On Sept. 9, the Woodstock Art Gallery launched the first ever public sculpture commission call to artists on behalf of the City of Woodstock. This is a significant undertaking for the gallery and for the city at large. Until now, public art in Woodstock has been sporadic and project-focused one-offs. Normally, these initiatives are responding to community needs and desires, such as highlighting crosswalks for safety and awareness.
Due to a growing request from members of our community for the creation of public art, I was charged in 2017 with responsibility for developing the City of Woodstock’s first public art policy. In 2018, respected artist and educator Bruce Flowers left a significant portion of his estate to the Woodstock Art Gallery with the directive to create a figurative sculpture garden.
The first step in any public art commission is determining the location of the site. I am very thankful to my colleague, Chris Kern, parks supervisor, for identifying the west side of Vansittart Park at Ingersoll Avenue as a potential space. Given that this park is split between Vansittart Avenue and that the west side offers a wonderfully contemplative experience, it was the perfect suggestion.
As the park already had a name, however, we activated the process to change the name of the west side to reflect the park’s new identity. After two presentations to city council and a public consultation process, I was delighted that on Aug. 12, 2021, council approved the renaming of the west side of Vansittart Park to Florence Carlyle Park, with a portion designated as the Bruce Flowers Sculpture Garden.
While this was taking place, I was working behind the scenes with the public art committee to draft the call to artists, as well as a helpful guide to artists for public art projects. It is important to note that this is not a call for proposals but a call for qualifications. The gallery highly respects artists’ time and the creative process and is asking only for submissions of interest to be received by Oct. 26.
In addition to demonstrating their skill and expertise, artists should also emphasizes in their application their interest in employing the human form to address the following themes which were central to Bruce Flowers’ values:
These applications will be vetted by the public art committee, which will come up with a shortlist of artists who will be invited to submit fully developed proposals.
Public art is not just the job of the gallery, and I am thankful for the assistance provided by Reta Horan, parks supervisor, and Haylee Hallema, GIS parks student, for assisting with the site plans and conceptual mock ups of this old-new park. Thank you as well to Harold de Haan, city engineer, and Brian Connors, director of parks and recreation, for troubleshooting some of the installation implications.
The call to artists and other supporting documents can be found at www.woodstockartgallery.ca.
The gallery will keep the citizens of Woodstock updated on the progress of this significant public art commission as it moves forward. And it goes without saying that we all should be very thankful to Bruce Flowers for providing the City of Woodstock with this lasting legacy of enjoyment and inspiration.
Mary Reid is the director-curator of the Woodstock Art Gallery. She is also a former member of the City of Winnipeg’s public art committee.
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.
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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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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.
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.
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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