Art

A new art gallery in Vancouver would be a boon for culture – and the economy

Published

2 years ago

October 28, 2022

Conceptual artist Wendy Williams Watt moves a Big Love Ball outside the Vancouver Art Gallery to celebrate International Women’s Day, on March 8, 2017.DARRYL DYCK/The Globe and Mail

Vancouver needs a new art gallery. It’s time.

The concept has been on the table for about two decades – and now there is a big chunk of funding for it, thanks in large part to the province and philanthropist Michael Audain; each has given $100-million to the project.

There is a wow-factor blueprint ready to go, drafted by a Swiss architectural firm and modified in response to initial (not always positive) feedback, with a facade designed in collaboration with four Coast Salish artists. There is a parking lot sitting there waiting for it – land owned by the City of Vancouver, which committed the space for the project nine years ago.

And there is a need.

The current facility, which opened in 1983, is housed in a neo-classical courthouse. The building is pretty, has history and is very central, which people love. But it is inadequate. It’s too small, the ceilings are too low, and it lacks the educational facilities the new gallery promises.

I’ve been fortunate enough to travel around the country this fall, seeing reminders of the great potential of cultural infrastructure: the new contemporary Inuit art museum Qaumajuq at the Winnipeg Art Gallery; the spectacular central library in Calgary; the National Gallery in Ottawa; the Audain Art Museum in Whistler (yep, same Mr. Audain). As you walk through these places, it feels impossible not to be moved – by the art, the books, the ideas within.

Isn’t this what we were craving when we were all stuck at home? Not just to be with other people, but to be in interesting places that spoke to us in ways beyond what we can experience through a screen?

Budgets are tight right now (trust me, I know; I have a variable-rate mortgage). And there will be the predictable naysayers who will argue that there is a more appropriate use for public money; that spending on culture is a frill for better times.

In basic economic terms, the project is expected to generate an estimated 3,000 construction jobs and 1,000 permanent jobs in the tourism sector.

These figures were presented by B.C.’s NDP government this month, as it announced $50-million for the project (in addition to $50-million committed by a previous B.C. Liberal provincial government).

Beyond the dollars, it makes sense to have a place that can properly showcase art in a Canadian city that has an international reputation for it.

The great Rodney Graham died this week. Not a household name, perhaps, but he was an extraordinary artist who lived and worked in Vancouver.

Not that you would know that if you visit the VAG. There are currently no works by Mr. Graham on display. No works installed by other superstar Vancouver artists, either – Jeff Wall, Stan Douglas, Robert Davidson, Brian Jungen – all of whom are in the permanent collection. Emily Carr is relegated to nine works in the current exhibition Uninvited: Canadian Women Artists in the Modern Moment. Even though the VAG owns works by all of these artists, including more than 250 by Carr, there’s just no room.

The new VAG will about double the gallery space from the current building. About one-third of that space will be dedicated to the permanent collection, VAG director Anthony Kiendl said this week. The lower floors he views as a sort of cultural centre – with education facilities, studios for artists and more.

Culture is an integral part of urban life. When you travel to a new city, isn’t there usually a museum or art gallery on your itinerary?

I think a perception of top-down decision-making and a lack of transparency was a big part of the failure in past years to get this project off (or into) the ground. I personally remain irritated that in 2015 the VAG announced, with great fanfare, the acquisition of 10 J.E.H. MacDonald sketches that had apparently been buried for more than 40 years. When challenged by the skepticism of art-world types in the know, the VAG refused to disclose the results of scientific testing by the Canadian Conservation Institute. If this registered charity wants the support of the public – whose hard-earned money contributes to funding the place – transparency is essential.

The gallery’s administration is in a tricky position, trying to plan the new facility while keeping the current place going. It is not always succeeding. There is grumbling over the fact that the library has been closed since its cataloguer retired in August. (Mr. Kiendl says there are plans to hire someone in the first quarter of 2023. There was a lot of attrition among staff owing to the pandemic, he added.)

The gallery is going to have to figure all of this out if it wants the public’s blessing – and needed donations – to move ahead with ground-breaking in 2023. The new building is a worthy project. I know the city is worthy as well; Vancouver deserves this.

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Art

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

Published

8 hours 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

4 weeks 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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