Art
Indigenous Art History Gets a Rewrite, With an Emphasis on Performance, in a Standout Show Upstate
Earlier this summer, the artist Eric-Paul Riege was in a sunlit gallery of Bard College’s Hessel Museum of Art, twisting and turning around his woven artworks that hung from the ceiling. Visitors were encouraged to do so, too, but he was the only one who seemed to heed his own invitation. At one point, he knelt down on the ground, using his hands to grab the tassels of one work and pull it toward him, its large fiber circle tilting away from the ground as he did so. The sculpture’s threads made hushed crunches alongside the jingles of Riege’s outfit.
The Diné artist’s pieces were part of a series called “jaatłoh4Ye’iitsoh,” which he has said can be translated to “earring for the big god.” He’s stated that all his art is active, even when it seems static, thanks to the gravity that holds it down to earth. These are performance pieces, even though they appear simply to be sculptures.
A similar contradiction runs throughout many of the artworks in the show that contains these works, “Indian Theater: Native Performance, Art, and Self-Determination since 1969.” This exhibition’s title suggests a sprawling performance art survey, but the result is something other than that—and that’s actually a good thing.
Much of the works curator Candice Hopkins (Carcross/Tagish First Nation) has included are sculptures, photographs, or videos; some have been activated at various points in the show’s run, though most remain the same. Note the comma separating “performance” and “art” in the show’s name. She’s suggesting that, for a number of Native artists working right now, performance doesn’t only take the form of art. It can also be a component of everyday living that allows them to hide and reveal parts of their identities, undertake rituals imbued with meaning, and craft statements about their peoples’ oppression by colonialists, both past and current.
“Indian Theater” is a rarity in more senses than one. Sizable shows devoted to Indigenous artists are still unusual in US institutions—not just in ones like this museum in Annandale-on-Hudson, two hours outside New York City, but ones all across the country. And smart group shows, particularly ones with lofty conceptual goals, are becoming an endangered species in museums, which can sometimes seem fearful of intellectual posturing, opting for empty-calorie blockbusters as a result. This show feels like a treat because its guiding ideas are so knotty.
Sometimes, “Indian Theater” can grow blurry. It’s hindered by gangly, overlong wall texts that aren’t always necessary, and some of its works’ relations to the curatorial conceit are vague at best. What the show lacks in clarity, it makes up for in challenging art.
Below, a look at the finest works included in this exhibition.
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Jaune Quick-to-See Smith, Paperdolls for a Post-Columbian World, 2021
Arguably no other artist has deserved the recognition she has gotten this year more than Jaune Quick-to-See Smith, who became the first Native artist to have a retrospective at the Whitney Museum in April. Smith, who is now at work on a survey of contemporary Indigenous art for the National Gallery of Art (opening September 22), offers further proof of her greatness with a recent work in this show. The artist, a Salish member of the Confederated Salish & Kootenai Nation, is here presenting a grouping of paintings recalling images that are folded onto paper dolls. Each recalls a kind of violence wrought against Native peoples: their forced conversion of some to Christianity during the 19th century, for example, and the infection of others with smallpox around the same time, possibly due to contaminated blankets provided by the US.
Smith’s prim presentation style recalls the kind of arts and crafts seen in the same elementary schools in the US, where kids are taught myths about Indigenous people, particularly when it comes to Thanksgiving. Yet Smith suggests that the pain and suffering associated with the histories invoked here do not entirely define Native Americans like herself. You can dress them up in colonial garb or a headdress, she seems to say, but you’re not likely to know much at all if you only relate to Indigenous people through traumatic pictures of their past.
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Dana Claxton, “Headdress” Photographs, 2019
Clothes recur throughout this show in pieces that ask viewers to consider how much—or, in some cases, how little—one’s garments communicate their heritage and beliefs. In the case of Lakota filmmaker Dana Claxton’s “Headdress” photographs, wearable objects are donned to uphold the richness of Indigenous cultures. Her four sitters (one is the artist Jeneen Frei Njootli, whose work also appears “Indian Theater”) are pictured wearing beaded sacks, extravagant headdresses, feathered necklaces, and more. These objects are layered on so densely that they cover each subject’s eyes, allowing their culture to act as a shield from viewers’ leery gazes.
Claxton backlights each photograph, drawing on a method of presentation more commonly seen in clothing stores than in art galleries. Brands like the Gap and Levi’s have long sold the idea that we are what we wear; Claxton seems to have no disagreements with that statement.
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Kay WalkingStick, Feet Series Arrangement, 1972
The influence of Kay WalkingStick, now in her late 80s, abounds throughout this show. A citizen of the Cherokee nation with Cherokee/Anglo heritage, she has been a guide to many because she has posited abstraction as a Native American form of visual expression, contrary to the popular narrative that Western Europeans invented it. She once went so far as to say, “Native women were the first abstractionists.” (In a possible acknowledgement that may have been right, the editors of Janson’s History of Art added her to the textbook in the ’90s, making her the first Native artist to enter its pages, according to American Indian Magazine.)
Ironically, one of the finest works by her included in the show, Feet Series Arrangement, appears at first to have little to do with her identity. It’s six-image grid of pairs of feet, each painted in clashing shades of orange, pink, green, mustard, and lilac, that appear to dance. Made during an era when WalkingStick was finding the true meaning of her female perspective, these feet seem to belong to a person so liberated that she has evaded representation. Notably, in the last image, the feet seem to be walking off into the distance, away from anyone’s gaze.
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Tanya Lukin Linklater, Event Scores for Afognak Alutiit 1-3 (Abridged), 2016–20
The most achingly beautiful work in this show is a soundless video composed solely of black text set against a white background. The words that appear in this work by Tanya Lukin Linklater (Alutiiq/Sugpiaq) can be tough to parse, yet across its few sentences, a sense of loss emerges with clarity. “What are we tethered to? What holds us together?” the artist’s text asks. “When I am home on our island I sense that the land exudes grief.” Then another clipped phrase follows: “This feeling.” The other words fade away as those two remain on screen.
Lukin Linklater’s title suggests that the text in her video may function like word scores: loose instructions for a performance to be enacted. Yet the phrases rarely stick around long enough for viewers to comprehend how to even perform them. The disappearance of these sentences mirrors the dying out of Native languages and the people who knew how to communicate using them. Artworks like this one are part of the effort to make sure they do not disappear for good.
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asinnajaq, Rock Piece, 2015
This hypnotic video documents a performance in which asinnajaq (Inuk) lies beneath a smattering of rocks. She reclines on the ground, motionless at first; you may not even notice her there, since the rocks blend in with others arrayed around this beach. Then she emerges, only to return to her former state because the video is looped. Rock Piece is about the cycle of life, and it is especially notable in this show, where death is implied rather than outright depicted. The possibility that asinnajaq may drown under the rocks she has selected feels real as one watches it. That she is able to withstand their pressure is a testament to her mental and physical strength.
Art
Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork
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
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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
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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