Art
When Art Is Medicine – The New York Times
MINNEAPOLIS — From our first contact with Europeans to the present, Indigenous people have careened from one public health crisis to another. Our healing process and our historical memory of these moments should not end with vaccinations. Traditions of song and dance help restore the balance that is drained by bodily sickness and deliver spiritual sustenance to those who have lost loved ones. Art, in other words, allows us to survive.
During the 19th century, settlers appropriated our lands, water and resources, rendering our communities susceptible to smallpox. Indigenous people, over time, developed herd immunity. We also began taking advantage of vaccination when it became available with the Indian Vaccination Act of 1832, enacted primarily to protect new settlers in our midst.
When influenza hit in 1918, my people were only beginning to recover from a low point in our population. We resided in remote, rural communities of the Great Lakes, but, as in years past, that did not save us. Under the reservation system, thousands of children were sent away from home to government boarding schools, where influenza spread. This made our experience with the pandemic one we have never forgotten.
During that global pandemic, a new healing tradition emerged among Ojibwe women. If you have been to a powwow — a multifaceted “gathering of nations” — in recent years, you have seen it performed. Glittering and full of camaraderie, powwows are an Indigenous space for male drummers to sing, while everyone from children to seniors dance their style. Aspects of the powwow have grown more commercial, but the Jingle Dress Dance exists as a deeply spiritual part of these celebrations.
Ojibwe stories say the Jingle Dress Dance arose when a young girl grew ill and appeared to be near death. Her father dreamed of a new dress and dance that were imbued with an unusual power to heal. The healing dresses were quickly made and embellished with tinkling metal cones, then given to four women at a ceremonial dance. Hearing the sounds, the girl began to feel stronger. By the end of the night she was dancing, too. This young pandemic survivor helped organize the first Jingle Dress Dance Society. Versions of this story are told from central Minnesota to northern Ontario.
My grandmother, who entered her teenage years in 1918, lived on the Red Lake Ojibwe Reservation in northern Minnesota, and remained a Jingle Dress dancer for the rest of her life. She also attended a government boarding school, but that did not deter her from making her own Jingle Dresses. Today, my daughter, in addition to studying Art and Ojibwe language at the University of Minnesota, practices the Jingle Dress Dance.
Jingle Dress dancing holds a spiritual power for Indian people because of its association with healing. In the Ojibwe world, spiritual power moves through air and sounds hold significance. Rows of metal cones, “ziibaaska’iganan” in the Ojibwe language, dangle from the garment and produce a pleasant rattle as they bounce against one another. When many women dance together in unison, the effect is amplified, becoming a healing reverberation. Observers sometimes describe it as the sound of rainfall, though as an Ojibwe from the north, I hear it as the sound of ice.
Women dance in patterns, not in a straight line, to confuse the disease. Healers in the early 20th century, who could be men or women, were valued for their extensive knowledge of plants. Music and medicine coexist in a symbiotic partnership. Because song and dance heal us, art is as necessary as medicine in the worst of times.
The creation of the Jingle Dress Dance a century ago coincided with a new round of suppression of Indian religion. The Dance Order, condemning many forms of ritualistic dance on reservations, arrived from Washington in 1921. The commissioner of Indian Affairs at the time, Charles Burke, wrote the following letter to Indian agents across the United States:
“The dance, however, under most primitive and pagan conditions is apt to be harmful, and when found to be so among the Indians we should control it by education processes as far as possible, but if necessary, by punitive measures when its degrading tendencies persist.”
My own Red Lake Nation, governed by hereditary chiefs, circumvented the order by calling our powwow a Fourth of July celebration and planted American flags during the dayslong gathering. Women like my grandmother continued to dance.
The Jingle Dress Dance remained a regional tradition for decades until the 1980s, when it became wildly popular and spread among many tribal nations on powwow circuits across North America. The dance has become a symbol of Indigenous women’s empowerment. Jingle Dress dancers were at Standing Rock, and dancers in red dresses now call attention to the plague of missing and murdered Indigenous women.
In recent weeks, with the pandemic expanding into the Navajo Nation, virtual powwows have sprung up in Indian Country. Dancers have been filming themselves, alone and in full regalia. Countless Jingle Dress dancers have answered the call.
Today, Ojibwe people number more than 200,000, across many small nations divided between the United States and Canada. We all remember in stories and dance a young girl who survived a global pandemic. Her survival gives us hope.
Brenda J. Child is Northrop Professor of American Studies & American Indian Studies at the University of Minnesota and the author of “Holding Our World Together: Ojibwe Women and the Survival of Community.”
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Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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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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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