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THE NATIONAL GALLERY OF CANADA APPOINTS NEW DIRECTOR OF EXHIBITIONS, CONSERVATION AND

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Former Ottawa Art Gallery Deputy Director, Chief Curator Catherine Sinclair joins the Gallery on December 4, 2023

OTTAWA, ON, Nov. 30, 2023 /CNW/ – The National Gallery of Canada (NGC) announced today, after a comprehensive search, the appointment of Catherine Sinclair as its new Director, Exhibitions, Conservation and Production. In this role, Sinclair will oversee the strategic vision, development and implementation of the NGC’s Ottawa-based and travelling exhibitions, its collection installations and supporting services. She will join the Gallery on December 4, 2023. Ms. Sinclair notably brings with her 18 years of experience at the Ottawa Art Gallery, including as Deputy Director, Chief Curator.

“Catherine is the ideal candidate to strengthen our vision through our exhibitions and we are delighted to welcome her to the Gallery,” said Jean-François Bélisle, Director and CEO, NGC. “She brings an extensive background to the role that is the perfect combination of proven curatorial and management experience. Her thoughtful approach to her work will undoubtedly be an asset to us.”

Specifically, Catherine Sinclair will oversee the planning and management of exhibitions, conservation and restoration efforts, and supervise related technical services. She will work in close collaboration with Jonathan Shaughnessy, Director, Curatorial Initiatives, to present rich exhibitions to all Canadians, in Ottawa and across the country.

“I’m pleased to be joining the Gallery and I look forward to learning from its talented professionals while bringing my experience of collaborating with artists, community members, and supporters to build meaningful exhibitions and relevant collections,” added Catherine Sinclair. “I’m eager to work together as cross-departmental teams to efficiently mobilize the incredible art resources we have to allow artists and communities across the country to be included, represented, proud and inspired by our national collection and powerful exhibitions.”

About Catherine Sinclair

As Deputy Director, Chief Curator at the Ottawa Art Gallery (OAG), Catherine oversaw three departments: Learning and Engagement, Collections and Curatorial. At the OAG since 2006, her curatorial work has included over 50 exhibitions, many of which have supported regional artistic practices through their contextualization within national and international artistic discourse. Ranging from solo to group exhibitions, some highlights include Norman Takeuchi: Shapes in Between – A Retrospective (2023, co-curated), as well as Canadian Heritage-funded, provincially touring Alma: The Life and Art of Alma Duncan (1917–2004) (co-curated, 2014-16). She has presented at the University Art Association Conference (UAAC) and the Ontario Association of Art Galleries (OAAG, now Galeries Ontario Galleries); has published in The Journal of Curatorial Studies (2018, co-author) and esse arts + opinions (2019); and was a recipient of the Association of Art Museum Curators (AAMC) Foundation Engagement Program for International Curators (2017–2019 and 2021–22).

About the National Gallery of Canada
Ankosé / Everything is Connected / Tout est relié

The National Gallery of Canada (NGC) is dedicated to amplifying voices through art and extending the reach and breadth of its collection, exhibitions program, and public activities to represent all Canadians, while centring Indigenous ways of knowing and being. Ankosé—an Anishinaabemowin word that means “everything is connected”—reflects the Gallery’s mission to create dynamic experiences that open hearts and minds, and allow for new ways of seeing ourselves, one another, and our diverse histories, through the visual arts. NGC is home to a rich contemporary Indigenous international art collection, as well as important collections of historical and contemporary Canadian and European art from the 14th to the 21st century. Founded in 1880, NGC has played a key role in Canadian culture for more than 140 years. For more information, visit gallery.ca and follow us on XFacebookYouTube and Instagram. #Ankose #EverythingIsConnected #ToutEstRelié.

SOURCE National Gallery of Canada

For further information: For media inquiries, please contact: Pénélope Carreau, Public Relations Officer, National Gallery of Canada, [email protected]; Josée-Britanie Mallet, Senior Officer, Media and Public Relations, National Gallery of Canada, [email protected]

 

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A misspelled memorial to the Brontë sisters gets its dots back at last

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LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.

More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.

The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.

They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.

“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”

It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.

Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”

Rebecca Yorke, director of the Brontë Society, welcomed the restoration.

“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.

The Canadian Press. All rights reserved.

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

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

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