Art

These ever-changing art exhibits live in a Quebec garden – CBC.ca

Published

2 years ago

September 14, 2022

Gravity Field by landscape architect Theodore Hoerr and landscape designers Kelly Waters at Rebecca Shen at Jardins de Métis. (Photo by JC Lemay)

There’s a particular nostalgia that laces itself to the act of returning to a place. Seven years after I first set foot here, I return to the Jardins de Métis at the very edge of maritime Québec’s Gaspésie region, a Nordic climate where the opposite bank is far enough away that it feels like the open ocean. Though these thousands of blooms inspire peace, I contemplate how the world has been through the ringer since I last walked through them.

The gardens started in 1887 as the project of Elsie Reford, who was born in Perth, Ontario, and grew up in Montreal with her wealthy family that made its fortune from banking, railroads and the textile industry. First opened to the public in 1962, the nearly 45-acre outdoor site became a balm for many during the pandemic when the constriction of our homes squeezed a little too tightly.

This year, the gardens are showcasing the theme of adaptation through their annual art festival, on to October 2 — a theme that’s pertinent both to the space and our era. According to Alexander Reford, the establishment’s director and Elsie’s great-grandson, adaptation has been at the centre of this project from the get-go. The matriarch learned through trial and error that you don’t fight nature — you work with it.

Detail of Au fil du temps… by Louise Tanguay at Jardins de Métis. (Jardins de Métis)

For the festival’s 23rd edition, five new pieces were added to past standouts, building on an outdoor exhibit that now showcases 35 landscape architects and artists from around the world. Unlike some interactive exhibits, the growing collection uses natural spaces and physical objects rather than VR and headsets to draw viewers in.

The festival’s latest creations partially responded to COVID and the shaky future it shepherded in while also pushing artists to think about what’s next, for all of us and the morphing spaces we inhabit. Pieces like Gravity Field — made up of dozens of suspended plastic domes from which over 100 sunflowers grow upside down — both highlight the sun-seeking plant’s incredible adaptability and call back to the site’s artistry going back a century and a half.

“I think it makes people realize that gardens are an art form,” says Alexander. “It’s quite complicated because they’re using materials which are living. So, they’re beautiful today, and then tomorrow, they look like nothing because the flower is gone.”

Though this garden is undeniably exceptional, there’s a quote in the main building — the family’s house-turned-museum — from Alexander claiming that Elsie would be horrified to know she has mostly been remembered as a gardener. The historian-turned non-profit creator and art festival founder wears many hats and appreciates depictions of people that resist simplicity. He strives to keep his great-grandmother’s life as a complicated figure alive, with her passion for sports, politics, music and art collection on display.

He also doesn’t hide her at-times contradictory conservatism: a feminist who didn’t want women to have the right to vote, and a conservationist before her time with her desire to preserve her luxurious home and the river she fished. It seems like her Renaissance Woman tendencies have been passed along to him too, and that his ancestor would approve of the space’s polymorphism.

Alexander acknowledges how his family’s wealthy background upheld this place, and he in turn tries to make it a little more accessible with offerings like free entry on the first Sunday of the month and free admission for kids. An exhibit on throughout this late summer and early fall also speaks to this question of access to natural spaces: Toronto-born Jeffrey James’ photographs of the American landscape architect Frederick Law Olmsted’s famous parks.

Installation view of Au fil du temps… by Louise Tanguay at Jardins de Métis. (Jardins de Métis)

With this year marking the 200th anniversary of the birth of Olmsted, who designed Central Park and Montreal’s Mount Royal Park, the exhibit is a logical extension of the garden’s updated mission. Olmsted is in large part responsible for creating the landscape architect field which Alexander brings front and centre.

“He had this real sort of democratic belief that if you could give people public spaces, then the rich and the poor could meet in a kind of a neutral zone, and the world would be a better place,” says Reford, taking a page from the architect’s utopian outlook. “We’ve got this opulent heritage, but we’re trying to make it accessible, insofar as we can.”

Sitting at a window-facing table at the site’s Villa Estevan Lodge — a restaurant that brings the region’s terroir to life — Alexander tells me how he co-created a non-profit and returned to this place to buy it back from the government in 1995. It was five years after this loop back that he started building the arts festival to breathe new life into the historic destination. The same changing flow of inspiration is present in the kitchen, led by executive chef Frédérick Boucher since 2019 when he also returned to his nearby hometown of Price, Québec, to build upon the artistic flare at the estate’s fine dining restaurant.

The restaurant building, which dates back to 1886, is covered in warm-coloured wood slats, while prints by Alexis Aubin-Laperrière adorn the walls. His pieces are made by using the traditional Japanese fish printing technique of gyotaku, dipping a salmon in sumi ink and pressing it onto washi paper. These pieces create a visual call-back to the founder’s love of fishing in the Mitis River while giving an updated take on that historical tidbit. Dishes get a similarly locale-inspired treatment, with plant-based help from 150 edible species growing on the grounds.

“The gardens are an ideal place to experiment with creativity,” says Boucher. “My artistic process often starts with observing what’s going on in the gardens, the different blooms, local products and the general ambiance here.”

This entire place is continuously changing, both artistically and seasonally, while also remaining a constant through the decades. My return feels as if I’m marking the passing of time. By being a living framework which other pieces are placed onto, parts of that historical and botanical foundation always shine through like a pentimento. In the process, new and adapted interpretations emerge, like an upside-down sunflower turning toward the sun.

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Art

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

Published

5 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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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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