Art
Re-storying Canada's history with sly humour and jaw-dropping art – North Shore News
The Fathers of Confederation look so self-assured as they stare out of the portrait celebrating their gathering in Charlottetown in 1884. History, they seem to say, will know their contributions to the creation of Canada.
In the foreground of Robert Harris’s iconic painting — the painting that schoolchildren study in their Canadian history classes — is a cushioned stool with a jacket draped over it.
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Well, we are all about to get re-schooled.
Kent Monkman looked at that painting and saw what was missing: the First Nations people upon whose knowledge, mistreatment and ultimate forbearance this country was built.
Like Alice falling down a rabbit hole, Monkman uses one of the most intelligent forms of humour — whimsy and wit — to quite literally redress a historical wrong. And he does it through one of the few mediums that can express the inexpressible truths of our humanity. Art.
His “re-storying” of Canadian history is now on display at Vancouver’s Museum of Anthropology as part of an illuminating, challenging, smile-inducing, disturbing and soul-touching exhibit called Shame and Prejudice: A Story of Resilience by Kent Monkman.
Guiding us through the exhibit’s immersive narrative is Miss Chief Eagle Testickle, “a beautiful, time-travelling, gender-bending supernatural being whom Monkman uses as his alter-ego,” explains Dr. Jennifer Kramer, MOA’s curatorial liaison for the exhibit, during an insightful media tour before the exhibit’s official Aug. 6 opening. “Because she’s a time traveller, he can insert her into the history of the interactions in what became Canada.”
So here is Miss Chief in all her wondrously naked female/male glory, legs akimbo, feet adorned in Louboutin heels. She does not allow Harris’s Fathers of Confederation to avert their gaze from her, ahem, “presence” on that cushioned stool (where the jacket is replaced by a Hudson Bay blanket.) These white European men tried to subjugate the First Nations peoples who fought to protect Indigenous land and rights but, in this painting called The Daddies, Miss Chief is the one who dominates. (She becomes a veritable dominatrix in another painting that throws conventional 19th Century battlefield art on its leather-strapped tush.)
And here she is again, only this time as a beautifully coiffed, incredibly life-like mannequin dressed in a baroquely embroidered robe with beaver fur trim while she laconically surveys the exhibit from a swing suspended from the gallery ceiling. Sitting at her feet are the Marquis de Montcalm and Major-General Wolfe, two men once again having their attention diverted away from their history-defining roles on the Plains of Abraham. She swings. They swoon.
This piece is called Scent of the Beaver.
You might gasp at the crudeness — and, once again, sheer wittiness — of the title but Monkman has an ability to both acknowledge sexual shame while taking away shame’s power. (And here’s a double entendre to make Monkman’s humour more sublime: A beaver’s anal gland secretes castoreum, which is a cherished ingredient in perfumes and food flavourings. Or maybe that’s your first reaction to the title and the high school vernacular for a woman’s vagina didn’t cross your mind….)
Monkman doesn’t make mischief with our understanding of history in the chapter called The Forcible Transfer of Children. The exhibit room is painted black. On two facing sides are cradleboards, some in chalk outlines, some in plain wood. They look like baby-sized tombstones. (To remind you how intricately beautiful and lovingly made the original baby-carriers were, Monkman also has a few on display.)
The painting on the wall directly facing you is an emotional suckerpunch: The Scream.
You want to look away from the heartache but you can’t as priests, nuns and red-tunicked RCMP officers snatch children away from their mothers. The mothers’ and children’s anguish is not distorted, as it is in the Edvard Munch painting. It’s real and raw. And yet they, like the house in the background, are not painted as historical figures. We are not allowed to reassure ourselves that “This racism happened only in the past. It’s different now.”
In the nine-chapter “memoir” the serves as the inspiration for the nine-part exhibit, Miss Chief writes “This is the one I cannot talk about. The pain is too deep. We were never the same.”
“Monkman shows that there are limits to Miss Chief’s power,” says Dr. Kramer. For all of the religious allegories in many of his works, “he can’t make Miss Chief as the saviour because she wasn’t.”
History happened.
However, Monkman, who is Cree and grew up in Northern Manitoba, goes a long way towards reclaiming it.
Shame and Prejudice is many, many things but there’s one thing it isn’t — dogmatic. Monkman’s not waving a tsk-tsking finger of judgement but he does expose the wrongs that history will be judged by. He uses humour to trick you into feeling comfortable about his in-your-face way of confronting hard truths but his supreme skills as a multi-dimensional artist open your heart and mind to where he wants to lead you. Monkman’s references to — and mastery of — classical art reflect his admiration of it even as he appears to mock it. In doing so, he turns the table on cultural appropriation.
This is the first MOA exhibit since the pandemic began. It would be such a loss of opportunity if people don’t feel reassured enough by MOA’s safety restrictions to venture out to the UBC Endowment Lands. After months of engaging in life primarily through our TV and computer screens, there’s something so deeply satisfying about being able to walk through the exhibit, to feel the power of art, to be reminded anew of an artist’s ability to reshape and question our understanding of our world. No online article could ever do Monkman’s work justice. No image on a screen can convey what it’s like to be drawn into his imagination. Book your tour time and go.
Shame and Prejudice: A Story of Resilience is at the MOA until January 3, 2021. As a result of Covid-19, only 50 people will be allowed into the museum at any one time. Tickets will not be sold on site. To limit how many people are in the exhibit space, everyone must book their entry online here but there is no time limit for the length of the visit. There is free admission for Indigenous peoples and MOA members. Masks are strongly encouraged but will not be provided.
Martha Perkins is the North Shore News’ Indigenous and civic affairs reporter. This reporting beat is made possible by the Local Journalism Initiative.
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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.
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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