Art

Roadkill crow sculpture at LeBreton Flats latest addition to Ottawa's public art scene – Ottawa Citizen

Published

1 year ago

June 28, 2023

When the Rubber Meets the Road by artist Gerald Beaulieu is the latest public art installation from the NCC, placed along the multi use pathway on LeBreton Flats. Photo by Blair Crawford /Postmedia

Move over giant spider. Here comes dead crow.

“When the Rubber Meets the Road” by Prince Edward Island sculptor Gerald Beaulieu has appeared along the National Capital Commission’s multi-use pathway on LeBreton Flats near the Pimisi LRT station.

Fashioned from recycled tires, the five-metre long, 360-kilogram crow represents “the harm caused by our commuter culture as well as the crow’s role as a scavenger of urban waste,” according to the NCC.

LeBreton Flats used to be the site of a landfill, making the recycled content especially significant, the NCC said in a tweet Monday announcing the installation.

“It made me stop and wonder what it was. So that’s kind of cool,” said Naomi Szigeti, who was biking to work Wednesday morning. “I wouldn’t want it in my backyard, but it’s making a statement and I guess that’s the point. I like it.

“Garbage, a dead bird — it’s a statement about the environment,” Szigeti said.

Kate Davis, a biologist by training who was also biking to work, was another who stopped to admire Beaulieu’s sculpture.

“I love it,” Davis said. “It’s fun and exciting. There’s lots of public art here — I love the moose too,” she said, gesturing toward the red moose at Pimisi Station by Indigenous artist Simon Brascoupé.

A printmaker herself, Davis said she’s made art using crows and ravens, too — “black birds in the bleakness of Ottawa’s winter.”

“When the wildflowers come up around it, it will be quite beautiful.”

Reaction on Twitter was less positive.

“Oh no. How much did you pay for that. That’s hideous. It looks like someone tossed their trash out of their car,” wrote one user.

“And how much money was forked over for a piece of art that looks like the head of something Ozzy Osbourne bit off?” wrote another.

It’s just wonderful to see that the NCC pays for things like this. I had no idea. I look forward to receiving the cheque for the art I leave at the end of my driveway every two weeks.

— Rob (@Rob_Suttie) June 28, 2023

I love this piece of art. Can’t wait to see it in-person.

— ????Dusk???? (@OhStephanieSM) June 28, 2023

Mayor Mark Sutcliffe hemmed and hawed when asked his opinion about the sculpture after Wednesday’s council meeting.

“Someone sent me a picture,” he said. “Um… I don’t… I’m not an expert on art, so I won’t comment on that.”

Strong reaction to public art is nothing new, of course. Maman, the towering spider in front of the National Gallery of Canada, has become a symbol of Ottawa, beloved by many but a source of heebie-jeebies for others, primarily arachnophobes.

In the 1970s, the pink curvy Traffic sculpture installed at Confederation Park was dismissively nicknamed “The Intestines” by many Ottawans.

A native of Welland, Ont., Beaulieu graduated from the Ontario College of Art and Design in 1987 and now lives and works in Stratford, P.E.I. He originally created the crows for an installation in Charlottetown.

In 2018, he told the CBC the use of old tires was deliberate for the message he wanted to convey. “Often when I do my works the materials are the metaphors, so the tires are exactly the cause of the catastrophe,” Beaulieu told the network. “They’re also very well suited — being rubber, being black — they work perfectly in making the crows.”

When the Rubber Meets the Road will be in place on LeBreton Flats for 12 months.

When the Rubber Meets the Road by artist Gerald Beaulieu is the latest public art installation from the NCC, placed along the multi-use pathway on LeBreton Flats. Blair Crawford/Postmedia Photo by Blair Crawford /jpg

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Art

A misspelled memorial to the Brontë sisters gets its dots back at last

Published

3 weeks ago

September 26, 2024

Anne Joseph

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.

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Art

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

Published

1 month 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.