Art
White visitors to Vancouver Art Gallery can compare their faces to infamous Nazis
One of the feature exhibits at the Vancouver Art Gallery right now is installation framing “Whiteness” as a force of “cultural erasure,” and even includes an Aryan Recognition Tool in which visitors are invited to gauge their visual similarity to a Nazi leader.
The exhibit, called “Conceptions of White,” first opened at the gallery on Sept. 7 and, according to gallery literature, is intended to help visitors “grapple with contemporary configurations of White identity.”
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In recent weeks, it’s gotten a spot of negative attention online after it featured in a post by the U.S.-based conservative social media account EndWokeness. “The exhibit tells white people to stop talking, enjoy discomfort, check their privilege, and vocalize their ignorance,” reads a post last month that has received nearly 900,000 views.
This, in turn, prompted a critical profile of Conceptions of White by True North Centre columnist Lindsay Shepherd.
Shepherd paid particular attention to the exhibit’s opening piece, entitled “When you’re the problem, we’re the solution.” A series of four stations shows an image of the viewer on a screen along with instructions such as “stop talking” and “enjoy discomfort.”
The “get curious” station, for instance, invites the viewer to “vocalize … ignorance” by stating “I know nothing” out loud.
Vancouver is not the first stop for Conceptions of White. It also had a two-month stint at the Art Museum at the University of Toronto. And before that, spent four months at the MacKenzie Art Gallery in Regina, Sask.
Curated by Canadians John G. Hampton and Lillian O’Brien Davis, the exhibition consists of new and existing installations — including one dating back to ancient times. Like the Vancouver Art Gallery itself, it’s heavily supported by government sources, drawing funding from the Canada Council for the Arts, the Toronto Arts Council and the Ontario Arts Council.
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Probably the most controversial part of the exhibit is Aryan Recognition Tool by Toronto-based artist Jennifer Chan. The tool actually exists permanently online, where users are invited to submit a photo of their face to an artificial intelligence engine that then “measures how your face compares to the facial measurements of an average Aryan — distilled from the most infamous leaders of the Third Reich.”
“Aryan Recognition Tool offers a playful yet uncomfortable window into the continuity of thought in facial typologies,” reads a curator description.
Love and Loss in the Milky Way is a 2005 piece from New York that consists of a table set with white ceramics along with a bust of an African woman. “The arrangement suggests connections and provokes audiences to question their assumptions and social conditioning and teachings,” says Davis in a curator walkthrough.
A “Whiteness timeline” is included along a wall to document “the circumstances that documented the emergence — and evolution — of white as an identity.” Included among the events are Charles Darwin publishing On the Origin of Species, the founding of the Ku Klux Klan and Canada’s 1867 founding.
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White Man’s Burden, by Montreal’s Deanna Bowen, is a series of items pulled from the MacKenzie Art Gallery permanent collection intended to represent “Canadian White supremacist ideologies and organizations in the first half of the 20th century.” It includes documents relating to arts donations made by former governor general Vincent Massey which helped found the MacKenzie gallery.
Also included is a reconstruction of the ancient marble statue Apollo Belvedere, which is now held in the Vatican Museums.
“Apollo is a very potent symbol in terms of the research surrounding whiteness and white identity,” said Davis in a talk recorded in February.
In the 18th century, the Apollo statue’s brilliant white surface was praised by the German art historian Johann Joachim Winckelmann as it “reflects the greatest number of rays of light.” According to Conceptions of White, this review “inspired Neoclassicists and race theorists to propose a new concept of racial superiority theorizing that European features like light skin are indicative of more highly evolved humans.”
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Ukrainian sells art in Essex while stuck in a warzone BBC.com
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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.
Sudbury’s annual art and music festival is marking a significant milestone this year, celebrating its long-standing impact on the local cultural scene. The festival, which has grown from a small community event to a major celebration of creativity, brings together artists, musicians, and visitors from across the region for a weekend of vibrant performances and exhibitions.
The event features a diverse range of activities, from live music performances to art installations, workshops, and interactive exhibits that highlight both emerging and established talent. This year’s milestone celebration will also honor the festival’s history by showcasing some of the artists and performers who have contributed to its success over the years.
Organizers are excited to see how the festival has evolved, becoming a cornerstone of Sudbury’s cultural landscape. “This festival is a celebration of creativity, community, and the incredible talent we have here in Sudbury,” said one of the event’s coordinators. “It’s amazing to see how it has grown and the impact it continues to have on the arts community.”
With this year’s milestone celebration, the festival promises to be bigger and better than ever, with a full lineup of exciting events, workshops, and performances that will inspire and engage attendees of all ages.
The festival’s milestone is not just a reflection of its past success but a celebration of the continued vibrancy of Sudbury’s arts scene.
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