Art

Ray Fox curates ‘homecoming’ art exhibit at Ojibwe Cultural Foundation – Manitoulin Expositor

Published

5 years ago

March 10, 2020

Ray-Fox-exhibit-2 — Visual artist Ray Fox, right, delivers a presentation at the opening evening of his art exhibit at Ojibwe Cultural Foundation.

M’CHIGEENG – Debajehmujig Storytellers’ visual artist in residence Ray Fox has an art installation on display at Ojibwe Cultural Foundation in M’Chigeeng First Nation, a show that the artist considers very sentimental.

“This is really special to me because I grew up in M’Chigeeng and this is my first time having an exhibition there. I left the Island for school and travelled around for a bit, so this is kind of my homecoming exhibition,” said Mr. Fox.

The installation is called ‘Enje’baa’yaang Do’makwendaan,’ or ‘Collection of memories: Where I am from.’ It features a selection of drawings, paintings and a lithograph that have been produced within the past three years.

‘Enje’baa’yaang Do’makwendaan’ is a look through Mr. Fox’s earlier life and his quests to figure out who he was, which involved leaving smaller communities behind in pursuit of the big city—a story well-known by Islanders.

“I went to OCAD University for drawing and painting but I didn’t finish. I found it hard to establish my aesthetics, how I wanted to portray myself as an artist. I was kind of struggling, I guess, with my identity, in terms of the art I was creating,” said Mr. Fox.

The cost of living in Toronto was another barrier, and Mr. Fox had to give up his art for a period of six years until he moved back north to Sault Ste. Marie five years ago.

“All of this style of artwork that I’ve started producing since then is very relevant to Northern Ontario, which is kind of interesting because I left Northern Ontario to find myself and it wasn’t until I came back that I was producing stuff that was meaningful to me,” he said.

The artwork incorporates Anishinaabe life, childhood memories, old family photos, creation stories with wildlife, and animals of the North and how both Northerners and Anishinabek relate to them. His main messaging behind this collection is to look at the smaller, sometimes mundane parts of life and find meaning there.

“There was one drawing I finished recently of the coffee can. I wanted to include it so I stayed up all night to finish it before the installation day,” said Mr. Fox.

He started going to ceremonies with his family as a boy and he and his father would often work as doormen outside of a lodge, ensuring that everyone who entered had smudged. When not serving as doormen they would tend the sacred fire.

Ray Fox’s pieces are inspired from his early years of growing up immersed in his Anishinaabe culture. The day after the opening gala he
hosted an interactive workshop focused on life drawing. Mr. Fox’s exhibit is on at OCF until April 6.

“We were very serious about the jobs. Nobody got through that door unless they’d smudged and we would put all the medicines in this coffee can—we’d use whatever was at hand, often something recycled—that was fitted with a long wire handle,” he said. “It’s that childhood memory of cultural identity and spirituality, of purpose, and also being included within ceremonies and having family around at the same time.”

Although it has reached new heights of sentimentality, this is far from the first exhibition featuring Mr. Fox’s works. He has hosted nearly 25 since he was in high school back in 2002 and said they have all been unique in their own ways.

The day after the opening event, Mr. Fox hosted a life drawing workshop for more than a dozen people. This is the first time an opening event for his work has hosted such a workshop, though as the visual artist in residence at Debaj he is no stranger to hosting community arts-based workshops and presentations.

“I had made some charcoal using local materials for the workshop itself. I was telling people, it’s really something else in terms of storytelling and creating an image using local materials as your drawing utensil,” said Mr. Fox. He used grape vines, driftwood and willow wood to make the charcoal.

“I find it to be a very Anishinaabe process to use the land to tell your story, so we had a lot of fun with that,” he said.

The workshop was a positive addition for Mr. Fox, who said it created a better experience for the people within the art community that could create art alongside an artist working in a particular style.

‘Enje’baa’yaang Do’makwendaan’ is on display at Ojibwe Cultural Foundation, just south of the intersection of Highways 540 and 551 in M’Chigeeng First Nation, until April 6.

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

Published

3 days ago

September 26, 2024

Anne Joseph

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.

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

Published

2 weeks 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.