Faith Ringgold Perfectly Captured the Pitch of America's Madness - The New York Times | Canada News Media
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Faith Ringgold Perfectly Captured the Pitch of America's Madness – The New York Times

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5 months ago

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Faith Ringgold, who died Saturday at 93, was an artist of protean inventiveness. Painter, sculptor, weaver, performer, writer and social justice activist, she made work in which the personal and political were tightly bonded. And much of that work gained popularity among audiences that didn’t necessarily frequent galleries and museums. This was particularly true of her series of semi-autobiographical painted narrative quilts depicting scenes of African American urban childhood, subject matter that translated readily into illustrated children’s books, of which, over the years, Ringgold published many.

Altogether, hers added up to a landmark-status career. But the art establishment, as defined by major museums, big-bucks auction houses and a few talent-hogging galleries, never knew quite what to do with it, or with her. So they didn’t do anything. No mega-surveys, no million-dollar corporate commissions, no Venice Biennale-type canonizations.

Recently, though, very late in the day, came a serious uptick in attention. In 2016, the Museum of Modern Art finally brought Ringgold into its collection with the acquisition of several pieces from early in her career. One of them was a monumental 1967 painting titled “American People Series #20: Die.” It shows a crowd of panicked men, women and children, white and Black, screaming and bleeding, and stampeding in all directions as if under lethal attack from some unseen force.

It’s useful to remember where Ringgold stood in her life at the time she painted the picture. Harlem-born, she’d had a classical art education, was teaching art in public school, and was painting what she herself described as Impressionist-style landscapes. She was also reading James Baldwin, listening to the news, and seeing American racial politics shift from civil rights-era passive resistance to a newly assertive Black power. The country was on red alert, just as it is today, and her art responded to the emergency by turning topical.

In the paintings she called the “American People Series,” of which “Die” was one, white people and Black people appear together, but with skewed power balances made clear. In an early picture, “The Civil Rights Triangle” from 1963, five men in business suits, four Black, one white, form a pyramid, with the white man on top, indicating that to the extent the civil rights movement was white-approved, it was also white-controlled.

In “Die,” the culminating picture in the series, a full-on war has erupted, though one that goes beyond being a clear-cut race war. All the figures in the picture look equally stunned and traumatized by the blood bath they find themselves in.

And for Ringgold at this time, art itself went beyond being the seismic recorder of a culture. It also became a vehicle for path-clearing and ethical advocacy. She organized protests against the exclusion of Black artists from leading museums, and designed posters in support of the Attica inmates and the activist Angela Davis. In a painting series called “Black Light,” she eliminated white pigment from her palette and mixed black into all her colors. By the 1970s she had become convinced that Black liberation and women’s liberation were inseparable causes. In 1971 she painted a mural for what was then the Women’s House of Detention on Rikers Island.

She knew that the country she lived in was actively, murderously crazy. For an artist to find a voice for that craziness, to get the pitch of the madness right, was unusual and daring. For that artist to be Black and female was more than unusual, and met with pushback from many sources, most of them within the art world itself.

The kind of painting she favored — figurative, storytelling, polemical — was out of fashion with the establishment, which well into the ’60s touted abstraction as the only “serious” aesthetic mode. (Even within Black art circles a debate over whether modern art, Black or otherwise, should admit political content was very much alive.) And her work continued to run against the grain throughout the Minimalist and Conceptualist years. It’s only recently, with figurative painting hugely in vogue, that her work has gained something like market currency.

And over the decades she continued to develop in new directions. Her formal means grew ever more craft-intensive, incorporating weaving, sewing and carving. Her political content drew less from the news and more from art history and her own life. Her determination to share this content, often determinedly Black-positive in tone, with young audiences through 20 published children’s books is all but unique in contemporary art annals.

The full range of these developments was on display in an overdue retrospective, “Faith Ringgold: American People,” organized by the New Museum in 2022. But back to Ringgold at MoMA in 2019.

For the opening of its newly expanded premises, the museum was rehanging, top to bottom, its permanent collection galleries, and “Die,” a relatively recent arrival, was chosen for inclusion. More than that, it was awarded a starring role. It shared an otherwise sparsely installed gallery with a major MoMA attraction, Picasso’s 1907 “Les Demoiselles d’Avignon,” a confrontational image of five nude Catalan prostitutes with sliced-up bodies and faces like African masks.

The two paintings were placed cater-corner in the gallery, so you could take them in together at a glance. Both are violent. (The colonialist implications of “Demoiselles” have been much noted, and art historians have read the picture as, among other things, an expression of male sex panic.) Both register as scorchingly political, while leaving their precise politics unclear. Paired at MoMA, they seemed to be visually and conceptually duking it out.

For me, Ringgold — an avowed Picasso fan — won the match. But what really mattered was simply that she was there, smack in the center of Western Modernism’s ground zero institution, and with her most radical image. I admire Ringgold’s later art, much of it materially innovative and expressively buoyant. But it’s the early work, from the pivotal period that produced “Die,” that I keep coming back to.

What she managed to do, in those early paintings, was put aside all the conventional art tools she’d been schooled with, beauty among them (she would later reclaim it), in order to face down the world as it really was, including an art world that had no use for her — a Black woman — and was, in fact, fortressed to keep her and everyone like her out.

Certain artists manage to leap over walls. Picasso was one. And some tunnel under those walls, hit resistance, tunnel some more and, once inside, open a door to let others in. That’s what Faith Ringgold, artist-activist to the end, did.

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

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1 day ago

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September 13, 2024

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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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2 weeks ago

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September 2, 2024

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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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4 weeks ago

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August 18, 2024

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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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