The South African capital of Cape Town, affectionately known as the “Mother City,” unveils itself in layers that reveal its different facets. The majestic silhouette of Table Mountain, for instance, can be contrasted with the sprawling informality of Khayelitsha—its makeshift dwellings are a stark reminder of the socioeconomic realities that coexist within this land.
“Exporting is a two-way conversation,” said Linda Pyke, director of THK Gallery. “We introduce international artists to our market while showcasing our homegrown talent to the world. This exchange isn’t just about showcasing; it’s about claiming ownership of a narrative that was often dictated by others.”
Private institutions, such as galleries and museums, are also transcending their physical walls to become platforms of empowerment. They offer artists the crucial tools they need to tell their stories, fostering visibility and mentorship. This impact extends beyond individual success, driving the rewriting of narratives, challenging perceptions, and ultimately, preserving knowledge and uplifting marginalized communities. Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) serves as a powerful example of this commitment. As a public, not-for-profit institution, it houses and exhibits Africa’s largest collection of contemporary art, actively pursuing programs that promote intercultural understanding and inclusivity. Free entry on designated days underscores their dedication to accessibility.
In “When We See Us: A century of Black Figuration in Painting,” a landmark exhibition at the museum from last year, Black self-representation was explored through a century of global Black artwork, boldly bringing together established and emerging voices. By creating a platform for dialogue between artists, thinkers, and writers, Zeitz MOCAA not only celebrated Black artistic expression but also sparked crucial conversations about identity, history, and representation.
Another key institution is The Norval Foundation, which is dedicated to the research and care of 20th- and 21st-century African art. The nonprofit center, founded in 2018, aims to be a catalyst for contemporary art through artist commissions, fostering of education, and its stewardship of the Homestead Collection. The collection features an extensive body of artworks by 20th-century South African artists, and a growing number of artworks by contemporary artists from the African continent and its diaspora. Set within an indigenous garden and wetland near Table Mountain, the Foundation’s unique location reflects its commitment to nature and art.
The Cape Town art scene’s push toward greater inclusivity will also express itself at the 11th edition of Investec Cape Town Art Fair, which opens today at the Cape Town International Convention Centre and runs through February 18th. The fair will feature 115 exhibitors from 24 countries, representing 400 artists across 54 nationalities. The fair’s theme this year, “Unbound,” reflects the conversations being had about liberation and what it means to be free of personal and historical restrictions.
“The city’s geography is an integral part of the Investec Cape Town Art Fair’s success. Cape Town is a vibrant cultural hub, with a supportive community. It is very attractive to international collectors, with a great combination of diverse and cutting edge art,” said the fair’s director Laura Vinceti.
This diversity is on full display at Generations, the fair’s newest section, where curators Natasha Becker and Amogelang Maledu will foster an intergenerational dialogue through art. Celebrating artists at various career stages, it sparks conversations about addressing past flaws and reconstructing a future that leverages the talents and creativity of all generations. Galleries featured include local stalwart SMAC and San Francisco’s Jonathan Carver Moore.
The fair’s program will also will also include a public art intervention that will be hosted in the historic inner city of Bo-kaap, where international galleries like Galerie EIGEN + ART and Suburbia Contemporary will present pop-up exhibitions. Participating Cape Town galleries will also open their doors for exhibitions, tours, and picnics. The vibrant neighborhood also features the Bo-Kaap Museum. The historic space—its history dates back to the 1760s—is set to become a stage for reimagining the past through a performance piece by Thania Petersen. Petersen’s work promises to weave new narratives, amplifying the voices of the Cape’s people and offering fresh perspectives on the region’s rich history.
Cape Town’s art scene is young, complex, and brimming with potential. It reflects the struggles and triumphs of a nation still developing, and has quickly earned its right as an art capital. “Even in 2024, [there] will always be a preoccupation with reading the zeitgeist of art and culture…certainly not unique only to Cape Town but exacerbated here because of the inequalities that are so palpable and self-evident, even within the ecosystem of the art world,” said Maledu.
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.
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.
