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Sobey Art Award powers back with tough competition – The Globe and Mail

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Rajni Perera, representing Ontario, is nominated for the 2021 Sobey Art Award.Handout

After a pandemic hiatus that distributed the prize money evenly among all 25 finalists, the Sobey Art Award returns to its winning ways. This Saturday, the Sobey jury will announce a single winner of the $100,000 first prize, one of the richest visual arts awards in the world.

Competition will be stiff for the top honour among five short-listed finalists – to judge from the exhibition of their work now showing at the National Gallery of Canada in Ottawa.

Rajni Perera paints costumed and masked figures from a mythic world of her own invention.Becca Wallace/NGH

Front and centre – and intriguing and vivid – is the work of Toronto artist Rajni Perera, the finalist from the Ontario region. Perera invents her own exotic multicultural sci-fi vocabulary, heavily influenced by the strong colours and clear lines of South Asian miniature painting, but executed on a bold scale. In hot pinks and saturated blues, she paints costumed and masked figures from a mythic world of her own invention, and also makes her vision three dimensional with a spectacular sculpted bust wearing a fabric headdress.

Rémi Belliveau created a 55-minute film and archival material about the recording of an Acadian folk song by a largely fictional Jean Dularge.Becca Wallace/NGH

Rémi Belliveau, representing the Atlantic region, is nominated for the 2021 Sobey Art Award.Handout

New Brunswick native Rémi Belliveau, representing Atlantic Canada but now resident in Montreal, also turns to fiction to craft cultural identity, but in this case, it’s a project of reclamation rather than invention. Belliveau has created a 55-minute film and archival material about the recording of an Acadian folk song, Viens voir l’Acadie (Come see Acadia) by a largely fictional Jean Dularge. The catchy song features bitterly satirical lyrics in New Brunswick’s Chiac slang, the French peppered with English, about the commercialization of Acadian history and the Evangeline myth.

The story goes that the song was never released for copyright reasons, and it’s a testament to Belliveau’s cunning that it’s hard to know how much of this is true. The engaging film features highly plausible black-and-white footage of a 1960s recording studio in which the producer doubles on tambourine and the backup singers never stop smoking.

Gabi Dao’s a sentimental dissidence multimedia immersive installation.Becca Wallace/NGH

Both these takes on cultural identity use, in part, whimsy and fancy to engage their audience. For Gabi Dao, the Vancouver artist representing the West Coast and the Yukon, memory is the slippery material of choice. Based on a research trip she did to the Mekong Delta in Southern Vietnam, Dao has made a film featuring multiple viewpoints on the place and her ancestral links to it, splicing together evocative imagery and adding a soundtrack of her own voice and various interviews. The video screen on which this plays is bookended by two physical frames on which hang bead curtains suggesting entry to a shifting and ephemeral place.

Laakkuluk Williamson Bathory turned a brief clip of a mask performance into a physical object by screening it on a stretched animal hide.Becca Wallace/NGH

One of the most significant changes in the Sobey criteria for 2021 was the removal of any age limit on this prize for emerging artists. Two of the five finalists have benefited from that: Laakkuluk Williamson Bathory is now 42, while Lorna Bauer is 41. Bathory is a Greenland Inuit mask dancer (who resides in Iqaluit) and is representing the North and the Prairies. She has turned a brief clip of a mask performance into a physical object by screening it, GIF-like, on a stretched animal hide, creating a powerful physical presence in a darkened gallery and an interesting juxtaposition of traditional and technological cultures.

Lorna Bauer’s series of large photographs, with reflections of nature in the glass windows of architecture, and some of her idiosyncratic blown-glass work.Becca Wallace/NGH

Thematically, Bauer is the odd one out here, addressing form and creation rather than identity. A Montreal artist representing Quebec, she is showing a series of large photographs, with reflections of nature in the glass windows of architecture that ask viewers to position themselves in relationship to these puzzling spaces. Meanwhile, Bauer also includes some of her idiosyncratic blown-glass work, a collection of show-stopping vessels with boxy rectangular bodies and off-centre necks.

The Sobey’s regional focus, dividing the country into five areas and picking a finalist from each, has not always served the prize well, as art from Canada’s three big cities often overshadows the other entries. That is one possible advantage to removing the age limit – a change that was intended to make the prize more accessible – and certainly this year the competition powers back into action. Last year, the award program’s entire $625,000 budget was divided among the 25 artists on the long list, as both the awards ceremony and the exhibition were cancelled. This year, the four runners-up win $25,000 each, but on Saturday night, only one person will walk away with the big prize.

The Sobey Art Award exhibition continues to Feb. 20 at the National Gallery of Canada.

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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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