When the artist Simeon Stilthda saw a picture of Egypt’s Great Sphinx in a missionary bible in the 1870s, he carved his own version of it. Stilthda was a member of the Haida people in the Pacific Northwest of the Americas and his carving was a tribute from the indigenous culture of this region to ancient Egypt, thousands of miles and years away. It’s not just a wonderful sculpture – round the back, the Sphinx has a Haida hairstyle – but a piece of art theory in wood. Stilthda draws eye-opening parallels between his community’s religious art and that of the Pharaohs.
Like the ancient Egyptians who conjoined a human and lion to create the Sphinx, the Indigenous peoples of North America’s Pacific Northwest have a magical eye for nature. This compelling exhibition transports you to vast coniferous forests and the open ocean where humans and animals are close. This style of Pacific Northwest art, with its blocky curved patterns, appears to emulate the black and white markings of one of the region’s ruling creatures, the killer whale. Not only do orcas feature on totem poles along with birds mythic and real, but their “abstract” appearance is reflected in a style that brilliantly stretches and warps reality.
Empowering Art is a radical and satisfying survey of nearly 250 years of Pacific Northwest culture, created in close collaboration with Indigenous artists and scholars, and drawing on Britain’s extensive collections of the art of the Haida, Tlingit, Nuu-chah-nulth and other communities. In 1778 the British explorer James Cook led the first European meeting with these peoples: at that time, writes artist haa’yuups in the catalogue, “virtually every man in each of our villages on the Westcoast could carve a dugout canoe, paddles, dishes and spoons … every man was his own Leonardo”. The power of these popular traditions, already millennia old, can be seen in 18th-century prints of the objects Cook collected: a mask in the shape of an otter’s head proves the later naturalism of masks by Stillthda – which imitate real faces uncannily – was not just an impression of the whites’ art but an Indigenous heritage.
This enthusiastic exhibition seems to me to reveal the way forward for exhibiting world art at a time when some believe the very ownership of “ethnographic” pieces by Britain’s museums is wrong. There are works here from Oxford’s Pitt Rivers Museum, the British Museum, the Wellcome and not least Ipswich Borough council: “some gifted, some traded, some stolen”, as haa’yuups writes. There are also contemporary artworks, from a 21st-century totem pole to video installations, that reveal a fiercely, joyously living culture. The show has a historical clarity that doesn’t disguise the violence Indigenous peoples have suffered but goes beyond the restitution debate to open up all the wonder and dreaming and sorrow these objects contain.
The masks alone are enough to inspire whole theories of art – and they have done. Anthropologists like Claude Lévi-Strauss and Franz Boas were fascinated by the complexity and variety of the ritual masks first brought to Europe by Cook. Here you are greeted by a row of them, fantastic faces that subtly mix myth and fact, imagination and observation: by putting on a 19th-century mask of the Thunderbird you could imitate or even become this mythic creature that waters the earth. Alternatively you could don a vividly mimetic Haida mask of a wrinkled old woman, another entrancing piece lent by the Pitt-Rivers Museum. And, in a contemporary take, you can mask as Marlon Brando.
At the heart of the show is the Potlatch, the weightiest collective event of the Pacific Northwest world. Chiefs and powerful people would invite neighbouring villages to a Potlatch feast where everyone took part in a meal served from beautifully carved wooden bowls: there’s one here in the shape of a canoe. At the Potlatch, everyone got a gift, for this was a world rich in material things.
The combs, figurines, model canoes, fighting knives, straw hats and other chunkily lovely artefacts could all have been Potlatch gifts. The gift relationship was binding: the debt conferred power. But it was the very opposite of capitalism, and perhaps that was why it was specifically banned by Canada in 1885. The ban lasted until 1951.
The assault on indigenous culture still scars memories and it sends a chill through the exhibition. A wall-filling photograph of the ruinous hulk of St Michael’s residential school is a measured way of documenting these outrageous institutions: right through the 20th-century Indigenous children were taken from their communities, their hair was cut to symbolise the killing of the “Indian” in them, some were sexually as well as physically abused – and worse, as has been shockingly revealed by recent excavations of mass graves.
Sonny Assu (Ligwilda’xw Kwakwaka’wakw) calmly comments on the horror of it with his 2024 artwork Leila’s Desk: on an old wooden school desk sits a bar of soap, symbolising what actually happened to his grandmother when she was made to wash herself on her first day as school, suddenly made to feel she was a “dirty Indian”.
The final display of contemporary north-west Pacific creativity could seem sentimental in the face of such brutality. But it’s a convincing testimony to the endurance and survival of a rare artistic vision. The patterns and creatures of traditional art are engraved into the skyline of Montreal and projected on to the walls of a room you want to dance in.
These mind-bending designs don’t need to be analysed, only enjoyed and shared. And everything in the show has a universal lesson for us now. For each object here contains the secret of living inside nature, alongside the otter and the whale.
Empowering Art: Indigenous Creativity and Activism from North America’s Northwest Coast is at the Sainsbury Centre, Norwich, from 12 March 2023.
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.
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.
