see the artwork, along with strong local support, said Firlotte.
“Opening night, just seeing the community come together to welcome and celebrate these pieces, it was really great. It just made it all worth it, for sure.”
Exhibit may help put names to work
The exhibit is the first time Tashina Houle-Schlup’s work has been displayed in an art show. Her quilled moccasins are called Abinoojiiyens Makizinan, which translates to “baby moccasins” in Anishinaabemowin.
The Ebb and Flow First Nation member has been making quillwork since she was a child. She began to sell her pieces as a teenager, but never imagined being featured in an art exhibit.
“It’s kind of a surreal feeling and it makes me want to do more of these,” she said.
The mix of contemporary and historical pieces in the exhibit shows that Indigenous crafts aren’t going anywhere, Houle-Schlup told CBC.
“Quillwork is still thriving. There was a point where quillwork was nearly disappearing.”
Her moccasins were made in honour of Indigenous children, “as they are the future of our people,” says Houle-Schlup’s artist statement, as well as in “remembrance of our babies and children that were lost to residential school.”
Reichert says in addition to offering historical perspective, the exhibit may also help curators learn more about some of the pieces.
The names of the artists behind many of the historical pieces — such as an embroidered smoked-hide jacket made by women from Norway House between 1910 and 1920 — have been lost, which is not uncommon, Reichert said.
QR codes are displayed throughout the exhibit that will let people submit any information they may have on the historical pieces or the artists behind them.
“When the works go back to the different museums, the research that we’ve collected will go back to those museums as well,” said Reichert.
“Reconciliation and decolonization is an important part of the museum community, and being able to interpret the works with correct information is a really important first step.”
Public programming and a long-term website with photos and research collected on the pieces are also part of the exhibit.
The exhibit has a particular focus on pieces made before or around the early 1900s, because the artistic patterns from that era contain many cultural, familial and regional ties, according to Firlotte.
“You’re able to tell which pattern comes from which community, which is really cool,” she said. “You’re able to tell if a piece is probably more Métis than it is Dakota, or if it’s Cree or Anishinaabe.”
Response to the exhibit has been fantastic, said Reichert.
“All of the people who come have just been blown away by the work, and the breadth of it, and seeing it all in one place.”
Gathering is on display at the C2 Centre for Craft at 329 Cumberland Ave. until April 29.
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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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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