Art

Reexamining narratives around Native American art at Brooklyn Museum exhibition – amNY

Published

5 years ago

March 8, 2020

Native American artist Jeffrey Gibson’s work is part of a brand new exhibit at the Brooklyn Museum which examines misconceptions around Native art and biases by non-Native artists.

The Brooklyn Museum asked Gibson, who is of Choctaw and Cherokee descent, to explore its collection of Native American objects, which he did along with including his own art, and commentary by historian Dr. Christian Ayne Crouch, to offer new narratives on Indigenous people and their history and stories.

The exhibition is called “Jeffrey Gibson: When Fire Is Applied to a Stone It Cracks,” and the title comes from an Irish proverb, which Gibson describes in the show as being factual and metaphorically poetic.

“I read ‘fire’ in this quote to describe the innovative making, use of materials, transformative techniques, and the survivalist ethic of Indigenous people,” according to Gibson. “Our use of new and different materials to make things that support ourselves and our communities is the ‘fire’ that continues to break open the static and antiquated ideas regarding who we are and what we are capable of.”

“When Fire Is Applied to a Stone It Cracks,” Jeffrey Gibson, 2019.

When entering the exhibition, visitors immediately face a sculpture called “Dying Indian,” from around 1904 and by Charles Cary Rumsey, a piece that Gibson says is one of many Western bronzes made around that time, by non-Native people, to portray the decline and end of Native American civilizations.

Gibson notes that such images “have always saddened and perplexed me because I have never understood why some people celebrate these sculptures while I have found them offensive since I was a child.” Gibson also says about such images, “These sculptures present images of Native people that are idealized in the mind of the maker either for the objectification of their beauty or their demise.”

The “Dying Indian” sculpture has been modified with a custom pair of moccasins added to the figure, which were made by artist John Murie and include the words, “I’m Gonna Run with Every Minute I Can Borrow.” The phrase is from lyrics in the Roberta Flack song “See You Then.”

Another gallery includes works by Native artists from the museum’s collection, complemented by Gibson’s own works in similar techniques and materials. These include headdresses by Tsimshian and Sioux or Cheyenne artists, which Gibson notes have becomes used for romanticized or stereotyped notions of Native American people, and clothing by Seminole artists.

There are also many objects using beadwork, which dates back to the 16th century when Europeans introduced glass beads in trading, and Gibson notes the conflict between Indigenous people using such materials for their own crafts and the Western demand for what is traditionally thought by many as Native art that includes beadwork.

Man’s Shirt, c. 1940, and Dress, 20th century, by Seminole artists.

Garments made by Jeffrey Gibson in 2018.

“WHOSE WORLD IS THIS? IT’S YOURS IT’S MINE,” 2019, stained glass, by Jeffrey Gibson.

Another gallery examines the work of Stewart Culin, the first curator starting in 1903 of the Department of Ethnology at what would become the Brooklyn Museum, and who the exhibition says held racist views that contributed to bias in his curating practices. Gibson and Crouch address this and seek to change the narrative.

“The material in this room rejects the romanticized idea of the West – a false, vanishing frontier—or the reductive theatricality of the Wild West show,” Gibson and Crouch write. “We aimed to mute Culin’s voice in order to return the focus to Native people represented in the Archives and reports, who went about their daily lives and projected distinct representations of themselves.”

The exhibition will run until Jan. 10, 2021, and more information is at brooklynmuseum.org.

Let’s block ads! (Why?)

Source link

Art

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

Published

6 days 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

[unable to retrieve full-text content]

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

Source link

Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

1 month 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.

Source link