Art

Textile Museum exhibition explores the art of Inuit printmaking

Published

5 years ago

January 7, 2020

A new exhibition at Toronto’s Textile Museum of Canada tells the story of a handful of artists who created hand-printed textiles in Cape Dorset, Nunavut in the 1960s.

Canadians tend to think of Inuit art as something that adorns a gallery wall, not your living-room curtains. For a brief period in the 1960s, however, a handful of artists at Kinngait Studios in Cape Dorset, Nunavut, set out to change this with a collection of hand-printed textiles. An exhibition at the Textile Museum of Canada in Toronto tells the story of this forgotten initiative, while celebrating the new generation of Inuit textile designers who are following in its footsteps.

The story of Printed Textiles from Kinngait Studios, which runs until Aug. 30 before embarking on a nationwide tour in 2021, begins in the 1950s, as Inuit communities transitioned to a more urbanized existence in towns such Cape Dorset. With the help of artist and civil administrator James Houston, who was instrumental in establishing Inuit art as a commercial enterprise in the North, printmaking emerged as a promising means of generating much-needed income for the area.

Textile Museum exhibition celebrates an oft-overlooked strand of Inuit art history

Lukta Qiatsuk and Iqaluk Pingwartok work in Kinngait Studios in this undated archival photo.

The idea to create commercial textiles, Textile Museum of Canada curator Roxane Shaughnessy says, was both a natural evolution from printing on paper and right on-trend. “It was a period where there was a lot of interest in elevating textile design to the status of art,” she explains, evoking Canadian graphic designer Thor Hansen, whose nature-themed prints were popular in the 1950s, and Finnish design house Marimekko, whose colourful florals were a global sensation in the 1960s. “Houston thought this was a really good idea that would sell well and provide a commercial enterprise for the artists and printers at the time.”

Under the supervision of Kananginak Pootoogook, who worked for years to master fabric printing techniques, artists including Kenojuak Ashevak, Pitseolak Ashoona, Parr and Pudlo Pudlat designed dozens of original commercial textile prints at Kinngait Studios during the 1960s. The designs depicted birds, fish and parka-clad Inuit, rendered in a colourful, graphic style suited to the ebullient aesthetics of the era.

Mary Samuellie/Pudlat’s Fish and Shadows is one of dozens of hand-printed textiles created by Nunavut’s Kinngait Studios in the 1960s.

In addition to being marketed to architects, public works officials and department stores across the country, the textiles were entered into the Design ’67 Awards competition, a program to promote Canadian design at the upcoming Expo ’67 in Montreal. The fabrics won, earning a $1,000 prize for Kinngait Studios along with a role decorating a model suite at Moshe Safdie’s Habitat ’67 apartment building.

Sadly, just as Safdie’s futuristic design failed to revolutionize urban housing, fabric printing did not prove to be a viable industry in the north. By the following year, a combination of low sales and the high cost of shipping materials to and from Cape Dorset put an end to the project. “I think it was difficult to produce, with the logistics of it all,” Shaughnessy says. “But it was remarkable how much they achieved given the circumstances.”

The textiles, such as Anna Kingwatsiak’s Camp Scene, seen here, render characters in a vivid, colourful style.

Anna Kingwatsiak

While modern textile design in Canada’s north began with Kinngait Studios in the 1960s, it didn’t end there. Alongside the original fabrics in Printed Textiles from Kinngait Studios are new works from Martha Kyak, Tarralik Duffy and Nooks Lindell, Inuit fashion designers who are continuing the tradition of Northern textile design.

“It’s so much easier now than before,” says Kyak, who creates bold, colourful prints of Arctic flowers for her clothing brand, InukChic. Unlike her predecessors, she creates her designs digitally, has them printed onto fabric in the United States and shipped back to her. It’s less time consuming and more economical than any means available in the 1960s and, she imagines, would have made a big difference to the outcome of Kinngait Studios’ short-lived textile scheme.

“Back then, they did it by hand, and now in the internet world you can do so much more,” Kyak says. “I think they would love to see all the possibilities they could do today. I believe they would be very successful.”

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Art

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

Published

6 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

1 month 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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