Art

New frontiers for art: The Montreal International Poetry Prize – McGill Reporter

Published

4 years ago

April 30, 2020

In an age marked by global quarantines and climate change, what forms of art and creative expression are possible? How can creative communities survive without the face-to-face contact of public events and audiences? What can literature, and particularly poetry, often imagined as a solitary exercise, offer our world today?

The Montreal International Poetry Prize hopes to answer at least some of these questions.

The Prize, a biennial competition founded in 2010 on donations from Montreal poets including McGill alumni Leonard Cohen and Prize co-founder Asa Boxer, has recently migrated to its new home within McGill’s Department of English. Its primary goal is to encourage the creation of anglophone poetry worldwide. The Prize awards $20,000 CAD to a single poet for one poem of 40 or fewer lines. The deadline for submission is June 1.

A jury of internationally acclaimed poets and critics from around the world will select a shortlist of 50 poems, from which this year’s judge, distinguished American poet Yusef Komunyakaa, will select a winner. This year’s jurors hail from Canada, Australia, the U.S., the UK, Haiti, and India. The fifty poems on the shortlist will appear in the Global Poetry Anthology, published by Véhicule Press in Montreal.

Opening new digital frontiers for poetry and artistic connection in a time of crisis and isolation, the nonprofit Prize engages in and endorses the formation of a new global arts community. “By accepting entries through an online application, organizing open-access poetry readings via Zoom, and publishing a global anthology (online and in print), the Prize is reimagining poetry in a digital space,” says Michael Nicholson, Assistant Professor in the Department of English.

Nicholson and English Department colleagues Miranda Hickman and Eli MacLaren have overseen the migration of the Prize to the Department of English.

Supporting the transfer has been Poetry Matters, an initiative in the English Department founded in 2017 by Hickman and Nicholson. Poetry Matters seeks to foster conversation, research and exchange on poetry among members of different communities, within the university and beyond.

Poetry beyond the classroom

Organizers hope that the Prize will encourage people to think of poetry as an art form beyond what we engage in the classroom. “Poetry starts at the beginning of our lives, as in children’s books… It doesn’t always have to be T.S. Eliot,” says MacLaren, chair of the 2020 Prize. “Poetry is everywhere. It’s a part of weddings, meditating, religious ceremonies.”

“Back in the 1970s, Louis Dudek was part of an effort to get poetry on the busses in Montreal, in English and in French,” says Hickman. “Working on the Prize has made us think about all the ways poetry enters our daily lives – as well as how it offers ways of knowing and commenting on the world in which we live.”

Organizers also hope that the Prize will foster a sense of community of writers from around the world.

Celebrated Irish poet Seamus Heaney’s once said that literary prizes can provide “a sense of solidarity with the poetry guild, as it were, sustenance coming from the assent of your peers,” the Montreal Prize’s cash award is crowd funded from entry fees. As Gavin Currie, a McGill PhD student co-directing public relations, put it, the Prize’s funding model is “poet to poet;” winners receive sufficient financial support from their peers to write verse for a year.

When submitting their work, entrants are also offered the opportunity to sponsor an entry – the chance to support the emergence of new styles and forms of creative expression from around the globe.

Attracting brilliance in all its diversity

The Prize, say organizers, is an enterprise that advances social justice, student training in arts entrepreneurship, and a global rather than local or national concept of poetry and aesthetics. In keeping with McGill’s international reputation and stated commitment to “attract brilliance in all its diversity,” the Prize’s digital application promotes a civic-minded poetry competition by means of an anonymous submission process.

“For many, entering the Prize in itself is not only an experiment in community building and altruism in the arts, but also an endorsement of a digital poetry network collectively working to disregard the limits of status, border, and stratification so often constraining major national prizes in the arts,” says Nicholson.

The deadline for submissions to the Montreal International Poetry Prize has been extended to June 1. Get more information online

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Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

6 days ago

September 13, 2024

Harry Miller

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.

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

September 2, 2024

Harry Miller

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

1 month ago

August 18, 2024

Harry Miller

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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