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The Art Of Doing Nothing – Ubyssey Online

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May 26th: I lay in the fetal position facing away from my window, swaddled in my blanket and scrolling in horror as I watched various accounts unfold, documenting the death of George Floyd. The summer had already ruthlessly attacked Black bodies, our lives and lungs brutally attacked by a virus that was disproportionately killing us.

Not only were our lungs incapacitated in hospital beds, but even on the streets, we couldn’t breathe. The autopsy may have declared his death a result of asphyxiation, but it was clear that his life was taken because he dared to have Black skin. And while we mourned for him, we learnt of others ­— Ahmaud Arbery, Regis Korchinski-Paquet, Breonna Taylor, Oluwatoyin Salau. These were people who lived and died, their lives were more than a slogan, a t-shirt or an Instagram story.

Before the day I learned of his death, my default reaction would have been an exhaustive but temporary outburst of rage. In these instances, I found no time to grieve and sit with the fact that even in the 21st century, Black lives are still under a constant threat of being lynched. But as I curled up under my covers, anger didn’t feel like an appropriate enough reaction. It felt pointless.

As I scrolled through my timeline I waited for the rage to come, but it didn’t. The feeling that came over me was much darker. It was like sitting in the bottom of a vast, dark pit, an emptiness that weighed down on my whole body, rendering my limbs heavy and my senses numb.

Gone was my ability to act, or my ability to respond to the vast amount of messages that took up an unhealthy amount of storage on my phone, gone was my ability to stand up and speak out like I had done in the past as if on autopilot. I stayed in my bed for days, doomscrolling into the early hours of the morning and sleeping intermittently through my summer classes.

For 72 hours, I embraced the art of doing nothing. Clicking through well-intentioned infographics and violent clips of Black suffering on Instagram, I wondered about how it would feel to not recognize yourself in the images and videos of Black brutality. To sit and watch George Floyd die, to watch his cries and pleas for his mother was more than a viral moment.

It was a warning, a reminder, that on the wrong day it could be our fathers, our brothers or even ourselves whose lives were cruelly and violently snatched for nothing more than a result of our Blackness. No amount of black squares could reassure me of my safety and still, I allowed the anger and outrage of others to wash over me, wrapping me up in a weighted blanket of reassurance that only further emboldened my inaction.

As I nestled further into my cocoon, I became keenly aware that the act of doing absolutely nothing is contrary to everything that I have been taught as a Black woman. For as long as stereotypes of Black people have existed, the act of doing nothing or being lazy has been deemed completely unacceptable.

This is a sentiment that has stemmed back to the Transatlantic Slave Trade, in which white slave owners justified the enslavement and degradation of Black bodies by arguing that Black people possessed the inability to run their own lives. By emphasizing negative traits within Black people, particularly characteristics of submissiveness, dishonesty and laziness, slave owners rationalized the commodification and brutalization of the Black body. Though this sentiment has metamorphosed through generations, this point of view has been deeply embedded in institutions and their policies. It has guided governments to over police and surveil their Black people especially when they appear to be doing nothing.

Black women are expected to be superheroes.

— Danni Olusanya

Black women have particularly been forced to navigate negative preconceptions. On top of fighting racism, they are also forced to navigate sexism and often as a result of both, classism. To be accepted, Black women are often expected to be superheroes ­— unfeeling, agreeable, background figures who work behind the scenes of movements without asking or expecting recognition for their hard work. Black women are expected to protect the world from their own wrongdoings, to stand behind white women in their fight for gender equity and stand behind men in the struggle for racial equity. During the civil rights era, Black women were expected to choose a cause to fight for, whilst being negatively and in some cases more harshly affected by both. Decades later, Black women still find their needs and desires overlooked by both movements, their work remains uncited, their voices talked over.

For every Martin Luther King Jr. , there is an Ella Baker, a Fannie Lou Hamer, a Coretta Scott King. For every Malcolm X, there are countless Black women who were and are vital in making the world a better place. Yet there are no days to commemorate their work, their speeches remain unquoted, their legacies continue to be unrecognized.

Black girls are conditioned to expect mistreatment in every aspect of their lives.

When I was six I innocently made the mistake of saying “what” in response to a question instead of “pardon;” my teacher responded in a fit of rage, her face reddening as she screamed insults at me until I burst into tears. She sent me to the back of the classroom to sit in isolation for the rest of the day. No other students were allowed to talk to me so I could think about what I had done. As I sat at the table, alone, I made the conscious decision to do everything in my power to not allow history to repeat itself. Sixteen years later I don’t forget to use the word pardon.

Even so, innocence is not something that is afforded to Black girls. A study from Georgetown University conducted in 2014 found that Black girls as young as five are viewed by adults as inherently “less innocent” and “childlike” than their white counterparts, resulting in the belief that Black girls are less deserving of protection and a nurturing environment. This has resulted in harsher punishments and higher suspension and expulsion rates for Black girls in the classroom.

As I got older, the treatment that I received from the adults in my life only worsened. Adults who were entrusted with caring for my well-being were actively responsible for endangering it. While non-Black students were allowed the benefit of the doubt, Black students were met with distrust and suspicion; our errors were treated as intentional acts of sedition.

I endured weekly music lessons with a man who took it upon himself to verbally castigate me every time I played a wrong note. I would sit defencelessly as he would berate me mercilessly, week in, week out, about how every mistake I made was actually rooted in my intrinsic laziness. Some weeks he would lecture about my shortcomings for several minutes, other times he would raise his voice into an almost shout before blaming me for making him lose his temper. His other non-Black students never received the same kind of treatment. While their errors were treated as simple mistakes, I was expected to present perfection and rebuked for anything less than. I have been followed, surveilled, policed and unfairly criticized more times than I would like to recount.

But what makes it much worse is the fact that I know that my experience is far from singular. Black girls know that the world will not fight for them, the same way they know that they are expected to fight for others. And so we armour ourselves, on guard and ready for the next unfounded attack.

In the last few years, I have worked to pursue a path to absolute perfection, filling my days with endless tasks, pushing myself to the brink of breaking point, masking insecurities with a veneer of resilience, replacing genuine feelings of anger with action. But as I lay undisturbed for those 72 hours, I saw another path.

Our pain, our anger and our joy, it matters.

— Danni Olusanya

I embraced a future that wouldn’t expect me to be on the frontlines of every battle, a path that allowed me every once in a while to sit on the sidelines and take a fucking break. In its own way, choosing to sit out can and should be allowed to be its own form of radical resistance. Prioritizing our mental health is just as important in the preservation of our lives as marching and organizing. Our lives matter even when we make mistakes. Our pain, our anger and our joy, it matters.

Eventually, I got out of bed. I hopped in the shower and put on fresh clothes. I had the energy to open my emails and read my messages. And days later, when I was ready to join the fight, I allowed myself to get off the sidelines. But my actions didn’t come from the same place of anxiety, nor was it coupled with my self-worth. I surrounded myself with other Black folks, we allowed ourselves to be angry, to make mistakes and despite the horrors that were occurring within our community and despite all the darkness, we even let ourselves laugh. And a few nights later when I climbed into bed, I felt the darkness, the numbness and the weight of my existence lift slightly from my body.

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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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