With scrapbooks laid out in front of him filled with newspaper clippings from over the decades, Alan Gibbs tells the story of the little club that started up a really big show.
The huge August long-weekend event called Kempenfest — which begins Friday, July 29 and carries on through Monday, Aug. 1 — straddles Barrie’s waterfront and draws an estimated 200,000 people over four days every year. And its origins start with the Barrie Art Club.
It all began with the Huronia Festival of Arts and Crafts, Gibbs, a self-described amateur portrait artist, tells BarrieToday.
“The paintings were hung on the snow fence at the park,” he says, referring to a 1971 article in the now-defunct Barrie Examiner. “It’s still to this day the Huronia Festival of Arts and Crafts. All those tents that you see at the lakeshore, that is the Huronia Festival of Arts and Crafts.”
The park, as it turns out, was the former Formosa Spring Brewery, which became Molson Park in the city’s south end — long since sold and developed. In that first year, the event attracted 5,000 people.
Featuring original art, it was and continues to be a juried show, attracting competition from hundreds of artists across central Canada.
The art festival grew every year and four years after its launch, it moved to the relatively new Centennial Beach with access to the entire waterfront. That’s when the Kiwanis Club joined forces to co-sponsor the event and add food to the venue.
That year, crafters were also invited to the show.
Then other community service clubs, recognizing the fundraising possibilities, also joined in, providing food, entertainment, midway rides, beverage gardens, and other attractions.
A board was then struck to oversee the entire event and Kempenfest was born.
“Arts and crafts are the main centrepiece event, but over the years it has expanded to include a lot more,” says Tom Aikins, who has long been involved in organizing Kempenfest and currently serves as its sponsorship co-ordinator. “Music and entertainment is now a big part of the festival. Right now, we have two stages.”
Entry to the art show has always been free, and the exhibitors pay a fee. The net profits are then split between the art club and the Kiwanis; it roughly works out to $35,000 each, which both clubs use to do more good in the community.
For the art club that means contributing to a spacious King Street facility where members can meet, work and show in separate but connected spaces. The club also funds art scholarships through Georgian College.
Kempenfest is now considered one of the largest outdoor arts, crafts and music festivals in North America, snaking along two kilometres of the Kempenfelt Bay shoreline on what often turns out to be the summer’s hottest weekend.
There are more than 300 juried artisans and crafters showing and selling their wares out of tents. There’s an array of food offerings and there’s four days of live music on two stages.
The long weekend kicks off with a Friday night concert featuring The Sheepdogs, a ticketed event at the stage outside the Southshore Centre. Other acts through the weekend include Death From Above 1979, Tebey and Practically Hip, a tribute to Canada’s Tragically Hip.
A family stage at the foot of Victoria Street includes a cross-section of entertainment starting Friday night right through the weekend. Barrie Wrestling will also host matches.
The kids’ village, next to the midway near Centennial Park, will feature many art-focused activities including painting murals and button designing with the help of the MacLaren Art Centre.
Organizers say Kempenfest has given back more than $10 million to the community since its inception over 50 years ago.
That’s quite a story for local the art club. But it’s just part of the story.
The club tracks its own origins to 1949, and in its day managed to draw direct inspiration from members of the Group of Seven landscape painters.
One day in 1959, the youngest Group of Seven member, A.J. Casson, swung by and did a demonstration. The result was a painting which he signed and left to the club. It became the jewel of the club’s collection.
Eventually, a giclée print was made and filed in among the club’s print collection while the original painting was hung proudly on display in the art club’s galley.
Early in 2010, as members worked at the Barrie Art Club’s location, then off Dunlop Street near Highway 400, they realized it was gone. They searched the entire premises, but only the giclée could be found. The original had somehow disappeared.
Barrie police employed forensic specialists during their investigation. But the painting was never found and the club, instead, filed an insurance claim for $25,000.
Gibbs had done a local television interview the previous week in which he referred to and showed the painting. He figures that may have sparked the theft. Just how it was stolen, though, remains a mystery.
“How they got in, because we have security, no one knows,” Gibbs says. “We’ve never heard anything more about it.”
Its value now, they figure, has undoubtedly escalated.
The art club, with all its history, remains a grassroots organization attracting everyone from students to seniors, says president Lorraine Maher, a watercolour artist who figures she’s been involved in the club on and off for 30 years.
“It stimulates and encourages education of the art and people who have a talent within the community,” she says. “It focuses on bringing the community together in a social, creative and educational way. It covers all the basis, for people, I think.”
Young artists, many of whom have been involved in Georgian College’s art programs, seek influence and inspiration from older club members, she says. Many also take advantage of the workshops on offer.
Meanwhile, final plans for Kempenfest are underway.
Aikins reports advance ticket sales for the concerts are well ahead of previous years.
“I think people are just pent up and are now ready,” he says.
Barrie hasn’t experienced a full-on Kempenfest since 2019. And there’s every indication the 2022 iteration could be one of the biggest, weather allowing.
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.
