While COVID-19 has forced us to physically distance from those around us, it’s been art that has helped tie us back together during these past few months.
And hasn’t that always been the function of art? To express those innermost, intangible qualities of the human condition in the hopes that it might make someone out there feel less alone? And in a time of both literal and figurative isolation, it’s impossible to put a price on the true value that art can and has brought us.
Well, maybe that’s not entirely true. For the countless bands livestreaming no-crowd sets from their living rooms, the plethora of creative workshops held over Zoom, and the renowned museums and theatre companies offering their art and stage productions to a virtual audience during the pandemic, the asking price has most often been nothing at all.
For the tireless creatives already accustomed to having their work vastly undervalued, offering up the art they’ve invested so much blood, sweat and soul into free of charge is a gift I hope society remembers—with their time and their wallets—when all this is said and done.
I also hope the artists who have left so much of themselves on the stage, canvas or screen, both before and during COVID, aren’t afraid to ask for something in return. And I’m not just talking about fair and equitable monetary compensation, although that, of course, would go a long way towards giving some much-needed stability to a sector that has always sat on shaky ground, at least in this country. I’m referring to something that’s a little trickier to pin down, but it’s a favour that, if extended, would benefit both artists and audiences alike.
My sincere hope is that when we emerge from our collective reclusiveness, it will come with a fresh perspective on not only the art we consume, but our capacity to consume it. Even before COVID glued us all to a rotating cycle of black screens, the cultural zeitgeist was being homogenized by streaming giants like Netflix and Amazon to the point where an algorithm has more influence over what we watch than our own personal taste. And when we hand over our consumption habits to massive, global corporations whose sole desire is to keep you on their platform for as long as possible, the kind of content we consume tends to fall into two categories: inflammatory, anger-inducing sensationalism (looking at you, YouTube!), or breezy, mindless flicks that are familiar, even comforting to watch, but leave your brain the moment the credits roll. (There’s a reason The Office and Friends have consistently been Netflix’s two most-watched shows. As entertaining and well-made as they both are [well, The Office, anyway], they are the TV equivalent of a big bowl of buttery popcorn: tasty in the moment, surely, but you’re gonna need a bit more substance to feel full.)
Maybe it’s just me, but I feel the issue runs even deeper in Whistler, where, for as educated and enlightened a community as we are, many people don’t necessarily come here to expand their cultural horizons or think too hard about anything other than their next pow day or night on the town.
As someone who has been a small part of Whistler’s burgeoning theatre scene over the years, it’s something I’ve wrestled with in my own work: What do Whistlerites want from their art, and more importantly, do they want to be challenged?
From my experience, Whistlerites want art that is fun and light, and, crucially, they want to see their town reflected back at them. It’s why our art galleries (Audain excluded) are filled with colourful landscapes and bear portraits, our bars are filled with the sounds of popular cover tunes more often than originals from the many talented musicians who make their living here, and our most beloved cultural showcases, like the 72-Hour Filmmaker Showdown and Deep Winter, are modelled after high-octane athletic competitions.
I say all of this not to wag my finger in condescension at a philistine public, but rather because I know what Whistlerites are capable of. I’ve seen time and again just how willing they are to throw caution to the wind for a sweet dose of adrenaline, how committed they are to milking every last thrill out of life. I just wish they demanded as much out of their art as they did from their recreational pursuits.
By its very nature, art should be challenging, but it also requires an audience that is willing to take a risk—something that Whistlerites have been adept at for generations.
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.
