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Sixties Scoop survivor honoured in Quispamsis school's art installation – CBC.ca

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Close to 14,000 hand-painted cardboard squares were collected and assembled to tell the story of Sixties Scoop survivor Minda Burley. 

The art installation was a year-long project by the students and teachers of Quispamsis Middle School to create a temporary collage recognizing the history of the Sixties Scoop and bringing awareness to the Every Child Matters movement.

Between the 1950s and early 1990s, more than 22,500 Indigenous children in Canada were apprehended by child welfare agencies and placed with non-Indigenous foster or adoptive parents and lost their cultural identities as a result.

The installation, 18 by 18 metres, was displayed at the QPlex arena in Quispamsis.

Burley shared her story with students, and the school partnered with artist Bonny Hill of Sussex to make the project happen. 

WATCH | School art project aimed at inspiring young people to work toward truth and reconciliation 

Collage in Quispamsis recognizes Sixties Scoop and brings awareness to the Every Child Matters movement.

6 hours ago

Duration 2:03

Students at Quispamsis Middle School prepared 14,000 hand-painted cardboard squares to tell the story of Sixties Scoop survivor Minda Burley.

The collage is a recreation of a photo of Burley when she was an infant and taken from her home on Cree territory in Western Canada.

The photo was placed in a Saskatchewan newspaper ad titled “Adopt the Métis child.”

Burley and her younger sister were placed into the foster system and adopted by the family of an RCMP officer who moved them to Sussex.

Burley said she was cut off from her identity and for a portion of her life, was not even made aware that she was Indigenous.

They were adopted  in 1968 but didn’t get their birth certificates until 1972.

 “We had no idea that we were even native when we were younger,” Burley said. “Our parents never talked about it. They never really told anybody. So we didn’t know anything. Where we came from? Nothing.” 

Burley said it was only three years ago that she found out that she had been taken from her biological family. 

“We knew we were adopted, so my sister knew where we were in Saskatchewan. She went to the office to find information on us and back then, they wouldn’t give her any information. So we kind of let it go. Then my cousin got into it, and she found us a lawyer and this is how we found out where we were from.” 

This photo of Minda Burley was placed in an ad in a Saskatchewan newspaper. The ad title was ‘Adopt the Métis child.’ (Submitted)

Burley said seeing the installation completed was a profound moment. 

“It brings everything to a 360-degree turn, where I didn’t know anything about my life and now I’m still learning about it. But all of a sudden, it’s going to be out there for the world to see now.

“This is one person’s picture, but there’s thousands of children out there that were scooped in the sixties and I think this is very powerful.” 

Prior to the project, Burley and Hill were friends and both women knew each other’s families. 

Hill said hearing Burley’s story moved her. 

“She started telling me about this and it wasn’t that much later when we started hearing about Kamloops and finding the unmarked graves … it just really shocked me and really bothered me and it’s unbelievable.”

The idea to use cardboard for the project came about when Hill noticed an excess of the material in her home. 

Hill was approached by Heidi Stoddart, a teacher at Quispamsis Middle School, and asked if Hill wanted to work on an art project that would help students learn about the history of the Sixties Scoop.

Minda Burley says she and her sister didn’t know they were Indigenous growing up in Sussex. (Graham Thompson/CBC)

Both Burley and Hill were inspired to hear what students learned doing the project. 

Sophie Lesser, in Grade 8, has been helping out on the project since last September. 

“This project is really important to me because I feel like I’m making a little difference in the world, even if it’s just a one- day installation,” she said. “I feel like I can make a little bit of a change to other people around Canada and hopefully inspire more truth and reconciliation.”

Grade 8 student Sophie Lesser has been volunteering to on the project since last September. (Graham Thompson/CBC)

The school hopes to continue the project and share more stories of other survivors.

Burley’s sister has already volunteered for the second portrait. 

The installation was only be available to view on Friday. Then, Burley said, she is taking the next step in reclaiming her identity and family ties. 

She and her sister will travel back to Saskatchewan in August to meet with their biological sister.

“We’re hopefully going to find some more brothers and sisters while we’re out there for a couple of weeks or so,” Burley said.

“That’s our journey this year, is to find some of our family because we’re not getting any younger and the time is now to do this.” 

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

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



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

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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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