Art
Tahltan-Tlingit artist Dempsey Bob says he dedicates his work to his ancestors
Internationally celebrated and distinguished artist Dempsey Bob once got a ‘C minus’ from his high school art teacher.
It was the mid-’60s, and Bob, a Tahltan and Tlingit man originally from Telegraph Creek in the northwest corner B.C., was attending a Catholic high school in Prince George.
“She told me I didn’t draw the way she wanted me to draw,” he said in an interview with CBC. “And I told her, I’m Tahltan and Tlingit, I can’t deny who my ancestors are. That’s the way I see it and that’s what I do.”
The exchange didn’t deter the northwest coast artist but instead made him more determined to focus on the art of his ancestors.
Now, more than five decades later, the artist’s oeuvre of wood carvings have been featured in museum collections and exhibits all around the world, including the Smithsonian Institution in Washington, the National Museum of Ethnology in Osaka, Japan, and Canada House in London.
And in 2013, he was appointed Officer of the Order of Canada — one of the nation’s highest civilian honours.
“I thought I did pretty good for someone with a ‘C minus’,” he said.
The 75-year-old master carver has been keeping busy with Wolves: The Art of Dempsey Bob, a retrospective that charts his progression as an artist from the early 1970s until today. The touring exhibition has been to Whistler and Montreal and opens at the Kelowna Art Gallery on Oct. 14, where it will run until Feb. 18, 2024.
Wolves features a collection of masks, wall sculptures, vessels, and regalia from private collections and museums all brought together for the first time.
A show featuring the work of the First Nations artist, known for Vancouver airport carvings, goes on display at the Kelowna Art Gallery
Much of the art on display, according to the Kelowna Art Gallery’s executive director Nataley Nagy has never been seen before.
Even Bob lost sight of some of his creations, which he hadn’t seen for decades since he carved them.
“I felt like some of the masks were saying, ‘Where have you been, Dad? It’s been 40 years’,” he said.
Art to remember his ancestry
Bob firmly believes that art preserves culture and helps to honour those who perfected it and passed it down through generations.
He was born to a family of storytellers, singers, songwriters, weavers and carvers, but his parents and grandparents weren’t able to freely express themselves with their art as he is able to today.
From the late 19th century until 1951, the Indian Act restricted Indigenous ceremonies, such as the potlatch, consequently putting restrictions on Indigenous culture and practices.
“I’m carving for my ancestors because they weren’t allowed to,” he said. “I have been doing it for my grandparents and my mum.”
He said it was his mother who encouraged him to take on wood carving and was his biggest supporter when he was just starting out.
The retrospective Wolf is also meant to be a tribute to his mother who belonged to the Wolf Clan.
Learning under Freda Diesing
As a young child, Bob would often take a pocket knife and spend hours carving toys out of wood.
“We made canoes, slingshots, bows and arrows.”
But he only considered taking up wood carving as a career when he met Freda Diesing, a trailblazing Haida artist and one of the very few female carvers of Northwest Coast totem poles.
Shortly after graduating from his high school in Prince George, Bob began studying carving under Diesing in Prince Rupert.
“I had a friend who was going to study with Freda and he wanted somebody to go with him,” he said.
Eventually, Bob agreed and went to Prince Rupert — a decision that ultimately changed the course of his life.
“Frida was a great teacher, a great artist and a great human,” he said.
“She also sent me to Alaska to work with children there,” he said. “At first I didn’t understand why but after drawing over 10,000 ovoids, and ‘U’ shapes and ‘L’ shapes, I finally understood why.”
He said Diesing made him a better artist because she always encouraged him to keep learning and try new things — attributes he also tries to embody as a teacher.
In the fall of 2006, Bob opened the Freda Diesing School of Northwest Coast Art in Terrace, B.C., where he is currently based, to honour and continue the legacy of his late teacher.
He wants to showcase the carvings and encourage people to learn about the culture and art.
“Because culture is very important. It is what makes us human.”
With files from Sarah Penton and Brady Strachan
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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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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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