Art

This was the year of public art in Toronto – The Globe and Mail

Published

3 years ago

November 30, 2021

You’ll need to pass an attendant and enter a storefront space next to a Service Ontario office to see Akshata Naik’s Bloody Boats, an eye-catching wall covered with red paper boats as part of a larger piece about immigration.Vito Amati/Handout

During a lively reception at Toronto’s Union Station, an unmasked crowd of artists, curators and culturecrats gathered to celebrate what the city has designated as a year devoted to public art. Upstairs, around and about the echoing Great Hall, there was a Day of the Dead altar, aerial views of disastrous South American mining projects funded with Canadian money, and a photographic mural that inserted images of enslaved servants into a crowd of commuters. Downstairs, in the bowels of the newly renovated transit hub, there was vodka, beer and charcuterie boards for the initiated.

At this delayed party for a delayed project, it was finally time to toast Toronto’s decision to devote more money, more space and more thought to murals, sculptures and pop-up exhibitions in 2021-22. Public art is no longer just some chunk of bronze plopped down on the street, but as the project infiltrates parks, plazas and shopping malls in the 10 months ahead, it raises questions about its audience. Who is public art serving and how? What about the uninitiated?

One of the most prominently displayed pieces at Union Station is House of Bâby, a large lenticular print showing a contemporary commuter crowd in which 18 figures appear and disappear according to your viewing angle. It is the work of Camal Pirbhai and Camille Turner, artists who have investigated the slave-owning history of James Bâby, an early 19th-century Toronto landowner. Their research shows Bâby enslaved 18 Black, Indigenous and Métis people and now, in a prime civic space, the artists have represented them as ghostly figures re-emerging from a conveniently forgotten history. In a regular year, tens of thousands could be expected to walk by House of Bâby every day. Even if a tiny percentage bother to stop and read the text about the figures, the work will have made a mark.

Union Station notwithstanding, one of the goals of the city’s strategy is to place more art in underserved locations. For historic and financial reasons, most of Toronto’s vast public art collection, which originated long before the city’s amalgamation with its inner suburbs, is located downtown. Monuments and memorials, such as the forbidding statue of Sir Adam Beck on University Avenue or that bizarrely retro tribute to multiculturalism in front of Union Station, tend to be erected on ceremonial routes or in historic parks. Developers are asked to commit one per cent of their building budgets to public art but those works, whether the developers commission the art themselves or just hand the money to the city, are clustered where the most dense and expensive development takes place.

Escaped slave and local resident Joshua Glover was erected last summer in the new Etobicoke park that bears his name.Courtesy of ArtworxTO

So, ArtworxTO, as the year-long project is dubbed, reaches out to the suburbs by pooling money and identifying new locations. Sometimes, this is just a matter of catch-up: A statue of Black abolitionist, escaped slave and local resident Joshua Glover was erected last summer in the new Etobicoke park that bears his name. But the city’s plan also includes a series of year-long community hubs located in Downsview, Etobicoke and Scarborough, expanding the definition of public art to include temporary installations, free indoor exhibitions and performances in shopping malls or other public buildings.

These create more premeditated and curated encounters than the conventional stroll by a graffiti-busting mural or forgotten old monument. At the Cloverdale Mall, for example, you’ll need to pass an attendant and enter a storefront space next to the Service Ontario office to see Akshata Naik’s Bloody Boats, an eye-catching wall covered with red paper boats as part of a larger piece about immigration. That takes some commitment from the Cloverdale shopper.

Traditionally, an encounter with public art is serendipitous, the sculpture or mural providing an unlooked-for presence in the urban space. That is, after all, why public art often makes people angry. Lately, Torontonians have hotly debated the merits of Toronto Man, an oversized statue of a man in a dress shirt clasping a condo tower to his chest that has been placed at Yonge and St. Clair. Is the piece celebrating development or criticizing it? And, in 2018, citizens lambasted a brightly coloured wedge of steel girders erected at Bathurst and Vaughan that some believe will distract drivers.

Perhaps the real problem is that neither is particularly successful – the first both bombastic and ambiguous, the second an unimaginative use of the space.

Seeking some of the many new pieces flagged on the ArtworxTO’s fabulously comprehensive website – it covers hundreds of art works, old and new – makes you realize how hard it is to craft successful public art. Whether populist or lofty in its intentions, good public art animates effortlessly, such as the trompe-l’oeil mural with which Derek Besant decorated the Flatiron building on Front Street in 1980 or the two giant circles designed for the Bay-Adelaide Centre by Micah Lexier in 2017. Asking people to plan their viewing, enter a specific building or follow dense thematic schemes seems to defeat the purpose: The art should introduce itself to them, not vice versa.

At Downsview, there is one new piece that does command the visitor to go the distance. On the top of a high knoll, bright blue flags can be seen from across the park. Those who make the climb are rewarded with an explanation of a wind rose, a system for representing prevailing winds that would have been used to position the runways of the former Downsview airport. Two flags featuring petroglyphic figures – a turtle and a traveller – have been added to the first piece by Mi’kmaq artists Chris and Greg Mitchell to acknowledge the Indigenous presence on the site long before any plane landed. From the top of that hill you can see the city spread out before you; it’s a place that seems to demand a marker, and now it has one.

This interactive structure at Downsview, created by Future Simple Studio features a circle of vibrant blue flags attached to a radial network of 32 square arches arranged in a compass-like formation. They resemble a huge wind rose.Cinematoscape/Courtesy of ID8 Downsview

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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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