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An Artist Reckons With the ‘Fat’ Body

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Art: Copyright Shona McAndrew. Courtesy the Artist and CHART. Photo by Neighboring States.

“As a fat woman,” Shona McAndrew explains in the catalogue for her new show, “I came to believe that I didn’t deserve intimacy, shouldn’t express happiness in the presence of others, and certainly shouldn’t be proudly showing my large naked body to anyone.” With her exhibition at Chart Gallery — featuring ten paintings, mostly nudes of herself and her lover — all that has changed. There is also one magnificent, oversize papier-mâché sculpture of McAndrew lolling in a bubble bath. Here is a ferocious artist slaying both her internal demons and cultural taboos.

McAndrew, who has described herself as “the only chubby child in France” (she grew up in Paris), was a breakout star at the 2019 Spring/Break art show. Her installation was a room-filling papier-mâché sculpture of her and her boyfriend sprawled on a bed in their messy Brooklyn bedroom. Afterward McAndrew, now 32, went a different direction, showing a series of well-done but removed images of women and friends. She’s a precisionist with a Post-Impressionistic touch for part-by-part painting, but the work was more devotional than “grab you by the lapels.” Something was missing.

Turns out, it was her. McAndrew is now the subject. She paints her naked body, either alone or being touched by others, taking pleasure in it as something that might be desired and seen without humiliation. Her work has become more open, honest, and vulnerable, without falling back on the rawness that characterized her work at Spring/Break. The paintings are rendered in a pink scale so that everything appears to come through a filter of mossy mist, lending them a formal stillness and a new sense of confidence. I can imagine this work sending profound messages to large audiences.

In Too Deep depicts McAndrew guiding the finger of her lover into her belly button as she fondles one of her breasts. Flesh abounds, falls, forms a landscape. She peers down the visage of her own body while withdrawing into her psyche. The penetration echoes Jesus guiding the finger of Thomas into his open wound.

Hold You Tight features a seated McAndrew as she embraces Stuart, her partner, who is standing. Her eyes are closed; she seems to be partaking of a world of sensual and spiritual sustenance — like she’s savoring the first taste of something she’s denied herself until now. The pose recalls Bernini’s Rape of Proserpina, with McAndrew as Hades, but rather than abducting the unwilling Proserpina into the underworld, she’s summoning something from within her. Stuart’s surrender is sweet.

Art: Copyright Shona McAndrew. Courtesy the Artist and CHART. Photo by Neighboring States.

Movie Night shows McAndrew cradling Stuart’s head in her lap. As he looks away, maybe at a screen, she’s looking down at him, at peace and ease, lost in the moment. The cards are stacked against women artists exploring this kind of secret life. The search for domestic bliss, the overcoming of body issues and self-doubt, are common topics in other fields and in the popular press but feature rarely in the realms of high art. Such themes are dismissed as the stuff of romance novels and soft-core illustration. As bell hooks wrote, “Male fantasy is seen as something that can create reality, whereas female fantasy is regarded as pure escape… A woman who talks of love is still suspect.”

McAndrew says she didn’t look at herself in a mirror for ten years. “Growing up in a fat body, I always felt that the rules of femininity didn’t apply to me,” she told me. Now, she’s rendering “body parts that made me uncomfortable” and has learned “to lovingly paint my double chin” and “to appreciate the formalism in the folds of my fat.” Now she wants “to put my secrets into the painting” — secrets that she shares with so many others. “I don’t want it to just be for me and about me,” she told the Art Career podcast in late 2022. “I want it to be for anyone with a body.”

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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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