Art

How a Medusa Sculpture From a Decade Ago Became #MeToo Art

Published

4 years ago

October 13, 2020

When the artist Luciano Garbati made his sculpture of Medusa holding Perseus’ severed head — an inversion of the centuries-old myth — feminism was not what he had in mind.

He wasn’t thinking of the #MeToo movement either: Mr. Garbati had created the work in 2008, nearly a decade before the movement went mainstream.

Mr. Garbati, an Argentine artist with Italian roots, was inspired by a 16th-century bronze: Benvenuto Cellini’s “Perseus With the Head of Medusa.” In that work, a nude Perseus holds up Medusa’s head by her snaky mane. Mr. Garbati conceived of a sculpture that could reverse that story, imagining it from Medusa’s perspective and revealing the woman behind the monster.

On Tuesday, Mr. Garbati’s sculpture — “Medusa With the Head of Perseus” — was reimagined as a symbol of triumph for victims of sexual assault, when it was unveiled in Lower Manhattan, just across the street from the criminal courthouse on Centre Street.

Credit…Jeenah Moon for The New York Times

A news release advertised the statue as an “icon of justice,” noting that the towering, nearly 7-foot-tall Medusa stood across from the building where men accused of sexual assault during the #MeToo movement were prosecuted, including Harvey Weinstein, who had been convicted of two felony sex crimes there in February. (The idea for the site predated the trial, but the sentiment remained.)

Standing in the center of Collect Pond Park, Medusa — her gaze low and intense — holds a sword in her left hand and Perseus’ head in her right. The head was designed after the artist himself — a convenient model.

In his application to the city’s Art in the Parks program, which reviews proposals for public art installations like this one, Mr. Garbati noted that Medusa had been raped by Poseidon in the Temple of Athena, according to the myth. As punishment, Athena turned her wrath on Medusa, transforming her hair into snakes. The application stated that the story had “communicated to women for millennia that if they are raped, it is their fault.”

At Tuesday’s unveiling in the park, where the statue will stand until the end of April, Mr. Garbati talked about the thousands of women who had written to him about the sculpture. Many saw the image as cathartic, he said.

But for some online commentators, the sculpture did not quite meet the moment. As news about the sculpture’s planned installation spread, activists and observers on social media wondered why a piece of art meant to honor the #MeToo movement — which was animated, in large part, by an outpouring of personal stories from women — was created by a man.

Others wondered why, if the sculpture was intended to be about sexual violence, Medusa carried the head of Perseus and not Poseidon, her rapist. And some questioned the decision to depict Medusa as a lithe, classically beautiful nude figure when she was described as a monster.

Mr. Garbati said in an interview that, by now, his sculpture had a sort of independence from him, a life of its own created by outsiders’ observations and interpretations.

“I would say I am honored by the fact that the sculpture has been chosen as a symbol,” he said. He noted how the whole project had helped him realize that he was a “product of a patriarchal society” himself.

As for the question of mythological accuracy, Mr. Garbati said his work was a direct response to Cellini’s sculpture, which depicts the story of Perseus slaying Medusa and then using her severed head as a weapon, harnessing her power of turning people to stone with her stare.

Regarding Medusa’s model-esque figure, Mr. Garbati suggests that critics consider the literature from a recent exhibition at the Metropolitan Museum of Art that chronicles how artistic depictions of Medusa morphed from beastly to beautiful starting in the fifth century B.C.

Credit…Jeenah Moon for The New York Times

Bek Andersen, a photographer who worked with Mr. Garbati to install the sculpture in Lower Manhattan, isn’t bothered by the gender of the artist.

“To me, it’s exciting that the artist is a man,” she said in an interview. “I think men feel left out of the Me-Too conversation, and I think they’re afraid of what it means for them.”

In 2018, a decade after the creation of the original resin sculpture, images of Mr. Garbati’s sculpture began to spread online. It gained meme status after he posted photos of the work on Facebook, and it was used as a symbol of female rage when the #MeToo movement dominated the news.

Credit…Jeenah Moon for The New York Times

Ms. Andersen’s involvement began around that time. Scrolling through Instagram in bed, she saw a photo of the work, and was immediately taken with it, particularly because of her interest in mythological characters and the concept of “flipping the script.”

Mr. Garbati’s sculpture was exhibited in a storefront pop-up gallery on the Bowery in 2018. With the help of an anonymous donor, Ms. Andersen and Mr. Garbati founded the Medusa With the Head project and started to generate 12-inch replicas of the piece, which sell for $750 each. (Ten percent of the proceeds are donated to the National Women’s Law Center.)

Last weekend, even after criticism of the new sculpture bubbled up on Twitter, Ms. Andersen said, the miniature replicas sold out on the website.

“Destabilizing the narrative as told through a patriarchal lens is really where the power of the work lies,” Ms. Andersen said. “It causes a person to pause.”

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Art

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

Published

1 day 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

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Ukrainian sells art in Essex while stuck in a warzone BBC.com

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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.

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