SCENE SETTER: MacLaren gallery 'boldly' brings together art, community to spark dialogue - BarrieToday | Canada News Media
Connect with us

Art

SCENE SETTER: MacLaren gallery 'boldly' brings together art, community to spark dialogue – BarrieToday

Published

 on


Have you ever heard a song, read a book or saw an image and immediately wanted to tell someone about it? That is a defining feature of art.

Whether it be good or bad, soothing or uncomfortable, art sparks discussion, debate and moves us to think critically about the world we live in.

In the spirit of starting fresh conversations, Barrie’s MacLaren Art Centre is bringing art and the community together in a bold way.

I had the opportunity to talk with executive director/curator Lisa Daniels about Anchor Point, a collaborative and timely project the community can connect with.

RV: What is the Anchor Point project and where did the idea come from?

LD: Anchor Point is a yearlong series of collection-focused exhibitions. Within Anchor Point there are three exhibitions that will take place over the course of the year, each with a slightly different curatorial strategy but all anchored in the collection.

RV: What are you hoping to accomplish with this three-part exhibit?

LD: Through collaborating with the public and artists in different ways, we hope to discover new insights and community connections with the collection. We hope that this series starts a conversation with our community, and overtime will highlight hidden gems; identify the strengths and the gaps in the collection; and foster conversations about how the collection and exhibitions can more closely reflect the stories and the voices of the community we serve.

Through the exhibition series, we want to build stronger connections between our community, the collection, and the gallery.

RV: What role will our community play in the evolution of this project?

LD: The role of the community is to enter into dialogue with us over the course of the project and tell us which works they want to see. In many ways, the process and the exhibitions will be shaped by the conversations we have with the community – whether
they be in person, via social media, or through some of the ancillary programming we are planning around the project.

Because of the interruption of the most recent lockdown, we have had to shift our strategy. Starting later this week, people can be part of the project on Instagram and vote on which work they want to see in the exhibition and tell us why. We are also creating a page on our website where people will be able to follow the process, see how it is evolving, and find out more about the art and the artists being presented. This page will be available shortly.

RV: When it comes to the MacLaren’s permanent collection, what do you think it represents to the community?

LD: That is precisely the question we want to answer through the Anchor Point project.

A permanent collection lies at the heart of a public art gallery’s identity. That is because one of the key criteria that we use to determine what work is brought into the collection is that it be reflective of the community we serve, contextualized within the broader provincial and Canadian art framework.

Informing our artistic vision is the recognition that the public art gallery is a social space where dialogue, debate, confrontation, personal reflection, innovation, and experimentation can safely occur. That visual art and visual culture, with its capacity to embrace and reflect the multifaceted makeup of our society, is a powerful and vital medium that stimulates opportunities for creative exchange and discovery.

We believe that it is through the community’s ongoing engagement with the collection in dynamic, meaningful ways that we will build a collection of art that is truly reflective of and responsive to our changing community. A collection that the community is proud of and feels a connection.

RV: The first exhibition, Wind Rose, is currently on display. What can people expect from this exhibit and what do you hope people walk away with after experiencing it?

LD: The best way to experience Wind Rose is to be part of its evolution – to be part of the conversation. Visiting the gallery multiple times, as the exhibition evolves is the best way to experience art, and to be part of the conversation. We hope that as people engage in the process, and experience the collection in person that they walk away more curious about the collection and about art than before they visited.

RV: How did Francisco-Fernando Granados become involved with Anchor Point and what is his role?

LD: Francisco-Fernando Granados has been involved with the gallery in the past. As an artist who works in multiple mediums, including performance, he has a unique capacity to be present to what is happening, to the space within which the exhibition is evolving, and based on the conversations with the community, to contribute artistically in a way that moves the conversation forward.

In dialogue with Anchor Point, foreward is imagined as an extended solo exhibition occupying the in-between spaces of the MacLaren for a year. Francisco-Fernando Granados will use abstraction as a means to open up conversations on place, history, and the way forward for cultural practices in the region. The project consists of site-specific wall drawings, a series of preparatory studies to be entered into the gallery’s collection/archive, and a free takeaway publication for the residents of Barrie.

Throughout the year, the MacLaren’s curatorial team will engage in a dialogue with the local community, shaping the course of the next show and informing the intuitions for foreword. This process of dialogue will be reflected in a series of preparatory drawings
that will be mailed to the gallery and will enter the MacLaren’s permanent collection.

Based on the visual material developed over the course of the year, a free takeaway publication will be created and offered to gallery visitors.

RV: How does Anchor Point align or diverge from traditional exhibition building?

LD: Well, I think the traditional view is that a curator develops and mounts an exhibition and the public comes and views it. More and more we are seeing curators work collaboratively and in partnership with artists and communities in the development and presentation of exhibitions. Anchor Point, and in particular Wind Rose, is being developed that way, but goes even further in that the exhibition is evolving in full public view as we move through the process.

The exhibition opened on Dec. 4 with only three works in the gallery, and will slowly build until May 6. On May 6, we will have a community celebration with all works selected. I am very curious to see the voice of our community and Francisco expressed through our collection.

For more information about Anchor Point, Wind Rose and other current exhibitions, click here.

Adblock test (Why?)



Source link

Continue Reading

Art

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

Published

 on

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.

Continue Reading

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

 on


[unable to retrieve full-text content]

Ukrainian sells art in Essex while stuck in a warzone  BBC.com



Source link

Continue Reading

Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

 on

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.

Source link

Continue Reading

Trending

Exit mobile version