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The Art of Trump's Mug Shot – New York Magazine

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Photo: Fulton County Sheriff’s O/ffice

The man in the photo wears a scowl. Shadowless in some no-space. His hair is a mystery: a cloud, an eddy, a fleece of spun gold. Harshly lit, slightly out of focus, no depth of field. It could be a driver’s license photo, were it not for the badge in the corner — “Fulton County Sheriff’s Office” — that provides the image with its context. The man’s glare was practiced a thousand times before it was captured, yet he seems to be seething at his lack of control. It is the most famous photograph in the world.

One of 19 similar pictures. All bright and weirdly washed out, the light sometimes gleaming like a white bar on the subject’s forehead. A few of them are so brightly lit that they seem to be fading away; others wear masks of a deathly pallor. Mug shots are meant to convey just the facts of a person’s face, but the more you look the more the facts fade away. Some of these people seem like they are from the same gene pool. A couple look like twins.

The criticism of mug shots is that they are dehumanizing and prejudicial against Black and brown people. These 19 subjects are almost all white, many in suit and tie, and indeed there is something not quite human about them: the hunched shoulders, the deep grooves on their faces, the bloodless lips pressed together in a grimace, the zombie stares. A couple of them are smiling, but from certain angles their faces seem caught in a rictus of pain. The mug shot does not reveal a person’s essence; rather, it makes him seem criminal. Police departments should stop using them. But what can be said of these mug shots is that, for once, there is no discrepancy between what the jail’s camera imposes and who these subjects actually are. They might even redefine what picture comes to mind when we think of that word, criminal.

Photo-Illustration: Intelligencer; Photos FULTON COUNTY SHERIFF’S OFFICE/EPA-EFE/Shutterstock

The mugshot is an unlovely sub-genre of portraiture photography. It is the opposite of a self-portrait, which offers the maximum amount of agency. Think of Cindy Sherman. No matter what the pose is you are aware that she is aware of how the photograph will look. In the mug shot the subject is given very little leeway. Heads may be tilted up or down, but they are always seen straight on (or, in the old days, from the side). We rarely see much below the shoulders. At the mercy of the police, the subjects have no idea how they will look, and for a certain sort of image-obsessed person that is enraging. Made in the inaccessible privacy of a police station these are pictures that the whole world is meant to see. They were made for, and belong to, the public — to judge, to play with, to make into memes, to mock.

The genre, like all genres, has its own rules and imagistic rhetoric. There is a canon of famous mug shots. Some are righteous, poignant, though still painful: Martin Luther King, Rosa Parks. There are mug shots that are iconic (Lee Harvey Oswald), chilling (Bill Cosby), and even cool (Frank Sinatra). In all of them a face is forced to confront a camera as the shutter opens or a digital imprint is made. What these 19 confrontations might mean is ultimately up to the viewer. Already the man with the scowl is using his portrait as both a statement of defiance and a claim of persecution — a symbol as diabolically ingenious as the red MAGA hat. I see ghouls who are corrupt and morally damaged. To me, the images signal a reckoning.

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A misspelled memorial to the Brontë sisters gets its dots back at last

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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.

The Canadian Press. All rights reserved.

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

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

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