Opening ceremonies for Red Embers art installation in Ashbridges Bay Park set for Sunday afternoon – Beach Metro Community News - Beach Metro News | Canada News Media
The Red Embers installation is now on display in Ashbridges Bay Park. Photos by Nicholas Dietrich.
The official opening ceremony of the Red Embers installation will take place at Ashbridges Bay Park on Sunday, Nov. 21 at 2 p.m.
Organizers Lisa Rochon of Citylab and executive director of Native Women’s Resource Centre of Toronto Pamela Hart welcome everyone to join them at site of the meditative pathway for the ceremony.
“Red Embers is envisioned and designed by an all-women team of designers and Indigenous artists as a work of civic beautification. It is also a sacred memorial to the Missing and Murdered Indigenous Women and Girls, Trans, Two Spirited,” reads a press release.
Mighty cedar gates are sited between the land and water, framing the pathway while the banners float above. There are 13 gates to symbolize the 13 Grandmother Moon teachings and lunar system.
“The charred cedar posts represent the strength and resilience of Indigenous women, honouring a sisterhood that stands strong even after the attempts to scar and damage have been endless,” said the release.
The banners attached to these posts will float above the pathway, “offering healing through the sound of their jingles and the movement of canvas in the wind.”
At the ceremony, Elder Jacquie Lavalley will provide the blessing, and female trans drummers and jingle dancers will be present to offer healing.
The remounting of Red Embers was made possible by the collaboration of Native Women’s Resource Centre of Toronto and its womxn members with Indigenous artists from across Turtle Island to create this installation in partnership with Rochon.
There has been generous support for the installation in Ashbridges Bay Park, which is part of ArtworxTO, coming from the City of Toronto’s Indigenous Affairs Office, Cultural Partnerships, and Parks, Forestry and Recreation.
“We are grateful for the genius of participating artists, and the dedication of the ANEX public art installation crew,” reads the press release.
The press release also gives thanks to the women of the Regent Park Sewing Collective who stitched the banners and helped with finishing details.
The commissioned artists are Rosalie Favell, Rolande Souliere, Hannah Claus, Eladia Smoke and Larissa Roque, Kristy Auger and Adrienne Greyeyes, Louise Solomon, Hillary Clermont, Janelle Wawia, Lido Pimienta, Annie Beach, Sarah Biscarra Dilley, Tash Naveau, Lindsey Lickers and the community members and staff of Native Women’s Resource Centre of Toronto.
Red Embers was originally installed at Allan Gardens in 2019 but were carefully stored away during the COVID-19 pandemic. The first installation was made possible by a team of designers, including Indigenous designers Tiffany Creyke and Larissa Roque, who won a Park People public space competition grant.
“This location in the Beaches was chosen for its serenity and balance between Lake Ontario and the city. The slight crescendo of the path and wave of its direction mimic the emotions the banners will instill,” read the press release.
“By listening and learning, feeling and acknowledging, we can honour those lost and stolen.”
All are welcome and can find the ceremony on the Martin Goodman Trail in Ashbridges Bay Park just past the Beach Community Edible Garden and public washrooms.
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LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
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.
