Art

West Baffin Eskimo Cooperative art exhibition in Warsaw opens to great response amid political turmoil – The Globe and Mail

Published

2 years ago

March 31, 2022

The show at the National Ethnographic Museum in Warsaw features 34 works made in the last decade by members of the West Baffin Eskimo Cooperative.William Huffman

Plumes of black smoke were rising from the Russian embassy in Warsaw on William Huffman’s last day in the city. “There’s a suspicion that they’re burning documents,” the Canadian curator said over the phone.

Huffman had travelled to Poland for reasons that had nothing to do with the war in neighbouring Ukraine. He was there to install an exhibition of Inuit art from Canada at the National Ethnographic Museum. New Inuit Art: Contemporary Art from Kinngait features work by the West Baffin Eskimo Cooperative in Kinngait, or Cape Dorset, Nunavut. Huffman, who is not Indigenous, promotes the collective’s work from Toronto, where he is based.

After nearly two years of COVID-19-related delays, Huffman arrived in the city on March 2, less than a week after Russia invaded Ukraine, sending refugees – including artists – streaming into Poland.

“It’s been a very profound and troubling experience,” Huffman said from Warsaw in an interview last week. Even before he left Toronto, the invasion had him second-guessing whether he should go through with this exhibition he had curated. Would anybody care? Would putting on an art show at this time perhaps even make people angry?

But when he consulted people he trusts, what he heard was “you have to do this.”

The show features 34 works made in the last decade by members of the Cooperative, including Ningeosiaq Ashoona, Saimaiyu Akesuk, Shuvinai Ashoona (who has several works in the Venice Biennale’s central exhibition, beginning next month), Kudlu Kellipalik, Qavavau Manumie, Johnny Pootoogook, Palaya Qiatsuq, Pitseolak Qimirpik, Ooloosie Saila and Toonoo Sharky.

Manumie was shown at the Museum of Modern Art in Warsaw two years ago as part of an exhibition called The Penumbral Age: Art in the Time of Planetary Change. Those works were donated to the museum, making them the first Canadian artworks to be included in its permanent collection. The interest in Manumie’s work ultimately led to the New Inuit Art exhibition, created in partnership with the Canadian embassy.

Shortly after Huffman arrived in Warsaw, a colleague suggested he visit the central train station. “You need to see this for yourself,” she said.

When he got there, he was shocked. The photos he discreetly took show people sleeping on the floors. So many children. A little play area had been set up with blankets laid out on the ground and a few toys.

“I left shaking,” he recalls. “It’s unbelievable.”

The Canadian embassy was busy welcoming refugees, including many children. A team was busy trying to locate relatives in Canada.

“Honestly there are times when I go to bed crying,” says Huffman.

Huffman was staying at the Ujazdowski Castle Centre for Contemporary Art, a former castle that hosts arts events and artist residencies. A conference room became a supply station, with food being shuttled out to various shelters in the community.

There, refugees also began to arrive – artists from Ukraine, or their family members. Sometimes they would stop in, get some rest and food and move on. Others stayed longer. Some, Huffman became close with.

As Huffman’s ties deepened with some of these artists and their family members, so did his doubts about the exhibition. Again, he considered cancelling. But once more, he was encouraged to keep going – this time by the people he was working with in Warsaw. “Because it was a matter of doing something normal,” he says.

Two works from the show will be auctioned online to raise money for humanitarian aid for Ukraine.William Huffman

At the official opening on March 21, about 200 people showed up, the glitterati of Warsaw, as Huffman describes it. They sipped Canadian wine, dined on bison from the Prairies and admired the art: coloured pencil on paper drawings, a triptych of prints, serpentinite sculptures. During the speeches, there was an announcement that two works will be auctioned online to raise money for humanitarian aid for Ukraine.

Among those who attended: some of the Ukrainian refugees – the artists, their families. Late in the game, a decision was made to add Ukrainian wall plaques along with the English and Polish ones, and the large signs in Inuktitut syllabics.

The mother of Ukrainian artist Yulia Kostereva, one of the friends Huffman made at his residence, was among those who came. “And she grabs my arm and she says ‘beautiful, beautiful,’” recalls Huffman. “I had to excuse myself and go cry.”

It’s impossible not to consider the exhibition in the context of what is going on around it. Many people Huffman has taken through have been constantly checking their text messages, getting calls from people at the border. And so, he has been framing the work in this way.

“Let’s talk about: What are the commonalities in this work?,” he says. “If you look at the history of Inuit art and the history of the Inuit people, it’s all about resilience, all about identity. It’s all about preservation of history against all odds.” Like an invading power.

The show has received a great response, Huffman says – from the public, the Polish cultural community, the Ukrainian visitors. Back in Nunavut, the artists have also been moved, he says. “They’re like, it’s amazing that our show is in this place. We’re all brothers and sisters, right?”

Huffman was recounting all of this over the phone from Warsaw, a few days after the opening. He was having a hard time with the fact that he was getting on a plane the next day for Toronto and leaving it all behind. He was distracted by the plumes of smoke.

“I’m not in a middle of a war. I’m not being shelled. I’m not being chased around by a tank,” he says. “But you’re being empathetic, sympathetic. You’re trying to assist in any way you can, you’re hearing stories. They’re telling you because they want to share it.”

And now, back in Toronto, he wants to share the stories too.

New Inuit Art is at the National Ethnographic Museum in Warsaw until May 5.

Adblock test (Why?)

Source link

Art

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

Published

17 hours 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

[unable to retrieve full-text content]

Ukrainian sells art in Essex while stuck in a warzone BBC.com

Source link

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.

Source link