Art

Vancouver’s art scene is in arrested development

Published

1 year ago

April 8, 2023

“So how does Vancouver’s art scene compare to Montreal’s?” I’m several drinks deep when I ask this of Malinka, an artist visiting town from Montreal. “I’m not sure,” she muses. “There’s some really cool stuff here. But it still just feels like a teenager, y’know?”

I do know, and it’s vindicating to hear someone else say it.

I moved to Vancouver in June 2020, probably the worst time to discover the city’s cultural scene. But when the city started to cautiously open up, I attended every artsy event I could, eager to discover what Vancouver had to offer.

Vancouver’s creative culture is incredible. It’s weird, it’s innovative, it’s vibrant. As a theatre kid who grew up south of London then moved to Berlin, it’s safe to say that I’ve seen a lot of art. But in Vancouver there are people making things in ways I have never seen before.

Too bad the city won’t let them get anywhere.

There always seems to be new events, new galleries, new parties, but many just burn out—and those that have survived fought tirelessly to do so. I can see why Malinka’s impression was that Vancouver is stuck in a state of arrested development, because with the challenges the creative scene faces, it’s hard for anything to grow up.

The problem seems to primarily be that of space, which, of course, is also a question of money. Take open mics, for example. Comedy, poetry, music, performance art—anything goes at an open mic event. They are veritable breeding grounds of talent, essential to the development of any city’s creative scene.

Vancouver doesn’t have any. Or rather, it doesn’t have many. Those that exist are pretty much restricted to comedy (especially now that Cafe Deux Soleils has closed its doors, its popular spoken word open mic shuttered along with it), and they aren’t well attended.

This is something that surprised comedian and writer Sasha Mark when he came here from Winnipeg—a city with a thriving open mic scene.

“In all the open mics I’ve done in Vancouver there have been three or four people in the audience, It’s a very, very big difference,” they say.

So, why don’t open mics exist in Vancouver? The issue, once again, is space plus money. These events aren’t particularly lucrative, usually hosted by venues that don’t charge for use of the space. It’s a mutually beneficial situation, as open mics bring in bar sales to support venues on slow weekday evenings.

At least, that’s the case in most cities. The open mic scene is what I loved most about Berlin, and it’s how Mark got his start in Winnipeg. But Mark says that Vancouver’s already small open mic scene has shrunk even more. “We lost a lot of open mic spaces during the pandemic. Venues either shut down or they said, ‘We’re struggling, we need to charge for this now.’”

For a creative scene to develop and thrive, there needs to be space for people to share their art. And this isn’t just a problem of event venues: Vancouver also has many restrictions on how and where you can creatively express yourself.

Back in Berlin, one of my favourite places to go was Mauerpark, a park in the Prenzlauer Berg district. Every weekend this nondescript expanse of scrub would overflow with musicians, performers, and other artists, all creating art loudly and joyfully, just for the hell of it.

Such a park does not, and cannot, exist in Vancouver. To play music in a public space, you don’t just need a permit, you must also pay fee for it: an annual permit is $135.44 before tax. Groups of more than three performers are also banned. Paying fees is only viable for buskers—you can’t just create music for free, as the denizens of Berlin’s Mauerpark do. There are some exceptions to the permits, such as sidewalks beside certain SkyTrain stations, but these areas aren’t ideal for recreation. While Berlin’s city ordinances allow performances in designated recreation spaces without needing a permit or fee, Vancouver’s restrictions hardly encourage such free expression.

And that’s because Vancouver views art not as a social need but a profit venture. You cannot create art for the sake of itself—your art is your business, making money the ultimate outcome. And any effort to sell your art will also come at a price.

Marcus James Wild, who has been creating art in Vancouver since 1998, bemoans the cost of booths at markets like Car Free Day ($120) and the Khatsahlano Street Party ($250).

“It’s pricing out the people they’re pretending are part of the community, and all they’re getting are the Telus booths,” he says. Vancouver’s artists are struggling to survive in the margins. Sure, there are grants to be applied for, but who would do that for a simple open mic night? Who would pay a fee just to gather with some pals and play music on a sunny afternoon in the park? It’s no surprise that Vancouver’s art scene feels adolescent, if the cost of growth is so high.

And what’s really sad about this is that Vancouver is young. Comparatively, its lifespan as a major city has been short. The city itself is still developing—but as vacant lots are eaten up by high-rises for high-earners, artists are being left out in the cold.

For art to develop, and thrive, it needs space to breathe. Vancouver needs to loosen the reins, before they become a noose.

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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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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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