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A cultural reckoning: largest-ever survey of First Nations Australian art opens in New Zealand

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There was a telling moment during the recent opening of a landmark First Nations Australian art exhibition in Aotearoa/New Zealand: a speaker commented that Australia is racist and the entire room laughed.

On a panel exploring indigenising creative practices, South Australian artist Yhonnie Scarce described her home state as being known for its racism – but then, a beat later, went on to list all other states as having the same reputation, prompting laughter from the crowd.

If that’s what Australia is known for abroad, a cultural reckoning is quietly taking place – and some are further along in the journey than others, says Nathan Pohio, the senior curator of Māori collections at the Auckland Art Gallery.

Touring exhibition Ever Present – which has already shown at the Art Gallery of Western Australia and Singapore’s National Gallery – is the largest overview of art by First Peoples of Australia to show in Aotearoa, with panel discussions, artists talks and workshops accompanying the opening weekend.

“One of the themes of this exhibition is self-determination through action,” Pohio says. “There’s this decolonial action taking place internationally with Indigenous people around the world.

“There’s something in the air at the moment … that reckoning. People are just being honest about it and are talking about it and it is a particularly powerful idea.”

Batik works by various artists.

The rich – and at times confronting – exhibition brings together more than 150 works by First Nations artists from diverse nations, backgrounds and experiences, including some the country’s most influential names, such as Brook Andrew, Richard Bell, Vernon Ah Kee, Emily Kame Kngwarreye, Archie Moore and Albert Namatjira.

The show takes up most of the first floor of Auckland Art Gallery, beginning in two intimate spaces exploring ancestors and ancestral creators, before opening out through the gallery’s wide halls and dark rooms.

One powerful exhibit is Ah Kee’s Tall Man, a video work that plays out across a large long screen split into panels, to explore the death in police custody of Cameron Doomadgee in 2004 and the outpouring of rage and grief it provoked in Palm Island.

Grainy vision of the 2004 Palm Island protests and its aftermath is intercut with a triptych of police body-worn camera vision, news media and personal videos shot by community members. An elder’s plea: “What’s it gonna take to stop deaths in custody? Our boys in custody? It’s still going on!”

The work remains as painfully relevant today as when it debuted in 2010.

Ah Kee’s work takes centre stage for a reason, Pohio says. “It’s been confronting and challenging quite a lot of our visitors, but people have been really engaging with the piece.”

Vernan Ah Kee’s 2010 work Tall Man remains ‘painfully relevant’.

Scarce and fellow artist Damien Shen have travelled to Auckland for the opening, to speak with a public that seems hungry to engage with the exhibition and its themes. A young staff member at a vintage store in central Auckland tells the Guardian he visited the gallery with his parents: “It was great – I had no idea there were so many different styles.”

Shen’s work explores his Ngarrindjeri, Kaurna and Chinese heritage and his familial and cultural ties, through two photographs that are part of a series of a dozen.

The work features the artist and his beloved uncle, respected Adelaide elder Uncle Moogy, photographed by collaborator Richard Lyons.

Ventral aspect of two males (2014) by Damien Shen, photographed by Richard Lyons.

Uncle Moogy is shown practising his culture and handing it down, with both men painted in the striking markings of their Ngarrindjeri heritage: it was the first time Shen had been painted in the way of his ancestors. His works also hark back to anthropologists and ethnographers such as Norman Tindale, who photographed and studied thousands of First Nations families during the 1920s and 30s, an era in which Indigenous people’s remains were taken from country to be studied and exhibited. Shen’s family were among those who worked to repatriate them.

“[These photographs] were deliberately shot in the old ethnographic style,” Shen says. “But also part of the narrative arc captures the contemporary world of Uncle Moogy, retaining and reviving culture each and every day he gets out of bed.”

He said the work is about his power and choice as a First Nations artist. “These works are very personal. They sat in my private collection for a long time before I showed anyone.”

Silence part 1 + 2 (detail), 2014.

Scarce’s glass work examines Australia’s often exploitative relationship with First Nations people in a visceral way: as test subjects, lab rats and flora and fauna to be poked and prodded through medical experiments, including the forced sterilisation of Aboriginal women.

“For me, it’s about calling out the perpetrator and holding them accountable for their disrespectful behaviour towards us. The rest of the world needs to know about it,” the Kokatha/Nukunu artist says.

Her glossy black glass shapes seem to echo disembodied body parts, with a delicate sliver of a tail recalling that of a dead lab rat, encased in a glass case. The objects represent the flesh of her ancestors who have been stabbed with sterile medical scissors, forceps brutally pinching the “skin” of the glass.

Yhonnie Scarce.

Scarce says her work is not always easily understood: “When I first started making my work, people used to ask me whether I needed counselling. Non-white Australians were saying, ‘It’s really intense. I think there’s something wrong with you.’

“I don’t need counselling. My counselling or my trauma work is making artwork and giving our ancestors a voice, because they were being told to shut up all the time,” Scarce says. “I’m not afraid to talk about the hard stuff.”

She hopes the viewer is challenged but also comes away with an appreciation of Aboriginal and Torres Strait Islander people, who continue to persevere, thrive and survive on and off their traditional lands.

“We’re human beings. There’s such an element of strength and beauty in us. And it comes from our ancestors.”

The work in the show was drawn from the Wesfarmers collection of Australian art and the National Gallery of Australia’s collection, under the curation of Tina Baum from the NGA. It moves through various themes, including culture and ceremony, community and family, and innovation and identity.

“Time collapses, it’s not linear. It’s not one way, it’s cyclical, it’s everywhere. Many of the works fit into many of the other themes,” says Baum, a Gulumirrgin, Wardaman and Karajarri woman. “I think people have been really surprised at the diversity, the excellence and just the sheer beauty of these works.

Installation view of Ever Present.

“For me it was important to start with resistance. That fight that we had from the very beginning. Yes, there was colonisation, but there was resistance and there still is resistance.

“Art is a form of resistance. When you see these works, you can see that artists are really using it in such beautiful, poignant ways.”

The director of the Auckland Art Gallery, Kirsten Lacy, says tens of thousands have already visited the show since its soft launch on 28 July.

“I think there’s a fascination and desire to learn. [First Nations Australian culture is] so different to New Zealand, in the volume of language groups, nations, the scale of the country and the variance of its topography,” Lacy says.

“First Nations people in Australia have never ceded country and have been present for 65,000 years. There’s a lot of interest in seeing these cultures side by side and coming together in dialogue.”

  • Ever Present: First Peoples Art of Australia is on now at the Auckland Art Gallery until 29 October. Guardian Australia travelled to New Zealand as a guest of the National Gallery of Australia

 

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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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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

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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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