Art

Textile Museum exhibition celebrates an oft-overlooked strand of Inuit art history – The Globe and Mail

Published

5 years ago

December 20, 2019

Harry Miller

The Printed Textiles from Kinngait Studios installation at the Textile Museum of Canada in Toronto.

Darren Rigo

The owl print or the soapstone walrus have become so fixed in the Canadian imagination it may be difficult to consider Inuit art as something other than inevitable. The West Baffin Eskimo Co-operative (as it has been called since its inception) celebrated its 60th year in 2019, and the anniversary programming includes an exhibit devoted to Kenojuak Ashevak that will be touring the country in 2020. That survey includes rare drawings, the artist’s original images of the bears, birds and mystical figures so familiar from the popular prints. But an exhibition of early silkscreened and block-printed textiles from Cape Dorset (or Kinngait) at the Textile Museum of Canada in Toronto tells a less well-known story and forces a reconsideration of how 20th-century Inuit art began.

As the Canadian government forced a people living on the land into permanent settlements, the Inuit began to need cash. The art projects run by the Cape Dorset co-op – the arm that would become Kinngait Studios – were initially introduced by government agents. The idea was that the skills used to carve stone, incise bone and sew clothing could be adapted to produce handicrafts for southern markets. But carving and printmaking were just two possibilities: This show offers a wide selection of rarely seen textiles, startlingly modernist and highly colorful designs created in the 1950s and 60s.

Spirits and Birds, by artist Pudlo Pudlat.

Reproduced with the permission of Dorset Fine Arts

The show, curated by Roxane Shaughnessy, includes a small selection of clothing and boots decorated with stitching and appliqué that gave rise to the idea Inuit artists might excel at designing textiles. And then it includes bolt after bolt of the striking fabrics: Before they became prints on paper, drawings by Cape Dorset artists were conceived as potential patterns for interior design or clothing. Just as the prints were not pulled by the artist themselves but by master printmakers using their drawings, the textiles were also printed in the co-op using imagery from drawings. (One of the key printers was Kananginak Pootoogook, who as a young man was instrumental in establishing the co-op and later became well-known for his own imagery.)

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Parr’s People, by artist Parr.

Reproduced with the permission of Dorset Fine Arts./Dorset Fine Arts

So a black drawing of a large goose with a dog and walrus by the artist Parr (who used only one name and is a key figure in the exhibition) becomes a pattern of brown and red geese on cotton sateen twill. Pitseolak Ashoona creates an image of an owl for a stonecut print that shows up again as a repeating figure on a bolt of linen. A photograph of Ashevak shows her wearing a dress with her own images of birds printed down the long, bell-shaped sleeves. Twenty-one artists are represented – most of whom are now dead – but some of the pieces are anonymous: This show is preserving an artistic history as fragile as the textiles themselves.

To contemporary eyes, the bold but simple patterns in strong yellows, pinks, reds and blues echo the familiar imagery of the prints, but also look distinctly modern. Indeed, the show has a powerful mid-century vibe that evokes Mary Quant or Marimekko as much as Ashevak or Pootoogook. The exoticism of these art fabrics made them hip at the time: The show includes a few commercial images of southern models wearing clothes printed with Kinngait imagery posing incongruously in the Arctic.

Camp Scene, by Anna Kingwatsiak.

Reproduced with permission by Dorset Fine Arts

One Toronto company does still license the patterns – and there’s a new, bright yellow shirt offered as an example – but for the most part, the textile project foundered on the logistics of trying to produce hand-printed yardage in the North. Prints and carvings proved easier to make and sell.

Still, the current nostalgia for 20th-century design suggests southerners might now embrace Inuit textiles. A handful of contemporary examples speak to some continuity in the tradition. These include a cotton dress designed by Martha Kyak of InukChic with a richly coloured floral pattern on a dark ground and a shape based on the traditional amauti, or women’s parka, with its long tail coat. It’s a striking piece of clothing and more evidence of the complexities of Inuit art history.

Printed Textiles from Kinngait Studios continues through Aug. 30 at the Textile Museum of Canada.

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Art

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

Published

3 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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