Art

Should non-Indigenous people buy, wear Indigenous art? Creators say it depends

Published

1 year ago

April 24, 2023

In the era of reconciliation, more conversations are being had about what is — and isn’t –an acceptable way for non-Indigenous people to show support for Indigenous artists.

Indigenous art is increasingly being copied, reproduced or stolen — earlier this year charges were laid in an alleged art fraud ring against a group accused of making and selling pieces of art under the name of Anishinaabe artist Norval Morrisseau.

It’s an issue Sen. Patricia Bovey has raised in the House of Commons advocating for updates to copyright laws to further protect authentic Indigenous art.

Bovey told Global News that the issue is complex and won’t be solved by one department. “I am concerned about artists having means of claiming their own intellectual rights … (and that) very few of them are in a position to be able to fight for their intellectual rights legally.”

She’s looking into things like potential funds to support artists to claim copyright; a way to authenticate work before it leaves the studio; and whether Canada should adopt acts from the United States — like the Indian Arts and Crafts Act of 1990.

“I can’t bear the thought of an artist working laboriously for years to develop their art form and their imagery and their iconography to have it stolen and fabricated and plastic somewhere else in the world,” said Bovey.

Who can wear Indigenous art, beadwork?

But the conversation doesn’t just involve work by big names. With questions around authenticity rising, many non-Indigenous folks have begun to tread carefully and question where to buy or whether they should be buying. Indigenous artists, especially beadworkers, say they’re regularly asked these questions.

“My response is always ‘Absolutely, it’s OK,’” said Nicole Geary a registered member of Sahtu Dene and Métis of Norman Wells and the artist behind Beaded Legacy.

“One of the biggest goals of colonization was to completely wipe out Indigenous culture so whenever I see someone — whether they’re an Indigenous person or not — wearing beaded jewelry it’s a win.”

“It (shows) Indigenous culture is alive, it is thriving and it is all around us; it’s a big statement to our survival and resiliency.”

Rebekah Wade agrees, she’s the artist behind Moccasin Mama, a member of Chippewas of the Thames First Nation and creates custom beaded moccasins.

“If you have an appreciation for it and you come at it from a respectful place wanting to support Indigenous business and Indigenous people, I think you should buy it,” she said. “I don’t put my stuff up for sale if I don’t think it’s appropriate for non-Indigenous people.”

“The point is to share our work, share our creations and teach people about Indigenous experiences today,” adds Wade. “We want to be included in these contemporary conversations about art and fashion.”

Modeste Zankpe started beading as a way of grounding themselves, they’re from Esk’etemc First Nation and the artist behind Monday May Jewelry.

Zankpe said they feel like artists have a similar script, “just make sure you’re buying from actual Indigenous folks,” they said.

Ensuring authenticity

The key to wearing Indigenous designs is to make sure they’re created by actual Indigenous designers.

Lauren Swan, a band member from Cold Lake First Nation, runs Niso Makers with her sister. She said “most beadwork artists will share what community they’re from … look for that and ask the right questions.”

As a mixed person, Geary said it was initially tough to take her work online, “I had some people online questioning my identity, which on the topic of the authentic Indigenous art is a really important question to ask,” she said.

Adding, “it’s a good thing to ask these questions, and I’m now grateful to be asked these questions because it means people are being more mindful and wanting to ensure they’re purchasing authentically made Indigenous artwork.“

Geary hopes buyers will get comfortable asking questions, but said its important to keep in mind what questions you’re asking.

“You shouldn’t ask for a photo of someone’s status card … but asking what community are you from? Where is your traditional territory? Can you tell me about your connections there? That kind of thing I think is super healthy,” she said. “Just stating that you’re Indigenous without stating what nation you’re from or what community you belong can be a bit of a red flag.”

Zankpe says especially in light of many folks pretending to be Indigenous, its important to ask these questions. “If I were looking for Indigenous beadwork, I would be checking out their socials and make sure they list what nation and community they’re connected to.”

Buying authentic Indigenous work helps support Indigenous communities, people and ensure economic self-sufficiency.

“(Our) artwork carries such deep value and meaning that can never be mimicked or replaced,” adds Geary. “These works of art are the result of resilience and survival through attempted genocide and erasure … when people try to recreate something similar, it’s just disrespectful to everything Indigenous Peoples had to go through to make sure their culture, traditions and ways are carried on for generations.”

Not ‘an act of performative allyship’

While artists and beaders want you to buy their work, there are things to consider in addition to ensuring what you’re buying is authentic.

One of those things is purpose, Geary said “I don’t believe that beaded earrings should be an act of performative allyship to wear on Indigenous Peoples Day or Orange Shirt Day … beadwork is for 365 days of the year.”

Adding, “Whenever anybody compliments their earrings or asks about their earrings, you know, support the Indigenous artist by sharing who they are while encouraging others to shop Indigenous.”

Just a reminder that non-Indigenous people are allowed to (in general) purchase and wear beadwork, provided that it’s purchased from an Indigenous person. That is cultural appreciation and directly supports Indigenous artists ❤️

— Indigenous Beads???? (@IndigenousBeads) February 25, 2022

In addition to helping ensure authenticity, knowing who made it will help the wearer feel more confident, said Wade.

“Knowing (the artist has) a connection to their community and their culture, that’s helpful because I know that they’re coming at it from a authentic place, a place of reconnection, a place of community understanding, of love for their culture,” she said. “It’s a very complicated and a touchy thing because for a long time it was illegal for us to wear our culture, to practice our culture, to do all of these things that are done so widely now … and as much as we want to share our work with other people who are non-Indigenous, seeing people who are non-Indigenous create our designs … can be very hard.”

“There isn’t a shortage of Indigenous beaders, and it’s not that hard to look for them,” said Wade. “If you’re shopping, just make sure you’re doing a little bit of homework.“

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Art

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

Published

2 days 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.

Art

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

Published

2 weeks ago

September 2, 2024

Harry Miller

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

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Art

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

Published

4 weeks ago

August 18, 2024

Harry Miller

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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