Art

Black Venus review – female bodies reclaimed in spectacular style

Published

1 year ago

July 18, 2023

Sarah Baartman was a South African woman who was enslaved and brought to London in 1810, where she was exhibited as a freakshow called the “Hottentot Venus” – Hottentot was the colonial term for Khoekhoe people, while Venus implied her exemplary exotic femininity. Put on stage as an object of scientific and sexual interest for European men, Baartman was paraded in public as “the missing link between man and beast”.

Reproductions of historical exhibit flyers depicting caricatures of Baartman and advertising these public displays of her body are the historical starting point for Black Venus, a new iteration of a touring exhibition curated by Aindrea Emelife, exploring how Black women make images of their bodies after a long and horrifying history of racism and objectification.

Some works confront the constructed image of the Hottentot Venus directly: Renee Cox takes on the role of Baartman in a large-scale black and white photograph, 1994’s Hott-en-tot, in which the American photographic artist poses wearing crudely oversized plastic breasts and buttocks on top of her own. Merging her own body with Baartman’s in an act of solidarity and pride, Cox gazes directly back at her own camera. The photograph evokes Baartman’s image but denies the viewer access to either Baartman’s body or her own, the inflexible fake body parts a costume and an armour against the gaze. Instead, the subject of ridicule is the grim opprobrium of European exploitation.

Baartman’s story is also preserved in a little-known suite of black and white nude self-portraits by the American artist Carla Williams made between 1987 and 1994. Small in scale but equally spectacular with their elegant, sumptuous sexuality, Williams’ assumes different eroticised poses, some inspired by images of Baartman. Her gaze is obscured or out of the frame, recalling the distant, anonymous archetypes of female figures in Greek or Roman sculptures – but here a subtle statement about agency and pleasure, and the right to self-objectification, to look at your own body through the lens of art history and claim a stake within it.

Though the exhibition focuses on photography and presents works made in the last 40 years, a preoccupation with 19th-century history persists throughout the exhibition, contesting the hypervisibility of the Hottentot Venus and the erasure in historical examples such as Thomas Stothard’s 1801 etching The Voyage of the Sable Venus from Angola to the West Indies – another linchpin of the exhibition. Based on Sandro Botticelli’s The Birth of Venus (1485 – 1486), Stothard’s reworking features an African woman – the “Sable Venus” – standing on a shell. She is being ferried by the Greek deity Triton, who waves a British flag, and a herd of white cherubim across the Atlantic. It is a deeply disturbing idealisation of the Middle Passage, used to support the transatlantic slave trade.

Confronting such representations is a rigorous and precise exercise in some of the works displayed. Using intensely detailed costumes and staging, Ayana V Jackson’s Anarcha, from the American artist’s 2017 series Intimate Justice in the Stolen Moment, reworks art historical depictions such as the Odalisque, common in 19th-century Orientalist painting. To counter the images of Black women’s bodies in the 19th century as mute, subservient or enslaved, Jackson embodies moments of reprieve, dignity and solace. In concert with these staged portraits are pieces from Maud Sulter’s 1989 Zabat series, which employ the conventions of Victorian portrait photography – stark black backgrounds and heavy gilt frames – to recast Black women as the Greek muses, such as the performance artist Delta Streete, posing as Terpsichore, the muse of dance.

Costume, pageantry and performativity are tools shared by many other artists shown here, aligning with feminist strategies in photography to examine gender, sex and beauty, but here also concerned with constructing intersectional narratives about Black women in the colonial era beyond the ethnographic, colonised and enslaved.

The exhibition does lean on a generation of renowned artists – such as Lorna Simpson, Carrie Mae Weems, Kara Walker and Zanele Muholi, well-known for their rich retelling of Black women’s stories and bodies – which feel like safe choices, rather than driving the conversation in new directions. Sparks fly when the works riff on the exhibition theme and broaden it out: for example, in the brightness and weightlessness of Ming Smith’s Instant Model (1976), a photograph of a passerby plucked from the crowd in Coney Island. It is a subtle but startling assertion of the extraordinary in the mundane, the possibility of beauty existing everywhere.

A similar promise is offered in Lorna Simpson’s exquisite installation Photo Booth (2008), composed of 50 1940s photobooth photographs bought by Simpson as a job lot, and 50 ink drawings by Simpson of the same size, scattered over the wall in a compelling constellation. Among the photographs bought in bulk as “portraits of black men” is one image of a woman, dressed in a dark jacket and blouse, annotated by hand with the text “Marie Adams”. Barely discernible but present in the sea of men around her, she presents an elusive, everyday version of the Venus.

Source link

Art

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

Published

2 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

[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