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Rare, unseen Beatles pics released ahead of landmark exhibition

<p dir="ltr">On Thursday, The UK's National Portrait Gallery unveiled five photos from Paul McCartney’s personal archives, teasing a series of unseen photographs of Beatlemania through his own eyes.</p> <p dir="ltr">The exhibition, "Paul McCartney Photographs 1963-64: Eyes Of The Storm”, will run for three months from the 28th of June and is set to showcase what McCartney calls a "humbling yet also astonishing" experience.</p> <p dir="ltr">McCartney approached the gallery in 2020, after stumbling across the images taken on his Pentax camera, which he thought were lost.</p> <p dir="ltr">"Looking at these photos now, decades after they were taken, I find there's a sort of innocence about them," he said..</p> <p dir="ltr">"Everything was new to us at this point. But I like to think I wouldn't take them any differently today.</p> <p dir="ltr">"They now bring back so many stories, a flood of special memories, which is one of the many reasons I love them all, and know that they will always fire my imagination," he added.</p> <p dir="ltr">The images include black-and-white self-portraits shot in a mirror in Paris, John Lennon also in the City of Love, George Harrison in Miami Beach, and Ringo Starr in London.</p> <p dir="ltr">These are five out of the 250 images shot by McCartney between November 1963 and February 1964, and the exhibition will feature in the London gallery's reopening after three years of refurbishments.</p> <p dir="ltr">An accompanying book of photographs and reflections will also be published on June 13.</p> <p dir="ltr">Click <a href="https://uk.news.yahoo.com/unseen-mccartney-photos-beatles-early-230100596.html" target="_blank" rel="noopener">here</a> to see the five recently released images.</p> <p dir="ltr"><em>Images: 1964 Paul McCartney / National Portrait Gallery</em></p>

Art

Eco-activist attacks on museum artwork ask us to figure out what we value

<p>In the last few weeks <a href="https://www.nytimes.com/2022/10/23/arts/claude-monet-mashed-potatoes-climate-activists.html">climate change activists have perpetrated various acts</a> of reversible vandalism <a href="https://twitter.com/artnews/status/1585745905512169473">against famous works of art in public galleries</a>. </p> <p>In the latest incident on Oct. 27, two men entered <a href="https://www.theguardian.com/environment/2022/oct/27/girl-with-a-pearl-earring-vermeer-just-stop-oil-protest-mauritshuis-the-hague">the Mauritshuis gallery in the Hague</a>. After taking off their jackets to reveal t-shirts printed with anti-oil slogans, one proceeded to glue his head to <a href="https://www.reuters.com/business/environment/famed-girl-with-pearl-earring-painting-targeted-by-climate-activists-nos-2022-10-27/">glass overtop</a> <a href="https://www.mauritshuis.nl/en/our-collection/artworks/670-girl-with-a-pearl-earring/">Johannes Vermeer’s Girl with a Pearl Earring</a>, while the other bathed the head of his partner-in-crime with what appeared to be tinned tomatoes before gluing his own hand to the wall adjacent to the painting.</p> <p>This was just the latest in a series of similar art attacks that have peppered the news. </p> <p>The motivation of the eco-activists involved is to draw attention to the crisis of climate change, the role of big oil in hastening the deterioration of the environment and the necessity to save our planet.</p> <p>By attacking a famous and high-value cultural target like Vermeer’s Girl with a Pearl Earring — it <a href="https://www.imdb.com/title/tt0335119/">even starred in its own movie</a> — the protesters are asking us to examine our values.</p> <h2>Big oil protests</h2> <p>The first Vermeer painting to come to auction for almost 80 years <a href="https://www.cbc.ca/news/world/vermeer-fetches-record-price-1.506190">sold for almost $40 million in 2004</a>. Today a Vermeer (<a href="http://www.essentialvermeer.com/how_many_vermeers.html">there are not that many)</a> could easily be valued at twice that. Whether you like Vermeer or not, the monetary value of the targets under attack enhances the sheer audacity and shock value of the current art attacks.</p> <p>The eco-activists want to appear to desecrate something that people associate with value and with culture. Their point is that if we don’t have a planet, we’ll lose all the things in it that we seem to value more. </p> <p>As activist Phoebe Plummer of Just Stop Oil <a href="https://www.artnews.com/art-news/news/just-stop-oil-protestor-van-gogh-sunflowers-why-video-1234643678">told NPR after being involved in the attack on Van Gogh’s Sunflowers at London’s National Gallery</a>: “Since October, we have been engaging in disruptive acts all around London because right now what is missing to make this change is political will. So our action in particular <a href="https://www.npr.org/2022/11/01/1133041550/the-activist-who-threw-soup-on-a-van-gogh-explains-why-they-did-it">was a media-grabbing action to get people talking, not just about what we did, but why we did it</a>.”</p> <p>Note, the idea is disruption, not destruction. As acts designed for shock value, the activists did draw immediate public attention.</p> <h2>Attacking art</h2> <p>By staging their attacks in public galleries, where the majority of visitors carry cell phones, activists could be assured film and photos of the incidents would draw immediate attention. By sticking to non-corrosive substances and mitigating damage to the works under attack, they don’t draw the kind of public ire that wilful destruction would evoke. </p> <p>In recent news, attacking art as a form of public protest has largely been limited to public monuments outside the gallery space, like the <a href="https://www.cnn.com/2022/02/02/us/confederate-monuments-removed-2021-whose-heritage/index.html">destruction and removal of Confederate</a> or colonial statues. </p> <p>But it’s also true that works of museum art have come under attack before. Over the course of its history, <a href="https://www.theartnewspaper.com/2019/02/19/trimmed-splashed-and-slashed-the-anatomy-of-rembrandts-the-night-watch">Rembrandt’s Night Watch in the Rijksmuseum</a> in Amsterdam was stabbed in two separate incidents in 1911 and 1975; in 1990, it was sprayed with acid; but all of those attacks were ascribed to individuals with unclear and less clearly rational motives.</p> <p>I see a few issues at stake with assessing what these recent art attacks could mean.</p> <h2>1. How effective is the messaging?</h2> <p>The activists have been articulate about their objectives, but those objectives haven’t been <a href="https://twitter.com/BrydonRobert/status/1587587106997960705">obvious to everyone who sees</a> via social media, but doesn’t stick around to hear the explanation. When a broad <a href="https://www.smithsonianmag.com/smart-news/why-are-climate-activists-throwing-food-at-million-dollar-paintings-180981024/">range of media</a> <a href="https://time.com/6224760/climate-activists-throw-food-at-art/">outlets all</a> perceive <a href="https://www.forbes.com/sites/rebeccahughes/2022/08/05/why-are-climate-activists-gluing-themselves-to-art-in-italy/?sh=1e2e8a6a246a">the need to publish</a> editorials on why eco activists are targeting art, something is getting lost in translation.</p> <p>People see the endangerment of the works of art, but may ascribe that to the activists, not to the planetary erosion wrought by climate change. I don’t think everyone is getting the message.</p> <h2>2. Possible misplaced outrage</h2> <p>The incidents up until now have been pretty effective and harmless acts. But what if something is irreparably damaged? People will be outraged, but they’ll still be outraged about the art, not about the planet. </p> <p>And while there will be a call for stiff prison sentences, precedent suggests that’s an unlikely outcome. </p> <p>A man who damaged a Picasso valued at $26 million USD at the Tate Modern <a href="https://www.artnews.com/art-news/news/tate-modern-picasso-damaged-man-sentenced-1234569349">in London in 2020 was sentenced to 18 months in jail</a>.</p> <h2>3. Violation of public trust</h2> <p>The third effect is what I consider a violation of the public trust, and this gives me pause. Works of art, even the most famous ones, lead precarious lives of constant endangerment; war, weather, fire, floods. The protesters are destabilizing the idea that public galleries are “safe” spaces for works of art, held in public trust. </p> <p>As fari nzinga, inaugural curator of academic engagement and special projects at the <a href="https://www.speedmuseum.org/">Speed Art Museum</a> in Louisville, KY, pointed out in a 2016 paper: “The museum doesn’t serve the public trust simply by displaying art for its members, <a href="https://incluseum.com/2016/11/29/public-trust-and-art-museums">it does so by keeping and caring for the art on behalf of a greater community of members and non¬members alike</a>, preserving it for future generations to study and enjoy.” </p> <p>Right now these acts, no matter how well-intentioned, could lead to increased security and more limited access, making galleries prisons for art rather than places for people. </p> <p>At the same time, part of the activsts’ point is that economy that sustains <a href="https://grist.org/climate/can-art-museums-survive-without-oil-money/">big oil is entwined with arts infrastructure</a> and the art market.</p> <h2>The thing that saves us?</h2> <p>The pandemic taught us, I think, that art could be the thing we share that saves us; think of <a href="https://www.youtube.com/watch?v=Q734VN0N7hw">people during quarantine in Italy singing opera together from their balconies</a>. </p> <p>Eco-activists engaged in performance protests ask us to question our public institutions and make us accountable for what they, and we, value. Their climate activism is dedicated to our shared fate.</p> <p>If you’re willing to fight for the protection of art, maybe you’re willing to fight to protect the planet.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/eco-activist-attacks-on-museum-artwork-ask-us-to-figure-out-what-we-value-193575" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Art

Junior staff are finding better contracts, senior staff are burning out: the arts are losing the war for talent

<p>In 1997, consulting firm McKinsey & Company coined the term “<a href="https://www.fastcompany.com/34512/war-talent">the war for talent</a>” to define increasing labour shortages that had significant potential to impact organisational performance. </p> <p>The war for talent significantly impacted corporations at the time, creating a scarcity mindset and encouraging a wave of employee-focussed initiatives designed to attract and retain staff. </p> <p>For the most part, the arts and cultural sector have been sheltered from the war for talent over past decades. Global growth in creative oriented higher education coupled with the “<a href="https://blogs.lse.ac.uk/lsereviewofbooks/2016/04/26/book-review-be-creative-making-a-living-in-the-new-culture-industries-by-angela-mcrobbie/">romance of being creative</a>” has led to a steady stream of workers willing to enter the sector on low pay. </p> <p>However, in 2022 things have changed.</p> <p>Faced with labour shortages, arts and cultural organisations increasingly find it challenging to operate. In 2021, it was reported screen productions in Australia were <a href="https://www.abc.net.au/news/2021-09-24/high-demand-creates-film-skill-shortage/100479392">being jeopardised</a> due to lack of technical skills. </p> <p>Now, summer festivals are <a href="https://www.theguardian.com/music/2022/nov/07/will-australias-festivals-survive-a-wet-chaotic-expensive-summer">struggling to find</a> frontline workers, including security, stage crew, ticketing and transport. </p> <p>It’s not just entry-level positions that remain empty. </p> <p>After <a href="https://www.theguardian.com/culture/2021/may/11/australias-culture-of-ideas-suffers-when-we-starve-our-creative-institutions-of-funding">a decade</a> of funding cuts and policy neglect, followed by the stresses induced by COVID-19, I am observing arts leaders leaving to find secure, better paid and sustainable work elsewhere. </p> <p>In Australia’s increasingly tight labour market, the arts are finally facing a war for talent. </p> <h2>A culture of burnout</h2> <p>If we consider the role of the “arts manager”, it becomes easy to recognise why arts leaders are abandoning the industry.</p> <p>Arts leaders do not just support the creation of art. They are marketers, customer service specialists, supply chain and logistics experts, grant writers, human resources managers and – increasingly – risk managers. </p> <p>They are trying to bring back audiences post-COVID while juggling a contentious funding landscape that balances the need for revenue with audience, staff and artist <a href="https://overland.org.au/2021/09/the-arts-in-australia-need-to-break-up-with-fossil-fuels/">expectations</a> arts organisations do not partner with corporations that fail to align with organisational values.</p> <p>I am increasingly seeing young people leaving arts jobs for opportunities that recognise their skills and provide secure, better paid work. Art workers are highly valuable in today’s economy where creativity and innovation are seen as <a href="https://australiacouncil.gov.au/news/speeches-and-opinions/creative-skills-in-times-of-crisis-how-the-arts-can-help/">keys to success</a>.</p> <p>This lack of younger workers increases the workloads of senior staff, causing them to be burnt out and leave the sector, too.</p> <p>Staff shortages jeopardise the sector’s ability to get back on its feet after the brutal impact of COVID-19. Those that remain in our arts companies are exhausted, left trying to rebuild programs and audiences with fewer resources. </p> <p>While “<a href="https://theconversation.com/quiet-quitting-why-doing-less-at-work-could-be-good-for-you-and-your-employer-188617">quiet quitting</a>” gets media airtime, others in the sector are asking arts workers to embrace the mantra of “<a href="https://larsenkeys.com.au/2022/09/26/post-covid-or-post-burnout-less-is-necessary/">less is necessary</a>”.</p> <p>Individuals need to take action to address their wellbeing. Still, it is also necessary to consider the systems and structures that underpin our arts organisations and how they impact workers.</p> <h2>Structural issues</h2> <p>One way to address the war for talent is to increase the labour supply. </p> <p>Higher education providers who develop creative talent are lobbying for more resources to expand programs and are pushing for changes to the Job Ready graduate scheme that <a href="https://theconversation.com/the-inequity-of-job-ready-graduates-for-students-must-be-brought-to-a-quick-end-heres-how-183808">imposes higher costs</a> on arts and humanities graduates. </p> <p>The latest <a href="https://www.aare.edu.au/blog/?p=14754">Graduate Outcome Survey</a> shows that the employment outcomes of creative arts and arts and humanities graduates have increased over 20% since 2019. The high rates of graduate employability aligns with Australia’s historically low unemployment rate, but also demonstrates the value creative skills now hold in the broader economy.</p> <p>What these positive statistics do not tell us, however, is the working conditions of those employed. </p> <p>The arts are the original gig economy. Of the over 80% of arts and humanities graduates employed six months after graduation, how many earn a living wage? How many work in the arts? How many recent creative arts graduates are juggling multiple short-term contracts simultaneously to build skills, grow networks and cope with cost of living increases? </p> <p>As Australia’s labour market tightens, arts workers are realising they can take their skills to better paid jobs with secure contracts, in fields such as health, technology and management consulting.</p> <p>Unless arts organisations respond by providing similar security and career paths, the departure of talented workers will only continue. </p> <p>This loss of staff will not only impact the ability of organisations to operate today, but will also influence the make-up of arts organisations in the future. </p> <p>When only those who can afford to work under precarious conditions remain, the ability of the sector to attract and retain leaders from diverse communities <a href="https://www.artshub.com.au/news/features/how-do-we-stop-losing-artists-from-the-sector-2578669/">decreases</a>. </p> <h2>Decent work</h2> <p>Arts leaders eagerly await the launch of a new <a href="https://theconversation.com/a-new-national-cultural-policy-is-an-opportunity-for-a-radical-rethinking-of-the-importance-of-culture-in-australia-188720">National Cultural Policy</a>, hoping for significant change in how the arts are valued. </p> <p>Yet arts organisations need to also get their own house in order. </p> <p>Sustainable arts careers mean <a href="https://theconversation.com/the-crisis-of-a-career-in-culture-why-sustaining-a-livelihood-in-the-arts-is-so-hard-171732">decent work</a>. This means structural changes in how arts workers are employed, a shift away from the reliance on volunteers and <a href="https://www.smh.com.au/culture/art-and-design/why-is-a-major-sydney-arts-festival-working-with-google-to-offer-an-unpaid-internship-20220516-p5als1.html">incorrect appointment of unpaid interns</a>, low-wage casual or fixed-term roles to more secure and fairly paid employment. </p> <p>Many in the sector are championing change. The National Association for the Visual Arts is campaigning to <a href="https://visualarts.net.au/news-opinion/2022/recognise-artists-workers/">recognise artists as workers</a>, highlighting the need for an award to support this group that often falls under the industrial relations radar. The music sector has made similar calls for minimum wages for artists, <a href="https://www.theage.com.au/national/victoria/paying-musicians-a-minimum-wage-would-kill-live-music-tote-owner-20220923-p5bkgw.html">yet face critics</a>. </p> <p>The pandemic showed us how important the arts are to our lives. For the arts to continue to play a vital role in our national identity and represent our diverse communities, the sector must be funded appropriately. </p> <p>It is also essential organisations create safe, secure and viable jobs for arts workers. </p> <p>If the industry can only exist by systematically exploiting workers, then the war for talent will be lost.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/junior-staff-are-finding-better-contracts-senior-staff-are-burning-out-the-arts-are-losing-the-war-for-talent-194174" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Art

Soup on Van Gogh and graffiti on Warhol: climate activists follow the long history of museums as a site of protest

<p>Andy Warhol’s Campbell’s Soup Cans at the National Gallery of Australia are just the <a href="https://www.theguardian.com/culture/2022/nov/09/climate-activists-target-andy-warhols-campbells-soup-cans-at-australias-national-gallery">latest artistic target</a> of climate protesters, who have been throwing <a href="https://www.theguardian.com/environment/2022/oct/14/just-stop-oil-activists-throw-soup-at-van-goghs-sunflowers">soup</a>, <a href="https://www.washingtonpost.com/world/climate-protesters-throw-mashed-potatoes-at-monet-painting/2022/10/23/cc39e636-52f0-11ed-ac8b-08bbfab1c5a5_story.html">mashed potatoes</a> and <a href="https://www.washingtonpost.com/world/climate-protesters-throw-mashed-potatoes-at-monet-painting/2022/10/23/cc39e636-52f0-11ed-ac8b-08bbfab1c5a5_story.html">cake</a> at art worth millions of dollars.</p> <p>The actions have received a <a href="https://www.artnews.com/art-news/news/in-doha-four-museum-directors-talk-the-climate-protests-1234644472/">muted response</a> from some museum directors, but the protesters know exactly what they are doing. </p> <p>As the activists who threw soup on Van Gogh’s Sunflowers <a href="https://www.frieze.com/article/interview-just-stop-oil">said, "</a>We know that civil resistance works. History has shown us that."</p> <p>Indeed, there is a long history of museums and art being used for political protest.</p> <h2>For women’s suffrage and women artists</h2> <p>In 1914, suffragette Mary Richardson <a href="https://womensarttours.com/slashing-venus-suffragettes-and-vandalism/">slashed</a> the canvas of Velázquez’s Rokeby Venus at London’s National Gallery. </p> <p>Richardson wanted to attract publicity to Emmeline Pankhurst’s imprisonment for her suffragette actions. Richardson selected this painting in part because of its value, and because of “the way men visitors gaped at it all day long”.</p> <p>Her tactics are credited as <a href="https://www.surfacemag.com/articles/just-stop-oil-protests-museums-environmental-activism/">motivating</a> Extinction Rebellion and Just Stop Oil.</p> <p>Since 1985, the <a href="https://eprints.mdx.ac.uk/25207/1/Camillabrownpaper.pdf">Guerrilla Girls</a> have been exposing sexual and racial discrimination in the art world.</p> <p>Their actions have usually occurred at the outskirts of museums: in museum foyers, on nearby billboards and on New York City buses. Perhaps their most famous work <a href="https://www.tate.org.uk/art/artworks/guerrilla-girls-do-women-have-to-be-naked-to-get-into-the-met-museum-p78793">asked</a>: “do women have to be naked to get into the Met Museum?”</p> <h2>Against corporate sponsorship and artwashing</h2> <p><a href="https://www.artnews.com/art-news/news/decolonize-this-place-kanders-whitney-nine-weeks-of-art-and-action-12207/">Decolonize this Place</a> brings together campaigns against racial and economic inequality. </p> <p>They organised a campaign beginning in 2018 targeting the then vice-chair of New York’s Whitney Museum, Warren B. Kander, whose company sold tear gas that had reportedly been used against asylum seekers along the US-Mexico border. </p> <p>The campaign’s first event was held in the museum’s foyer. <a href="https://www.artnews.com/art-news/news/no-space-profiteer-state-violence-decolonize-place-protests-whitney-vice-chair-warren-b-kanders-11507/">Protesters burned sage</a> to mimic tear gas, which wafted through the lobby until the fire department arrived. </p> <p>The protesters argued Kander’s business interests meant he was not fit to lead a globally significant cultural heritage institution that sought relevance for a wide and diverse public constituency. Kander <a href="https://www.nytimes.com/2019/07/25/arts/whitney-warren-kanders-resigns.html">resigned</a> from the museum’s board in 2019.</p> <p>Since 2018, artist <a href="https://news.artnet.com/art-world/sackler-nan-goldin-victoria-albert-1704450">Nan Goldin</a> and her “Opioid Activist Group” have been staging “die-ins” at the museum to protest against the galleries named for sponsorship from the Sackler family.</p> <p>The Sackler family business is Purdue Pharma, infamous for OxyContin, a major drug in the US <a href="https://www.npr.org/2022/03/03/1084163626/purdue-sacklers-oxycontin-settlement">opioid crisis</a>. </p> <p>Activists have targeted galleries around the world, and so far the Sackler name has been removed from galleries including the <a href="https://www.nytimes.com/2019/07/18/arts/sackler-family-museums.html">Louvre</a>, the <a href="https://www.theguardian.com/culture/2022/mar/25/british-museum-removes-sackler-family-name-from-galleries">British Museum</a>, the <a href="https://news.artnet.com/art-world/sackler-name-change-guggenheim-museum-2110993">Guggenheim</a> and, as of last month, the <a href="https://www.theguardian.com/artanddesign/2022/oct/01/campaigners-celebrate-as-va-severs-sackler-links-over-opioids-cash">Victoria and Albert Museum</a>.</p> <h2>For the return of cultural artefacts</h2> <p>The highest-profile actions against the British Museum have targeted its rejection of calls to return objects including the <a href="https://www.artnews.com/art-news/news/parthenon-marbles-british-museum-protest-1234632365/">Parthenon Marbles</a> of Greece, the <a href="https://morningstaronline.co.uk/article/b/british-museum-closes-gallery-in-response-to-protesters">Benin Bronzes</a> from modern-day Nigeria, and the <a href="https://morningstaronline.co.uk/article/b/british-museum-closes-gallery-in-response-to-protesters">Gweagal shield</a> from Australia. </p> <p>In 2018, a group of activists performed a “<a href="https://camd.org.au/stolen-goods-tour-of-bm-protest/">Stolen Goods Tour</a>” of the museum. Participants from across the world gave a different story to what visitors read in the museum’s object labels and catalogues, as the activist tour guides explained their continuing connections with objects in the collection.</p> <p>The tour did not convince the museum to return cultural items, but drew extensive global attention to <a href="https://www.theguardian.com/world/2022/oct/11/nigeria-benin-repatriate-bronzes-smithsonian">ongoing campaigns</a>seeking restitution and repatriation.</p> <h2>In the culture wars</h2> <p>Protests using art and museums aren’t just the domain of the left.</p> <p>In 1969, <a href="https://www.routledge.com/Museums-and-Social-Activism-Engaged-Protest/Message/p/book/9780415658539">an arsonist destroyed</a> a display at the National Museum of American History that commemorated Martin Luther King Jr, who had been recently assassinated. The perpetrator was never identified.</p> <p>In 2017, <a href="https://www.theguardian.com/us-news/2017/jun/18/noose-found-hanging-washington-museum">nooses</a> were left at various museums of the Smithsonian, including The National Museum of African American History and Culture. No groups ever came forward to claim responsibility or express a motive, but the noose is a potent and divisive symbol of segregation and racially motivated violence.</p> <p>In December 2021, doors to the Museum of Australian Democracy in Canberra were <a href="https://www.abc.net.au/news/2021-12-30/act-protesters-set-old-parliament-house-on-fire/100731444">set alight</a> twice by protesters with a number of grievances, including opposition to COVID-19 vaccines.</p> <p>The museum’s <a href="https://www.abc.net.au/news/2022-01-20/multimillion-dollar-repair-bill-for-old-parliament-house-fire/100770268">director said</a> the “assault on the building” would force the museum to rethink its commitment to being “as open as possible, representing all that is good about Australian democracy”, and at the same time keeping it protected.</p> <h2>‘Direct action works’</h2> <p>The past two decades have seen a surge of art-focused demonstrations. </p> <p>In 2019, Decolonize this Place and Goldin’s anti-Sackler coalition met with members of 30 other groups in front of Andy Warhol’s “The Last Supper” (1986) at the Whitney. </p> <p>They were there to celebrate the Tate Museum in London and the Guggenheim Museum in New York, who had announced they would stop taking funding from the Sackler family. One participant cried “<a href="https://hyperallergic.com/491418/decolonize-this-place-nine-weeks-launch/">direct action works!</a>” </p> <p>Even when protests at museums and art achieve less concrete outcomes than this, they remain central tools for building public awareness around political and social issues. </p> <p>It is unlikely actions against museums and art will subside anytime soon.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/soup-on-van-gogh-and-graffiti-on-warhol-climate-activists-follow-the-long-history-of-museums-as-a-site-of-protest-193009" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Art

43 vintage photos of Queen Elizabeth II before she became Queen

<p>Her Majesty Queen Elizabeth II was the United Kingdom's longest reigning monarch, having ascended the throne in 1952 at age 25. Following the sad news of her passing at the age of 96, here are some snapshots of what her life was like before her coronation.</p> <h2>1926: Her Royal Highness Princess Elizabeth Alexandra Mary is born</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-1.jpg" alt="" width="1280" height="720" /></p> <p>Princess Elizabeth Alexandra Mary of York was born on April 21, 1926. She’s pictured here with her mother, Elizabeth, the Duchess of York, who was the wife of Prince Albert “Bertie” of York. Since Bertie was the second-born son of the reigning monarch, King George V, no one, and least of all the princess, herself, had any clue Elizabeth would one day be queen. Here, she’s just a sweet firstborn daughter of the “spare” heir.</p> <h2>A mum, a dad and a newborn princess</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-2.jpg" alt="" width="1280" height="720" /></p> <p>When Prince Albert (called “Bertie” by his friends and family) married Lady Elizabeth Bowes Lyon, the two became the Duke and Duchess of York. Here, the Duke and Duchess are pictured with their newborn, Her Royal Highness Princess Elizabeth of York.</p> <h2>1927: Lilibet at 14 months</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-3.jpg" alt="" width="1280" height="720" /></p> <p>When Princess Elizabeth was learning to speak, she had trouble pronouncing her name, referring to herself as “Lilibet,” and the name stuck. Lilibet was a happy and friendly child and the darling of her grandparents, King George V and Queen Mary. Outgoing and plucky, Lilibet was one of the few people on the planet who wasn’t intimidated by the man she called “Grandpa England,” whom she led by his beard as if he were a horse, according to TIME.</p> <h2>Just out of the terrible twos</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-4.jpg" alt="" width="1280" height="720" /></p> <p>In this sweet family portrait from 1929, the Duke of York smiles at his toddler daughter, who sits on her mum’s lap.</p> <h2>Daddy’s in military garb; a princess salutes</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-5.jpg" alt="" width="1280" height="720" /></p> <p>In this photo taken the summer of 1931, the Duke exits the car in military garb after his wife and daughter, while Princess Elizabeth salutes members of the military.</p> <h2>1932: Still a cosy, normal childhood</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-6.jpg" alt="" width="1280" height="720" /></p> <p>Arriving at the Royal Tournament in 1932, Princess Elizabeth was dressed like the proper princess that she was, but she generally lived a quiet life outside the spotlight. Until the birth of her sister, Princess Margaret Ann, she played with the children of businessmen and doctors, as opposed to the children of royals. Princess Margaret was a playful influence on her sister, who was, as is often the case with older siblings, more conscientious and responsible.</p> <h2>Playing house</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-7.jpg" alt="" width="1280" height="720" /></p> <p>In their childhood, Princess Elizabeth and Princess Margaret had an adorable miniature house that was a gift from the people of Wales. In this 1933 photo, the two princesses pose with their pups and their parents outside the tiny house.</p> <h2>The Princess bridesmaid</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-8.jpg" alt="" width="1280" height="720" /></p> <p>Young Princess Elizabeth was a bridesmaid at the November 1934 wedding of Prince George, Duke of Kent (a younger brother of George) to Princess Marina of Greece and Denmark. Elizabeth is pictured here with her dad, the Duke of York, but what’s most notable about this photo is that it was taken the same day Elizabeth first met her future husband, Philip Mountbatten, who was Prince of Greece and Denmark at the time.</p> <h2>Kids Day at the Horse Show</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-9.jpg" alt="" width="1280" height="720" /></p> <p>The Duke and Duchess of York and Princess Elizabeth arrive at the Richmond Horse Show for an array of Children’s Day events on June 14, 1935.</p> <h2>A family portrait from 1936</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-10.jpg" alt="" width="1280" height="720" /></p> <p>As it turned out, 1936 would be an especially important year for this family, though they couldn’t have known it at the moment this photo was snapped. Earlier that year, King George V had died, and his firstborn son, King Edward VIII, had ascended to the throne. But it wasn’t to last.</p> <h2>Everything was about to change</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-11.jpg" alt="" width="1280" height="720" /></p> <p>Pictured with two of her Corgis in 1936, Princess Elizabeth likely has little awareness of the constitutional crisis brewing as a result of King Edward VIII’s romance with the still-married, once-divorced American, Wallis Simpson. Her divorce, among other things, made her an inappropriate king’s “consort,” but Edward declared his intention to marry her and make her his queen. By the end of 1936, Edward would abdicate after learning the British people wouldn’t be able to support their King’s marriage to a divorcee, leaving Elizabeth’s father, Bertie, as King (King George VI) and Elizabeth as the presumptive heir. One thing that hasn’t changed, even today? Elizabeth’s love of Corgis.</p> <h2>A newly crowned King and his family</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-12.jpg" alt="" width="1280" height="720" /></p> <p>This photo was taken on the balcony of Buckingham Palace just after the coronation of King George VI on May 12, 1937. From left to right, we see the new Queen Elizabeth, Princess Elizabeth, the Dowager Queen Mary, Princess Margaret, and the newly crowned King.</p> <h2>New King, Queen and heir presumptive</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-13.jpg" alt="" width="1280" height="720" /></p> <p>When this photo was taken in 1937, King George VI had just recently ascended the throne. Princess Elizabeth was now the heir presumptive. That isn’t the same thing as an heir apparent; there was still the theoretical possibility that the King would father a male child and, in those days, a younger brother would have taken Elizabeth’s place in the line of succession. This rule, known as “male primogeniture,” ended during Queen Elizabeth II’s reign.</p> <h2>The future Queen and her sister at play</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-14.jpg" alt="" width="1280" height="720" /></p> <p>Princess Margaret famously expressed her “sympathy” for what lay ahead of her dear older sister.</p> <h2>A day at the theatre</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-15.jpg" alt="" width="1280" height="720" /></p> <p>King George VI, accompanied by his wife, Queen Elizabeth, and their daughter, Princess Elizabeth, arrive at the Coliseum Theatre in London for a charity matinee on March 27, 1938.</p> <h2>Not the cheap seats</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-16.jpg" alt="" width="1280" height="720" /></p> <p>King George VI, Queen Elizabeth, and Princess Elizabeth are seen attending the theatre on March 27, 1939, to benefit The King George VI Pension Fund for Actors and Actresses.</p> <h2>The royal wave</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-17.jpg" alt="" width="1280" height="720" /></p> <p>On June 22, 1939, the royal family, having just returned from their royal Canadian tour, appear on the balcony of Buckingham Palace.</p> <h2>A visit to Dartmouth Naval College</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-18.jpg" alt="" width="1280" height="720" /></p> <p>In this photo, taken during a July 1939 visit to Dartmouth Naval College, Princess Elizabeth plants a tree while her father looks on and holds the hand of Elizabeth’s younger sister, Princess Margaret.</p> <h2>A photo of the King taking a photo</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-19.jpg" alt="" width="1280" height="720" /></p> <p>At an August 1939 event at Abergeldie Castle, which is not far from Scotland’s Balmoral Castle, King George VI, wearing a kilt, holds a camera to his face. He was an avid photographer, a hobby Queen Elizabeth II adopted.</p> <h2>Elizabeth as a lover of animals</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-20.jpg" alt="" width="1280" height="720" /></p> <p>Queen Elizabeth II was one of, if not the, most famous animal lovers in the world. Here she’s seen in 1939 feeding one of the elephants at the London Zoo. Later in life, Elizabeth received one as a gift from the President of Cameroon in 1972.</p> <h2>A closely-knit family</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-21.jpg" alt="" width="1280" height="720" /></p> <p>This photo, taken in 1942, shows the royal family, including Princess Elizabeth, 16, doing some knitting for the British troops.</p> <h2>All the pretty horses</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-22.jpg" alt="" width="1280" height="720" /></p> <p>Queen Elizabeth started riding at age three and owned many horses throughout her life. Here she is in 1943, at age 17, with one of her many horses during Harvest Time at Sandringham in Norfolk.</p> <h2>A princess’s first tour</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-23.jpg" alt="" width="1280" height="720" /></p> <p>On April 4, 1944, Princess Elizabeth, Queen Elizabeth, and King George VI stood in a scout car during an inspection of royal artillery units. It was Princess Elizabeth’s first full-length tour with her parents.</p> <h2>The heir presumptive turns 18</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-24.jpg" alt="" width="1280" height="720" /></p> <p>The 18th birthday of an heir (apparent or presumptive) signifies the heir could become monarch at any time without the need for a regent to act on his/her behalf. Here, Elizabeth answers a telephone greeting on her 18th birthday, April 21, 1944.</p> <h2>Young Elizabeth follows in her father’s footsteps</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-25.jpg" alt="" width="1280" height="720" /></p> <p>In this photo of the royal family taken on the balcony of Buckingham Palace in 1945, Princess Elizabeth wears a military uniform, following in the footsteps of her dad.</p> <h2>1945: A Princess does her military duty</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-26.jpg" alt="" width="1280" height="720" /></p> <p>It took a lot of cajoling, but eventually, Elizabeth got her father, King George VI to agree to allow her to join the Women’s Auxiliary Territorial Service during World War II, for which she donned coveralls and trained as a mechanic and truck driver and was known as “Second Subaltern Elizabeth Windsor.” According to History, the Queen is the only female royal family member to have entered the armed forces. She may also be the only royal female who can change a spark plug.</p> <h2>A laugh between Dad and daughter</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-27.jpg" alt="" width="1280" height="720" /></p> <p>Here, we see the king sharing a laugh with his oldest daughter in 1946.</p> <h2>The Princess does her duty for fashion</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-28.jpg" alt="" width="1280" height="720" /></p> <p>The current Princesses of the United Kingdom are not the first to have been on almost constant style-watch. Here, Princess Elizabeth is pictured in 1946 modelling what can only be described as a truly fabulous, fashion-forward hat.</p> <h2>1947: A future Queen’s promise</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-29.jpg" alt="" width="1280" height="720" /></p> <p>On April 21, 1947, on the occasion of her 21st birthday, Princess Elizabeth announces her intention to serve as Queen for life (when the time comes) and promises her loyalty and faithfulness in serving. Some say this speech was her commitment to never abdicate.</p> <h2>Meet the (royal) family</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-30.jpg" alt="" width="1280" height="720" /></p> <p>In 1947, Lieutenant Philip Mountbatten, RN, asked Her Royal Highness Princess Elizabeth for her hand in marriage. She accepted. This photo was specially posed by the royal family in connection with the upcoming wedding.</p> <h2>Later that same day…</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-31.jpg" alt="" width="1280" height="720" /></p> <p>The royal family sat for a more intimate photo, just the four of them.</p> <h2>Pre-wedding jitters?</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-32.jpg" alt="" width="1280" height="720" /></p> <p>The bride-to-be, Princess Elizabeth, emerges from her carriage as King George VI looks on. The wedding day had some hiccups, which includes the “tiara incident” that occurred just before this photo was taken.</p> <h2>Wedding day</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-33.jpg" alt="" width="1280" height="720" /></p> <p>On November 20, 1947, Princess Elizabeth and Lieutenant Philip Mountbatten were married at Westminster Abbey. To marry Elizabeth, Philip, who was born into the royal families of Greece and Denmark, had to renounce his birth titles (Prince of Greece and Denmark). In return, his father-in-law-to-be created him Duke of Edinburgh, Baron Greenwich, and Earl of Merioneth.</p> <h2>Post-royal wedding photo</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-34.jpg" alt="" width="1280" height="720" /></p> <p>On November 20, 1947, Princess Elizabeth married the Duke of Edinburgh (previously Philip Mountbatten, the former Prince of Greece and Denmark). Here, the future Queen stands between her father, King George VI, and her husband, who is chatting amiably with his new mother-in-law, Queen Elizabeth; next to her is the dowager Queen Mary.</p> <h2>1948: The pregnant Princess Elizabeth</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-35.jpg" alt="" width="1280" height="720" /></p> <p>During the summer of 1948, Princess Elizabeth and her sister, Princess Margaret, are snapped arriving at Ballater Station en route to Balmoral for a family vacation (or “holiday,” as they say in England). At this time, Elizabeth is six months pregnant with her first child, Prince Charles.</p> <h2>Meet His Royal Highness, Prince Charles</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-36.jpg" alt="" width="1280" height="720" /></p> <p>HRH Prince Charles was born at Buckingham Palace on November 14, 1948. In this photo, we see four generations of the royal family: the newborn Prince Charles; Prince Charles’s mother, then-Princess Elizabeth (holding Charles); Elizabeth’s father, King George VI; and King George VI’s mother, the dowager Queen Mary.</p> <h2>Grandpa’s pride and joy</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-37.jpg" alt="" /></p> <p>King George VI watches as Princess Elizabeth assists baby Prince Charles as he walks in early 1950. Princess Margaret and Queen Elizabeth stand to the right, gazing at the future Prince of Wales.</p> <h2>1950: The Princess and her toddler</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-38.jpg" alt="" width="1280" height="720" /></p> <p>In September 1950, Princess Elizabeth is seen with Prince Charles, age 2, on the train on their way to visit her parents, King George VI and Queen Elizabeth at Balmoral in Scotland.</p> <h2>A family photo from Scotland</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-39.jpg" alt="" width="1280" height="720" /></p> <p>In this photo taken on the grounds of Balmoral Castle in Scotland in late summer 1951, King George VI is on the far left and Queen Elizabeth is on the right; in the centre are Princess Elizabeth, her husband, the Duke of Edinburgh, and young Prince Charles, who is sitting on the deer sculpture. Princess Margaret is in the background.</p> <h2>1951: Princess Elizabeth and her baby daughter</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-40.jpg" alt="" width="1280" height="720" /></p> <p>Princess Anne is the only daughter of Queen Elizabeth and Prince Philip. Born Her Royal Highness Princess Anne Elizabeth Alice Louise of Edinburgh on August 15, 1950, Anne will later become Princess Royal, a title the monarch may bestow on his/her eldest daughter.</p> <h2>The Princess cuts a rug</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-41.jpg" alt="" width="1280" height="720" /></p> <p>In 1951, during the Royal Tour, which she went on in place of her ailing father, King George VI, Princess Elizabeth dances a traditional Canadian square dance at Government House, Ottowa.</p> <h2>A last look at the Princess</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-42.jpg" alt="" width="1280" height="720" /></p> <p>On February 2, 1952, Colonel Mervyn Cowie opens the visitor’s book for Princess Elizabeth and the Duke of Edinburgh to sign upon their arrival at Nairobi National Park for a tour, during which they slept in a hotel built as a treehouse. Philip is chatting in the background with Cowie’s daughter, Mitzie. Four days later, King George VI would be dead, and the Princess would ascend the throne as Her Majesty Queen Elizabeth II.</p> <h2>Long live the Queen</h2> <p><img src="https://oversixtydev.blob.core.windows.net/media/2022/09/liz-43.jpg" alt="" width="1280" height="720" /></p> <p>On February 7, 1952, Elizabeth, made her first appearance on English soil as Her Majesty, the Queen. She wore black because she was mourning the death of her father, King George VI. He had passed away two days earlier.</p> <p><strong>This article by Lauren Cahn first appeared </strong><strong>on <a href="https://www.readersdigest.co.nz/true-stories-lifestyle/history/43-vintage-photos-of-queen-elizabeth-ii-before-she-became-queen" target="_blank" rel="noopener">Reader's Digest</a> and is reproduced here with permission.</strong></p> <p><em>Images: HISTORIA/SHUTTERSTOCK</em></p>

Beauty & Style

Male artists dominate galleries. Our research explored if it’s because ‘women don’t paint very well’ – or just discrimination

<p>In the art world, there is a gaping gender imbalance when it comes to male and female artists.</p> <p>In the National Gallery of Australia, <a href="https://nga.gov.au/knowmyname/about/">only 25%</a> of the Australian art collection is work by women. </p> <p>This is far better than the international standard where <a href="https://nmwa.org/support/advocacy/get-facts/">roughly 90%</a> of all artworks exhibited in major collections are by men. The <a href="https://www.artsy.net/artwork/georgia-okeeffe-jimson-weed-slash-white-flower-no-1">most expensive</a> painting by a female artist – Georgia O’Keeffe’s Jimson Weed/White Flower No. 1 – does not even rank among the <a href="https://en.wikipedia.org/wiki/List_of_most_expensive_paintings#List_of_highest_prices_paid">100 most expensive paintings</a> ever sold. </p> <p>Why is women’s art valued so much less than art by men?</p> <p>Some economists <a href="https://marginalrevolution.com/marginalrevolution/2005/02/why_do_women_su.html">have suggested</a> the greater burden of child rearing and other domestic duties means women have had fewer opportunities to succeed in the art world.</p> <p>Others have blamed the “<a href="https://www.smh.com.au/culture/art-and-design/report-names-laggers-as-women-artists-win-parity-20191029-p534vy.html">quality</a>” of women’s art. In 2013, German painter <a href="https://observer.com/2013/01/georg-baselitz-says-women-dont-paint-very-well/">Georg Baselitz said</a> “Women don’t paint very well. It’s a fact. The market doesn’t lie.”</p> <p>We wanted to know: is work by women generally valued differently to work by men because it is of a lower artistic quality, or is it just discrimination?</p> <h2>Which painting do you like better?</h2> <p>In <a href="https://www.sciencedirect.com/science/article/pii/S0167268122002669?dgcid=author">our new research</a> we showed average Americans pairs of paintings, painted between 1625 and 1979, side by side. Each of the pairs are similar in style, motif and period, but one work was by a male artist and the other by a female artist.</p> <p>Participants were in two groups. One group saw the artists’ names and the other didn’t. We wanted to see whether more people among those who saw artist names preferred the male painting.</p> <p>If seeing the names – and thereby inferring artist gender – causes more people to prefer male paintings, then there is gender discrimination.</p> <p>Before we tell you the results, think about what you would have expected. And <a href="https://rmit.au1.qualtrics.com/jfe/form/SV_e4JBs0wxKeftYF0">take a look</a> at our actual painting pairs and see if you can guess which is the male one (hint: you can’t).</p> <p>We were pleasantly surprised to find our participants did not give a hoot about artist gender. In both groups, 54% preferred the painting from a woman.</p> <p>We repeated this experiment, this time rewarding participants if they could accurately guess the preferences of others – the people in the first experiment. </p> <p>Again, 54% of the people in each group picked the female paintings.</p> <h2>Which painting do you think is worth more?</h2> <p>Next we wanted to find out if people picked male paintings for reasons other than personal taste. Art isn’t just bought and sold on aesthetic value: it is a speculative market, where art is treated as an investment.</p> <p>We conducted two more experiments. In one, participants were rewarded if they picked the more expensive painting. In the other, they were rewarded to pick the one painted by the more famous artist.</p> <p>Gender discrimination emerged in both these experiments. When asked to predict the value of and creator fame of paintings, people suddenly swung towards picking male artists. Preference for female paintings fell by 10% and 9% in these two new experiments.</p> <p>Gender discrimination in art comes not from personal aesthetic preference – Baselitz’ argument that women “don’t paint very well” – but people thinking paintings are more valuable and famous when painted by male artists.</p> <h2>A question of fame</h2> <p>In our fifth experiment, we again rewarded participants who could correctly guess which painting would be preferred by others. This time everyone saw the names of the artists. But only one group was told which of the two artists was objectively more famous – the male artist in 90% of cases.</p> <p>The group with that information was 14% more likely to pick male paintings. People used fame information to predict the painting others liked better.</p> <p>If women artists were discriminated against just because of their gender we would have seen a higher premium put on the male artists even in questions of aesthetics.</p> <p>Here, discrimination only occured when our participants were asked to assign a monetary value to the art works, or when they were given information about the level of fame of the painter. </p> <p>This means our art appreciators discriminated not on gender, but on something closely associated with gender: fame.</p> <p>And because male artists have, historically, been given <a href="https://www.sciencedirect.com/science/article/abs/pii/S1574067606010234">more opportunities</a> to become artists – and therefore become famous – artwork by men is perceived as having a higher value.</p> <p>Policy is slowly starting to recognise and target institutional factors that perpetuate male dominance because of historical notions of fame, like the National Gallery of Australia’s <a href="https://knowmyname.nga.gov.au/">Know my Name</a> initiative. </p> <p>Discrimination in the arts exists, but it often comes from people’s beliefs about what others care to discriminate about. The task ahead is to change perceptions of people and institutions who do not discriminate – but merely conform to others’ discrimination.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/male-artists-dominate-galleries-our-research-explored-if-its-because-women-dont-paint-very-well-or-just-discrimination-189221" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Art

How to get the most out of your next art gallery visit

<p dir="ltr">Art galleries and museums are places of splendour and inspiration that can open doors to other worlds, cultures and historic secrets. </p> <p dir="ltr">Despite the joy many experience within the walls of an exhibition, others can find it dull, exhausting and even in some cases, boring. </p> <p dir="ltr">With all this in mind, there are a few ways you can capitalise on your next gallery experience to get the most out of it without being left feeling exhausted by the end of the day. </p> <p dir="ltr"><strong>Don’t try to see everything in one visit</strong></p> <p dir="ltr">When you step inside a gallery, the first impulse many feel is to soak in as much art and culture as you can. </p> <p dir="ltr">Justin Paton, the head curator of international art at the Art Gallery of New South Wales, says there's no shame in only looking at the things that really grab your attention. </p> <p dir="ltr">"I think you walk through openly, you walk through curiously, you walk through with your antennae up," he <a href="https://www.abc.net.au/radionational/programs/the-art-show/how-to-look-at-a-painting/10826778">told ABC RN's The Art Show</a>.</p> <p dir="ltr">"Look for that physical response — it might be adoration, it might be arousal, it might be revulsion.”</p> <p dir="ltr">"Those bodily cues, those ungovernable responses, are exactly what should make us look twice, make us look a third time.”</p> <p dir="ltr">"See what the wall label says about it, and if that doesn't correspond with the way you're feeling about it, look again, go and find out more."</p> <p dir="ltr"><strong>Slow down</strong></p> <p dir="ltr">Studies have shown that many people tend to zoom their way through galleries, with research finding many people move on after <a href="https://psycnet.apa.org/record/2016-10247-001">less than 30 seconds</a>.</p> <p dir="ltr">When you're not rushing through trying to see everything, you can afford to slow down and appreciate the things that speak to you. </p> <p dir="ltr">"If you spend good time with one work it is infinitely more valuable than doing a grainy tour of a museum and coming out exhausted," Paton says.</p> <p dir="ltr">"A great painting will flip switches and unlatch thoughts."</p> <p dir="ltr">This helps when you’re looking at what you’re connecting with, rather than what art or exhibitions you feel like you should be seeing. </p> <p dir="ltr"><strong>Get to know the art</strong></p> <p dir="ltr">When first observing art, we all have the instinct to judge a piece on its immediate appearance, prompting comments such as “I love it” or “I hate it” or “Surely a child could’ve done this”.</p> <p dir="ltr">Resisting this urge will let you connect with the artist and their intentions on a deeper level, and reading more about a certain work will give you a more elaborate insight into an artists’ inspiration. </p> <p dir="ltr">"It's nice to think about artworks as you would think about people: not rushing into a judgement too fast," says Paton.</p> <p dir="ltr"><strong>Lighten up! Don’t take it too seriously </strong></p> <p dir="ltr">Alongside the reverence and reflection that comes into art, there is also plenty of room for humour and silliness. </p> <p dir="ltr">"People in the past, they had a sense of humour, they liked to have a joke. They weren't a stuffy, serious culture," says Art historian Mary McGillivray.</p> <p dir="ltr">"When you're looking at a painting and you think, 'That's a bit suspect,' it almost certainly will be.”</p> <p dir="ltr">"There's a lot of penis jokes in art history, let me tell you."</p> <p dir="ltr"><strong>Do your homework</strong></p> <p dir="ltr">A little planning can go a long way when it comes to your next art gallery visit. </p> <p dir="ltr">Looking at what exhibitions are currently on, utilising digital maps, or even booking in a guided tour will help you get the most out of any museum. </p> <p dir="ltr">"Those tours will give you so much more insight into what you're looking at, and it's way more engaging to hear someone talk about art in a collection that they're interested in," says McGillivray.</p> <p dir="ltr">Public programming can also include art and dementia programs, tactile tours for kids, student learning initiatives, and programs created for, and facilitated by, First Nations people.</p> <p dir="ltr"><strong>Don’t feel like you don’t belong</strong></p> <p dir="ltr">You absolutely do!</p> <p dir="ltr">Public art galleries and museums are open to everyone for a reason: to share a love and appreciation of art, history and culture with as many people as possible. </p> <p dir="ltr">"Galleries are not meant to be elitist, they're not meant to be just for some people to understand and everyone else to stay away from. Everyone deserves to have a go at enjoying those collections," McGillivray says.</p> <p dir="ltr">"You're allowed to talk, you're allowed to laugh, you're allowed to joke, you can walk through really quickly or you can slow down or sit down. There's no right or wrong way."</p> <p dir="ltr"><em>Image credits: Getty Images</em></p>

Art

Galleries continue to erase women artists in their blockbuster exhibitions

<p>The National Gallery recently <a href="https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/after-impressionism">announced</a> its summer 2023 exhibition, After Impressionism, claiming the show will celebrate the “towering achievements of Cezanne, Van Gogh, Gaugin and Rodin” among others. The <a href="https://twitter.com/NationalGallery/status/1528729976542986242">response on social media</a> to this announcement was largely, “where are the women?”</p> <p>Some on Twitter offered suggestions of women who should be included in the exhibition, including Suzanne Valadon, Paula Modersohn-Becker, Gabriele Münter and Sonia Delaunay, to name just a few. The National Gallery <a href="https://twitter.com/NationalGallery/status/1529758889150930944">tweeted</a> the same text to several of these replies: “We have announced a small number of confirmed loans to the exhibition. This includes Camille Claudel’s Imploration. We will share more loans, including major works by women artists, closer to the opening.” </p> <p>While it remains to be seen what these works will be, it is clear they are not considered integral to the show, or a significant draw for the public, by the gallery. If they were, they would have been mentioned front and centre in the press release. </p> <p>That was accompanied by an image of Cezanne’s <a href="https://www.nationalgallery.org.uk/paintings/paul-cezanne-bathers-les-grandes-baigneuses">Bathers (Les Grandes Baigneuses)</a>, which depicts a group of nude women. Clearly in 2022, the easiest way for a woman to get on to the walls of the National Gallery is <a href="https://www.tate.org.uk/art/artworks/guerrilla-girls-do-women-have-to-be-naked-to-get-into-the-met-museum-p78793">still</a> by being nude.</p> <p>The National Gallery is somewhat of an outlier among global museums in its continued failure to broaden the narratives it tells through its collection and exhibitions. But its focus on extremely well-known white male artists demonstrates what it considers to be innovative and important – and therefore what it does not. </p> <h2>When women have been blockbusters</h2> <p>The expectation that “blockbuster” shows be about household-name artists is a vicious cycle – artists cannot become household names if they’re not included in big exhibitions. The lack of women in traditional art historical scholarship has led to the belief that there simply weren’t many, or indeed any, important women artists working in Europe in this period, which is entirely false – as the backlash on Twitter highlighted. Yet museums still seem unable to recover them into the canon.</p> <p>The idea that only household names sell tickets has also been repeatedly debunked over the past decade. The best example is New York’s Guggenheim Museum’s 2018 <a href="https://www.guggenheim.org/exhibition/hilma-af-klint">exhibition</a> of the works of Swedish artist Hilma af Klint, the first major retrospective of the artist’s works in the US – and the first time most people attending the show had seen or heard of her. The exhibition became the museum’s <a href="https://news.artnet.com/art-world/hilma-af-klint-breaks-records-guggenheim-1522192?utm_content=buffer3ce14&utm_medium=social&utm_source=facebook.com&utm_campaign=news">best-attended show ever</a>.</p> <p>The National Portrait Gallery’s 2019-20 show <a href="https://www.npg.org.uk/whatson/pre-raphaelite-sisters/exhibition/">Pre-Raphelite Sisters</a> and Madrid’s Museo del Prado’s 2020-21 show <a href="https://www.museodelprado.es/en/whats-on/exhibition/uninvited-guests-episodes-on-women-ideology-and/197d4831-41f1-414d-dbdf-5ffd7be4cc3f">Uninvited Guests: Episodes on Women, Ideology and the Visual Arts in Spain (1833-1931)</a> both foregrounded women in traditionally male art movements and periods. </p> <p>Both were the recipients of <a href="https://www.frieze.com/article/pre-raphaelite-sisters-national-portrait-gallery-review-ode-sisterly-solidarity">some</a> <a href="https://www.theguardian.com/world/2020/oct/19/prados-first-post-lockdown-show-reignites-debate-over-misogyny">criticism</a>, largely arguing that the curators had not gone far enough in centring work actually made by women, rather than simply depicting them. Both shows, however, represent steps towards imagining new methods of disrupting traditional art history narratives. </p> <h2>Still woefully underrepresented in permanent collections</h2> <p>In the autumn and winter of 2020, the National Gallery hosted its first exhibition headlining a female artist. It was a retrospective of the works of the remarkable Renaissance artist <a href="https://www.nationalgallery.org.uk/exhibitions/past/artemisia">Artemisia Gentileschi</a>, one of the few women whose work is held in the gallery’s permanent collection. </p> <p>Women artists are woefully underrepresented in the permanent collections of major museums around the world – these are the works of art that are owned by museums and hung on the walls year-round, not just during special exhibitions.</p> <p>The National Gallery, which boasts a collection of more than 2,000 works, owns only <a href="https://www.theguardian.com/artanddesign/2019/jan/31/female-artists-are-finally-in-our-galleries-lets-keep-them-there">24 works</a> by women, representing just <a href="https://artuk.org/discover/stories/the-eight-women-artists-of-the-national-gallery">eight</a> women artists. While this ratio is remarkably bad, the National Gallery is not alone in having a profound imbalance. </p> <p>The arts publications Artnet and arts podcast In Other Words partnered in 2019 to <a href="https://news.artnet.com/womens-place-in-the-art-world/visualizing-the-numbers-see-infographics-1654084">analyse</a> the representation of women in the collections of American museums. They found that between 2008 and 2018, just 14% of work in museum exhibitions was by women and just 11% of museum acquisitions were works by women. These acquisitions and exhibitions are heavily skewed towards modern and contemporary art. </p> <p>Women artists working before 1900 are far less represented in museum collections. In some cases, their works are in smaller museums or in private collections and, in others, they are untraced or lost. This makes including their work in exhibitions more difficult because it can be harder to find.</p> <p>Yet despite the fact that women’s work has been less reliably preserved throughout history, a great deal of it still exists. Museums that hide behind the excuse of a “lack” of work by women are perpetuating a lie that has been debunked by innumerable feminist art historians since Linda Nochlin’s famous 1971 essay, <a href="https://www.artnews.com/art-news/retrospective/why-have-there-been-no-great-women-artists-4201/">Why Have There Been No Great Women Artists?</a></p> <p>Writing in 2015, art historian Griselda Pollock <a href="https://theconversation.com/the-national-gallery-is-erasing-women-from-the-history-of-art-42505">explained</a> evidence of women artists is “there in black and white” in exhibition and sales records in the 19th century. “This is the primary evidence. It cannot be contradicted. But it has been consistently ignored by 20th-century art historians and 21st-century museum curators.”</p> <p>The National Gallery’s continued reliance on outdated art history is a failure of its duty as a steward of the British public’s art collection. Museums, particularly those like the National Gallery which receive significant public funds, have the responsibility to accurately communicate the history and relevance of the objects they own. They should also continue to innovate and respond to cultural changes. </p> <p>A museum whose collection is less than 1% female is hardly representative of a country whose population is 50% female. Nor is it representative of a history of art which, while still not offering equal opportunities for men and women, certainly fostered an abundance of pioneering women artists.</p> <p><em>Image credits: Getty Images</em></p> <p><em>This article originally appeared on <a href="https://theconversation.com/galleries-continue-to-erase-women-artists-in-their-blockbuster-exhibitions-184988" target="_blank" rel="noopener">The Conversation</a>. </em></p>

Art

A list of must-see museums in Florence

<p dir="ltr">If there’s one thing that Italy has in abundance, it is art, culture and a rich history. </p> <p dir="ltr">While the capital of Rome is home to a lot of incredible galleries and museums, the city of Florence is full of galleries that house some of the most important artworks in the world. </p> <p dir="ltr">With museums showcasing original works from Da Vinci, Botticelli and Michelangelo, as well as the iconic Statue of David, these are the galleries that are not to be missed in Florence. </p> <p dir="ltr"><strong>Uffizi Gallery</strong></p> <p dir="ltr">This three-storey museum is home to one of the largest collections of both Middle Age and Renaissance art in the world. </p> <p dir="ltr">The U-shaped building is filled with paintings, sculptures, drawings, and archives, as well as boasting extraordinary architecture. </p> <p dir="ltr">You can see some early works from Da Vinci and Michelangelo, as well as Botticelli’s iconic The Birth of Venus.</p> <p dir="ltr">Uffizi also boasts an impressive rooftop cafe which showcases stunning views of Florence. </p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/CVfnsqdNgnD/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CVfnsqdNgnD/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Gallerie degli Uffizi (@uffizigalleries)</a></p> </div> </blockquote> <p dir="ltr"><strong>Accademia Gallery</strong></p> <p dir="ltr">Located on a quiet street near the city centre, the Accademia Gallery, or Galleria dell'Accademia di Firenze, is where you will find the incredible Statue of David by Michelangelo.</p> <p dir="ltr">Known for its stunning collection of Renaissance art, the Accademia Gallery is a must visit gallery to discover the wonders of Italian art history. </p> <p dir="ltr">Thousands flock to the gallery everyday to observe the sheer wonder and beauty of the Statue of David, along with other lesser known (but still as extraordinary) marble works by the same artist. </p> <p dir="ltr">This understated gallery is definitely one to make time for.</p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/CdbEEsGqosu/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CdbEEsGqosu/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Galleria Accademia Firenze (@galleriaaccademiafirenze)</a></p> </div> </blockquote> <p dir="ltr"><strong>Palazzo Vecchio</strong></p> <p dir="ltr">The Palazzo Vecchio is the town hall of Florence, which holds a replica of the Statue of David in the city centre. </p> <p dir="ltr">The gallery offers Roman ruins, a Mediaeval fortress and amazing Renaissance chambers and paintings for visitors to travel through time via the astonishing works on offer. </p> <p dir="ltr">As well as boasting an impressive art collection, the Palazzo Vecchio also showcases a series of secret routes and tunnels underneath the building that have huge archeological importance to the history of Italy. </p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/CeLXDYNjk5i/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CeLXDYNjk5i/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by Loris Fiasconi 📷 (@lorismaker)</a></p> </div> </blockquote> <p dir="ltr"><strong>Palazzo Medici Riccardi</strong></p> <p dir="ltr">The Palazzo Medici Riccardi showcases the impressive history of the Medici family, who were a political dynasty in Florence during the first half of the 15th century. </p> <p dir="ltr">All the artworks on show were once collected by the family, before being donated to the public. </p> <p dir="ltr">As well as the permanent collection of Renaissance works, the gallery also often showcases a series of temporary exhibits to help expand the knowledge of art history in Italy. </p> <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/CaVEDQULm9-/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/CaVEDQULm9-/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by italia_in_art (@italia_in_art)</a></p> </div> </blockquote> <p><em>Image credits: Getty Images</em></p>

Art

Original artwork found in rubbish on sidewalk

<p dir="ltr">A Sydney man has hit the jackpot after finding an original piece of artwork worth thousands of dollars left on the sidewalk for council pick up. </p> <p dir="ltr">Leonardo Urbano stumbled across a cardboard box which contained several art pieces for children when he found one that stood out. </p> <p dir="ltr">Not thinking much about the price of it, Leonardo knew he wanted to give it a new home when he saw Sydney artist and two-time Archibald Prize finalist Dapeng Liu's signature at the bottom.</p> <p dir="ltr">"I thought it was beautiful and I don't normally think about the price, I just think if someone would want it, then I'll take it with me," he told <a href="https://au.news.yahoo.com/sydney-man-discovers-3000-artwork-hidden-council-throw-out-090958132.html" target="_blank" rel="noopener">Yahoo Australia</a>.</p> <p dir="ltr">He sent the artwork to his local art gallery who then confirmed that it was in fact an original and not a copy. </p> <p dir="ltr">There is also a similar piece of artwork at the museum from Dapeng’s nude collection priced at a whopping $2,900. </p> <p dir="ltr">Leonardo has since been in touch with Dapeng and apologised to him saying the artwork was found in council pickup rubbish. </p> <p dir="ltr">Dapeng then informed Leonardo that he had actually gifted the piece of art to someone.</p> <p dir="ltr">"I said to him 'look, I'm sorry I found it in the street but I will treasure it as my own’.”</p> <p dir="ltr"><em>Images: Yahoo</em></p>

Art

Art gallery investigates links to Holocaust

<p dir="ltr">The Wollongong Art Gallery in New South Wales is grappling with shocking new revelations that a major donor with a gallery named after him may have been a Nazi collaborator before emigrating to Australia from Lithuania. </p> <p dir="ltr">Bronius "Bob" Sredersas donated approximately 100 works by revered Australian artists to the gallery in 1976, just six years before he died. </p> <p dir="ltr">Despite working as a steelworker at Port Kembla, he saved his money to meticulously collect valuable paintings. </p> <p dir="ltr">However, after the gallery’s 40th birthday celebrations in 2018, which also celebrated the central role Sredersas played in its establishment, former councillor Michael Samaras noticed he was described as a policeman for the Lithuanian government's Department of Security.</p> <p dir="ltr">The councillor found the findings suspicious and decided to investigate further. </p> <p dir="ltr">"When all the publicity happened for the 40th anniversary of the gallery there was media, including on the ABC Illawarra webpage, about the fact that he was a policeman in Lithuania before the war," he said.</p> <p dir="ltr">"And I just knew from general knowledge that a lot of the police from Lithuania ended up in what was called the Auxiliary Police Battalion, which actually did much of the killing in the Holocaust.”</p> <p dir="ltr">"The Wollongong City Library local studies section has a whole three boxes of material on him so I got his birth certificate."</p> <p dir="ltr">In uncovering these devastating claims, the Wollongong council, who owns the gallery, has been put on the back foot, with Lord Mayor Gordon Bradbery receiving letters from the NSW Jewish Board of Deputies who have offered to help work with the council to investigate. </p> <p dir="ltr">"That has to be dealt with in a way that does not hide the past, recognises the allegations if they are proven and how we deal with the Sredersas Collection and how that's represented or interpreted," Mr Bradbery said.</p> <p dir="ltr">While the investigation is ongoing, Dr Efraim Zuroff, director of the Jewish human rights organisation the Simon Wiesenthal Centre, has suggested council remove the name of Bob Sredersas from the gallery in the meantime. </p> <p dir="ltr">He said, "I think it's important that a decision is made to remove his name as it's basically a statement that we do not want to honour people who participate in the crimes of the Holocaust."</p> <p dir="ltr"><em>Image credits: Wollongong City Council </em></p>

Art

London gallery returns stolen works to Nepalese owners

<p dir="ltr">Two artefacts that were stolen 30 years ago from a temple in Nepal have been repatriated in a ceremony at the Nepalese embassy in London.</p> <p dir="ltr">The 16th-century carved wooden Torana, a ceremonial gateway, and the 17th-century stone statue of a kneeling devotee were both taken from a sacred site near Kathmandu, according to detective superintendent John Roch of the London Metropolitan police at the handover, which was attended by the Nepalese ambassador Gyan Chandra Acharya.</p> <p dir="ltr">In a statement, both parties expressed “their willingness to work closely and promote the collaborative efforts for the preservation of cultural heritage.”</p> <p dir="ltr">Both artefacts were found in the holdings of Barakat Gallery’s London branch, with the London Metropolitan police claiming that the pieces had been inherited from a deceased relative, and had been in the family’s possession for 20 years. </p> <p dir="ltr">Barakat voluntarily relinquished the artefacts after they were determined to be the looted cultural property of Nepal.</p> <p dir="ltr">“I am deeply committed to [supporting] Nepali efforts in protecting and repatriating its rich cultural heritage, and hope we can all continue to fight to reinstate access, agency and power over their living heritage to the Nepali people,” Emiline Smith, a professor of criminology at the University of Glasgow, wrote on Twitter. </p> <p dir="ltr">Emiline specialises in the global illegal trade in cultural objects originating from Asia, and brought the issue to the attention of the authorities in Nepal and Interpol, which then connected with London’s police.</p> <p dir="ltr">Nepal’s acting consul general Bishnu Prasad Gautam received the artefacts on behalf of the Nepalese government in a ceremony organised by the museum.</p> <p dir="ltr">In a statement, Gautam called the repatriation “proactive,” adding that gallery’s cooperation has “positively contributed to Nepal’s national efforts” to recover its stolen cultural property from foreign collections.</p> <p dir="ltr"><em>Image credits: The Nepalese Embassy in London</em></p>

Art

On the elegance and wry observations of Jeffrey Smart, one of Australia’s favourite painters

<p><em>Review: Jeffrey Smart, National Gallery of Australia</em></p> <p>Although I never met him, Jeffrey Smart (1921-2013) was my first art teacher. As “Phideas” on the ABC Radio’s <a href="https://en.wikipedia.org/wiki/Argonauts_Club">Argonauts</a> program he told stories of art and artists, explaining ways of seeing to children across Australia.</p> <p>Two things I remember from my childhood listening. The first was the marvel of the <a href="https://news.artnet.com/art-world/golden-ratio-in-art-328435">Golden Mean</a>, the magical geometric ratio that governs the western tradition of art. The second was a story of <a href="https://www.metmuseum.org/toah/hd/rmbt/hd_rmbt.htm">Rembrandt</a> who took his own path as an artist, even though that led to criticism by his peers.</p> <p>After I discovered Phidias’s identity I could see the Golden Mean writ large in his carefully constructed paintings. But Rembrandt? Jeffrey Smart’s painting surfaces meticulously honour the Italian Renaissance and his composition at times has echoes of the metaphysical works of <a href="https://www.artnews.com/feature/giorgio-de-chirico-why-is-he-famous-1202687371/">Giorgio de Chirico</a>. They have nothing in common with Rembrandt’s painterly approach.</p> <p><a href="https://images.theconversation.com/files/437390/original/file-20211214-23-17pb3qm.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437390/original/file-20211214-23-17pb3qm.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> <span class="caption">Jeffrey Smart, Waiting for the train, 1969-70.</span> <span class="attribution"><span class="source">National Gallery of Australia, Canberra, purchased 1969, gift of Alcoa World Alumina Australia 2005, © The Estate of Jeffrey Smart.</span></span></p> <p>But that wasn’t the point of the story. Smart was speaking in Sydney in about 1960, a time and place when artists were expected to be hard drinking heterosexual men performing painterly abstraction. Smart was not a part of that culture. He had a lifelong allegiance to the classical forms of the Italian <a href="https://www.britannica.com/event/Quattrocento">quattrocento</a>, especially the exquisite formal geometry of <a href="https://artuk.org/discover/artists/piero-della-francesca-c-14151492">Piero della Francesca</a>. His love of structure, smooth surface, fine detail and his sexuality put him at odds with Australia.</p> <p><a href="https://images.theconversation.com/files/437393/original/file-20211214-13-13ub98q.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437393/original/file-20211214-13-13ub98q.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" alt="" /></a> <span class="caption">Jeffrey Smart, Morning at Savona, 1976, University Art Collection, Chau Chak Wing Museum, University of Sydney, Donated through the Alan Richard Renshaw Bequest 1976.</span> <span class="attribution"><span class="source">© The Estate of Jeffrey Smart.</span></span></p> <p>It was only later, years after he retreated to Italy, that his home country came to fully appreciate the elegance of his wry observations. In his old age, this artist once out of tune with his peers, became one of Australia’s most favoured sons.</p> <p>Now, on the centenary of his birth, the National Gallery’s Deborah Hart and Rebecca Edwards have curated a thoughtful and generous reassessment linking Smart to the places and people who nourished him.</p> <h2>Shape, line and colour</h2> <p>It begins in his home town of Adelaide: a city with a well planned urban centre and (back then) a culture of Protestant conformity.</p> <p>The young Smart painted buildings and industrial waste; the way light and shade makes patterns on surfaces; the contrast between clear constructed shapes and fluid humanity.</p> <p><a href="https://images.theconversation.com/files/437392/original/file-20211214-15-19oh8wn.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437392/original/file-20211214-15-19oh8wn.jpeg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> <span class="caption">Jeffrey Smart, Corrugated Gioconda, 1976.</span> <span class="attribution"><span class="source">National Gallery of Australia, Canberra, purchased 1976, © The Estate of Jeffrey Smart.</span></span></p> <p>Local cinemas introduced him to Alfred Hitchcock, whose films use visual clues to imply tension. Hitchcock was famous for inserting himself as an incidental figure into his narratives. I have always wondered if that solitary of a watching man in so many of Smart’s paintings is in part a tribute to the original master of visual suspense.</p> <p>Smart would only ever discuss his work in terms of their formal relationship between shape, line and colour. This insistence on formalism goes back to his early studies in Adelaide and the influence of the modernist painter <a href="https://en.wikipedia.org/wiki/Dorrit_Black">Dorrit Black</a> (1891-1951), who had returned to Adelaide after some years in France. The curators have included her <a href="https://searchthecollection.nga.gov.au/object?uniqueId=29974">House-roofs and flowers</a> which hangs beside Smart’s early structured <a href="https://www.artgallery.nsw.gov.au/collection/works/436.2001/">Seated Nude</a>. It is easy to see the connection.</p> <p><a href="https://images.theconversation.com/files/437428/original/file-20211214-17-1eqwvss.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437428/original/file-20211214-17-1eqwvss.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> <span class="caption">Jeffrey Smart, Keswick siding, 1945. Tarntanya/Adelaide. Oil on canvas. 62 x 72.1 cm.</span> <span class="attribution"><span class="source">Art Gallery of New South Wales, Sydney Gift of Charles B Moses 1982 193.1982</span></span></p> <p>There is a sense of wanting to escape in some paintings of his Adelaide period, such as Keswick Siding. This is less so after he moved to Sydney where he found, despite his unfashionable devotion to precision and classical form, his art was accepted as being a part of the <a href="https://www.portrait.gov.au/portraits/2008.24/the-merioola-group">Charm School</a>, which it was not. Living and working in Sydney, he also became greatly admired as a teacher at the National Art School and a broadcaster.</p> <h2>Humour and friends</h2> <p>Even the most structured works of Smart’s maturity include visual jokes and a human touch. In Holiday, 1971, a relentless pattern of balconies and windows is disrupted by the small figure of a woman, lazing in the sun. He always claimed he introduced people in his paintings of buildings to give a sense of scale, an old artist’s trick. I am not sure how that works in the Portrait of Clive James, unless it was to remind the subject of his significance in the scheme of things.</p> <p><a href="https://images.theconversation.com/files/437429/original/file-20211214-21-16vusye.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437429/original/file-20211214-21-16vusye.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> <span class="caption">Jeffrey Smart. Portrait of Clive James. 1991–92 Tuscany, Italy. Oil on canvas. 109 x 90.4 cm.</span> <span class="attribution"><span class="source">Art Gallery of New South Wales, Sydney Purchased with funds provided by the Art Gallery Society of New South Wales 1992 © The Estate of Jeffrey Smart Photo: AGNSW 276.1992</span></span></p> <p>Smart’s relocation to Italy in 1963 saw a lightening of his palette, and a joyous celebration of light with the contrasting geometry of the blocky shapes of the modern world and the human scale of the old. There is a running theme of visual wit, but only for those who notice. Waiting for the train (1969-70) has echoes of compositions by <a href="https://en.wikipedia.org/wiki/Piero_della_Francesca">Piero della Francesca</a>, albeit in gloomy tones.</p> <p>His portrait of Germaine Greer places her against an impastoed wall, a surprising rough painterly texture which could either be a comment on the subject’s character or a riposte to those who considered he was lacking in technical skill as a painter.</p> <p><a href="https://images.theconversation.com/files/437430/original/file-20211214-19-ptwv8f.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437430/original/file-20211214-19-ptwv8f.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> <span class="caption">Jeffrey Smart. Portrait of Germaine Greer. 1984 Tuscany, Italy. Oil and synthetic polymer paint on canvas. 96 x 120 cm.</span> <span class="attribution"><span class="source">Private collection</span></span></p> <p>Some of the most satisfying works are Smart’s portraits of friends, and here his humour comes into play. The scholarly writer David Malouf is depicted as a workman in overalls, holding a twisting orange pipe. Margaret Olley is at the Louvre, a place she loved, but placed in front of a row of anonymous wooden screens.</p> <p><a href="https://images.theconversation.com/files/437431/original/file-20211214-23-at8gxc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437431/original/file-20211214-23-at8gxc.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> <span class="caption">Jeffrey Smart. Portrait of David Malouf. 1980 Tuscany, Italy. Oil and synthetic polymer paint on canvas. 100 x 100 cm.</span> <span class="attribution"><span class="source">The State Art Collection, The Art Gallery of Western Australia, Perth. Purchased 1983 © The Estate of Jeffrey Smart 1983/0P13</span></span></p> <p>Most fascinating of all is The listeners, 1965 where a young man lies in a field of grass, overseen by a surveilling radar. The head is a portrait of Smart’s friend, the art critic Paul Haefliger who had retreated from Australia to Majorca.</p> <p><a href="https://images.theconversation.com/files/437432/original/file-20211214-21-nj1p6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437432/original/file-20211214-21-nj1p6.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" alt="" /></a> <span class="caption">Jeffrey Smart. The listeners. 1965 Rome, Italy. Oil on canvas. 91.5 x 71 cm.</span> <span class="attribution"><span class="source">Art Gallery of Ballarat, Ballarat. The William, Rene and Blair Ritchie Collection. Bequest of Blair Ritchie 1998 © The Estate of Jeffrey Smart 1998.23</span></span></p> <p>It shows visual contrasts between modern technology and nature, between the golden grass, red radar and dark sky and (for those in the know) between the young body of the model and the head of the ageing Haefliger.</p> <p>Smart’s portraits rarely focus on their subject. The one exception is The two-up game (Portrait of Ermes), 2008, who became Smart’s life partner in 1975. His calm face is backgrounded by the solid geometry of containers on one side and the fluidity of people playing a game of chance, on the other.</p> <p>In formal terms, his image in the foreground balances the composition. This also seems to be the meaning, the reason for it all.</p> <p><a href="https://images.theconversation.com/files/437433/original/file-20211214-15-1hmeyhq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437433/original/file-20211214-15-1hmeyhq.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> <span class="caption">Jeffrey Smart. The two-up game (Portrait of Ermes). 2006 Tuscany, Italy. Oil on canvas. 86.8 x 158.4 cm.</span> <span class="attribution"><span class="source">TarraWarra Museum of Art, Healesville. Purchased 2006 2006.011</span></span></p> <p><em>Jeffrey Smart is at the National Gallery of Australia until May 15 2022</em><img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/171109/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /></p> <p><span><a href="https://theconversation.com/profiles/joanna-mendelssohn-8133">Joanna Mendelssohn</a>, Principal Fellow (Hon), Victorian College of the Arts, University of Melbourne. Editor in Chief, Design and Art of Australia Online, <em><a href="https://theconversation.com/institutions/the-university-of-melbourne-722">The University of Melbourne</a></em></span></p> <p>This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/on-the-elegance-and-wry-observations-of-jeffrey-smart-one-of-australias-favourite-painters-171109">original article</a>.</p> <p><em>Image: Jeffrey Smart, Margaret Olley in the Louvre Museum. 1994–95 Tuscany, Italy. Oil on canvas 67 x 110 cm <span class="attribution"><span class="source">Art Gallery of New South Wales, Sydney. </span></span></em></p>

Art

Hunter Biden’s art venture poses ethical headache for the White House

<p><span style="font-weight: 400;">Hunter Biden has unveiled his first art collection in a New York gallery, which is an impressive feat for someone with no formal artistic training. </span></p> <p><span style="font-weight: 400;">With his passion for art previously kept secret from the rest of the world, Hunter has burst onto the scene with his artworks that are attracting mildly favourable reviews, and are anticipated to sell for tens of thousands of dollars. </span></p> <p><span style="font-weight: 400;">Despite the early success of Hunter’s collection with the </span><a href="https://bergesgallery.com/our-artists/hunter-biden"><span style="font-weight: 400;">Georges Berg</span><span style="font-weight: 400;">ès Gallery</span></a><span style="font-weight: 400;">, his venture into the art world has posed a series of quandaries for the lawyers of his father, President Joe Biden. </span></p> <p><span style="font-weight: 400;">Lawyers were first concerned when there appeared to be no recommended retail price for an original painting. </span></p> <p><span style="font-weight: 400;">Instead, a buyer would make an offer and the dealer chooses whether to accept or decline. </span></p> <p><span style="font-weight: 400;">So, while President Biden would be unable to accept a briefcase full of a million dollars as a donation, someone would instead be able to offer the same sum for one of his son’s paintings. </span></p> <p><span style="font-weight: 400;">Walter Shaub, who headed the Office of Government Ethics under the Obama Administration, was outraged by the younger Biden's venture into art.</span></p> <p><span style="font-weight: 400;">"There is no ethics program in the world that can be built around the head of state's staff working with a dealer to keep the public in the dark about the identities of individuals who pay vast sums to the leader's family member for subjectively priced items of no intrinsic value," he tweeted.</span></p> <p><span style="font-weight: 400;">"If this were Trump, Xi or Putin, you'd have no doubt whatsoever that this creates a vehicle for funnelling cash to the first family in exchange for access or favours."</span></p> <p><span style="font-weight: 400;">However, thanks to the White House’s new ethics rules, if someone offers a suspiciously high figure for a painting, Hunter’s art dealer Georges Bergès will turn down the offer. </span></p> <p><span style="font-weight: 400;">On top of this, Georges would keep the identity of any buyer secret from Hunter Biden or the White House. </span></p> <p><span style="font-weight: 400;">Mr Bergès told </span><a href="https://news.artnet.com/art-world/hunter-biden-gallery-show-1979790"><span style="font-weight: 400;">Artnet News</span></a><span style="font-weight: 400;"> that he expected some of Mr Biden's pieces to sell for as much as half a million dollars, and although Hunter has agreed to abide by the White House ethics rules, he is not legally bound to them.</span></p> <p><em><span style="font-weight: 400;">Image credits: Georges Berg</span><span style="font-weight: 400;">ès Gallery</span></em></p>

Art

London’s National Gallery publishes historical slavery report

<p><span style="font-weight: 400;">In a detailed research project, London’s National gallery has published a report on the role slavery has played in the 197-year history of the institution’s success. </span></p> <p><span style="font-weight: 400;">Focusing on the period between 1824 and 1880, 67 individuals were named with </span><span style="font-weight: 400;">either direct, familial or more tangential connections to slavery.</span></p> <p><span style="font-weight: 400;">According to the </span><a href="https://www.nationalgallery.org.uk/"><span style="font-weight: 400;">National Gallery’s website</span></a><span style="font-weight: 400;">, the project was intended to “find out about what links to slave-ownership can be traced within the museum, and to what extent the profits from plantation slavery impacted our early history.”</span></p> <p><span style="font-weight: 400;">The research project began in 2018 under the title “Legacies of British Slave-Ownership”, when it was discovered that the first artworks to come into the gallery when it was founded in 1824 belonged to financier and philanthropist John Julius Angerstein.</span></p> <p><span style="font-weight: 400;">Researchers concluded that these 38 paintings brought into the gallery by John Julius Angerstein had “an unknown proportion of this was in slave ships and vessels bringing to Britain produce cultivated in the Caribbean by enslaved people. Angerstein acted as a trustee of estates and enslaved people in Grenada and Antigua.”</span></p> <p><span style="font-weight: 400;">The report also recognised the late 18th century portrait painter Thomas Gainsborough, who has several works in the museum’s collection: three portraits of which depicted people with ties to slavery. </span></p> <p><span style="font-weight: 400;">According to the museum, a second report is underway which will cover collectors, trustees and donors from 1880 to 1920.</span></p> <p><span style="font-weight: 400;">A spokesperson from the gallery acknowledged that its collection “has a particular, historically rooted character” but stressed they “have not, and will not remove any picture from display because of its association with slavery”.</span></p> <p><span style="font-weight: 400;">She added, “If anything, we want to engender discussion and understanding about these questions. A great deal of work had been undertaken by the curatorial team in this area, and the picture labels in the gallery mark clearly where paintings are associated with slavery.”</span></p> <p><em><span style="font-weight: 400;">Image credits: Getty Images</span></em></p>

Art

With commercial galleries an endangered species, are art fairs a necessary evil?

<p>Although record numbers of people are flocking to exhibitions in the major public art galleries, foot traffic into commercial art galleries is dwindling at an alarming rate. Embarrassed gallery directors of well-established and well-known commercial art galleries will quietly confess that frequently they scarcely get more than a dozen visitors a day. Outside the flurry of activity on the day of the opening, very little happens for the duration of the show.</p> <p>This is not a peculiarity of the Australian art scene, I have heard similar accounts in London, Manhattan and Paris. The art public has largely ceased visiting commercial art galleries as a regular social activity and art collectors are frequently buying over the internet or through art fairs. In fact, many galleries admit that most of their sales occur via their websites, through commissions or at art fairs, with a shrinking proportion from exhibitions or their stockroom by actual walk-in customers.</p> <p>The commercial art galleries have become an endangered species and their numbers are shrinking before our eyes. Leaving aside China and its urban arts precincts, such as <a href="http://www.798district.com/">798 Art Zone in Beijing</a>, again this is a trend that can be noted in much of Europe, America and Australasia.</p> <p>At the same time, the art market is relatively buoyant, albeit somewhat differently configured from the traditional one. The art auction market in many quarters is thriving and, as persistent rumours have it, not infrequently auction houses leave their role as purely a secondary market and increasingly source work directly from artists’ studios. This seeps into their lavish catalogues.</p> <p>The other booming part of the art trade is the art fairs. Here I will pause on a case study of the <a href="http://www.artfair.co.nz/">Auckland Art Fair 2019</a>. Started by a charitable trust about a dozen years ago and run as a biennial, in 2016 the fair, with new sponsorship and a new management team of Stephanie Post and Hayley White, was reorientated. As of 2018, it has become an annual art fair with a focus on the Pacific Rim region. It remains the only major art fair in New Zealand.</p> <p>Situated in The Cloud, a scenic setting on Queens Wharf in central Auckland, this location also limits its size to create an intimate, friendly, human-scale fair, unlike the vast expanses of the <a href="http://www.expochicago.com/">Chicago Art Fair</a> or even <a href="http://www.sydneycontemporary.com.au/">Sydney Contemporary</a> in the Carriageworks.</p> <p>The nuts and bolts of the Auckland Art Fair is that galleries from the Pacific Rim region can apply to exhibit and a curatorial committee of four curators, two from public galleries and two from commercial ones, select about 40 galleries for participation. The event, which is held over five days, attracts about 10,000 visitors and generates between $6-7 million in art sales.</p> <p>The fair costs about $1 million to stage with 90% of this sum raised from sponsorship, ticket sales and gallery fees and the rest a grant from Auckland Tourism, Events and Economic Development. The public pays an admission fee of between $25-30, depending on when they book.</p> <p>Art fairs are popular with local governments as they invariably attract people and businesses into the city. In Auckland Art Fair 2019, held in the first week in May, there were 41 galleries participating, almost 30 from various parts of NZ, the rest from Sydney, Melbourne, Hobart, Shanghai, Jakarta, Rarotonga (Cook Islands) and Santiago.</p> <p>According to Stephanie Post, a major purpose of the fair is to build a new art audience and, by extension, a new generation of art collectors. The fair is designed to fill the gap between the primary and secondary art markets. For this reason, there is a whole series of “projects” that generally promote new art, frequently by emerging artists, many currently without representation by a commercial art gallery. In 2019 there were ten of these non-commercial projects at the fair.</p> <p>These projects, for the past three art fairs, have been curated by Francis McWhannell, who now plans to step aside to be replaced by a new set of curatorial eyes. There are also various lectures, talks, panel discussions and related exhibitions. This year, most notably, there is “China Import Direct”, a curated cross-section of digital and video art from across China with some stunning and quite edgy material by Yuan Keru, Wang Newone and Lu Yang, amongst others.</p> <h2>A mixed bag</h2> <p>Predictably, art at the Auckland Art Fair 2019 is a mixed bag, but the stronger works do outnumber those that are best passed over in silence. In terms of sales, within the first couple of hours quite a number of the big-ticket items were sold, such as work by the Australians Patricia Piccinini and Dale Frank.</p> <p>Looking around this year’s fair, some of the highlights included Seraphine Pick at Michael Lett; Robert Ellis at Bowerbank Ninow; Max Gimblett at Gow Longsford Gallery; Anne Wallace and Juan Davila at Kalli Rolfe; Christine Webster at Trish Clark; Daniel Unverricht and Richard Lewer at Suite, Toss Woollaston at Page Blackie Gallery, Dame Robin White and Gretchen Albrecht at Two Rooms; Robyn Kahukiwa at Warwick Henderson Gallery; Geoff Thornley at Fox Jensen McCrory; Simon Kaan at Sanderson; James Ormsby at Paulnache and Kai Wasikowski at the Michael Bugelli Gallery.</p> <p>This selective list of names, to which many others can be added, indicates something of the spread and diversity of the artists being presented at the fair – not only in style and medium, but in the whole range of languages of visualisation and conceptualisation. Although there are a few deceased artists included, like Mirdidingkingathi Juwarnda Sally Gabori and Colin McCahon (neither represented by a particularly strong work), like most art fairs there is a predominance of well-established blue chip artists, a scattering of art market darlings plus a few unexpected newcomers.</p> <p>A criticism of art fairs is that they are an expensive market place with high overhead costs, which discourage too much experimentation with “untested” emerging artists. Despite the welcome initiatives of the “projects”, Auckland in this respect falls into line with the pattern of most fairs.</p> <p>The oft-repeated claim that they create a new art audience is also difficult to quantify. Although anecdotal evidence suggests that many who go to fairs may not have ever entered a commercial art gallery before, this does not appear to be followed up by a conversion of this audience into regular gallery goers.</p> <h2>A spectacle</h2> <p>Art fairs and blockbuster exhibitions in public art galleries have become popular people magnet events. They are a form of entertainment that is becoming more of a surrogate for consuming art than some sort of conduit for a return to more traditional patterns of art appreciation and acquisition. They are noisy, crowded and colourful spectacles – more like a party than a quiet arena for the contemplation of art.</p> <p>Is this such a bad thing? Observing the spectacle in Auckland, I was struck by the youthfulness of the thousands of visitors. For many, it seemed the idea that they could afford to purchase an original artwork came as a revelation. Perhaps this was not a $100,000 painting by a major artist, but something more modest and frequently more to their tastes. Nevertheless, new buyers are being introduced to original art and this in itself has to be a positive development.</p> <p>Art fairs globally are breeding a cult of dependency with some “commercial” art galleries increasingly divesting themselves of a physical existence and living from fair to fair. For a while, this was a complete no-no and fairs insisted that participant galleries had a bricks-and-mortar existence, but in many instances the borders are fudged and to be a gallery you need only be an established art trading entity.</p> <p>Art fairs are here to stay; the future of commercial art galleries is far more problematic.</p> <p><em>Image credit: Getty Images</em></p> <p><em>This article first appeared on <a rel="noopener" href="https://theconversation.com/with-commercial-galleries-an-endangered-species-are-art-fairs-a-necessary-evil-116680" target="_blank">The Conversation</a>. </em></p>

Art

White male artists dominate US galleries

<p>The walls of art galleries in the US are hung, almost to the exclusion of all else, with the works of white men.</p> <p>That’s the conclusion of a team of statisticians and art historians, <a rel="noopener" href="https://doi.org/%2010.1371/journal.pone.0212852" target="_blank">published</a> in the journal PLOS One.</p> <p><span>The researchers, led by Chad Topaz from the Department of Mathematics and Statistics at Williams College in Massachusetts, US, examined the public online catalogues of 18 major US museums and extracted records for 9000 named artists.</span></p> <p>These were then given over to a crowdsourcing platform, and with the help of the many people thereon the majority of the artists were successfully identified and biographies built.</p> <p>“Overall,” the authors report, “we find that 85% of artists are white and 87% are men.”</p> <p>Topaz and colleagues position their work in the context of previous studies that have examined diversity in museum and gallery staff, as well as visitor profiles.</p> <p><a rel="noopener" href="https://mellon.org/programs/arts-and-cultural-heritage/art-history-conservation-museums/demographic-survey/" target="_blank">One study</a>, for instance, found that 72% of members of the US Association of Art Museum Directors (AAMD) identified as white. The same study found that while 60% of museum staff are female, women occupy only 43% of senior positions.</p> <p><span>Other studies have looked at visitors, and identified communities to target through outreach programs in attempts to increase diversity.</span></p> <p>The present work, though, is the first to study diversity among the artists represented.</p> <p>“If museums find knowledge of staff and visitor demographics important for programming decisions,” the authors write, “one might ask if demographics of the artists are important for collection decisions.”</p> <p>They cite “anecdotal evidence” that in the field of contemporary American art some collections are being actively augmented to rectify diversity imbalance, with the welcome effect that “it is now not unusual for these museums to compete with each other for major works of African American art”.</p> <p>However, the big picture – no pun intended – remains overwhelmingly coloured by men who are white.</p> <p>“With respect to gender, our overall pool of individual, identifiable artists across all museums consists of 12.6% women,” the authors report.</p> <p>“With respect to ethnicity, the pool is 85.4% white, 9.0% Asian, 2.8% Hispanic/Latinx, 1.2% Black/African American, and 1.5% other ethnicities.”</p> <p>Introducing greater diversity, however, is perhaps not as difficult as some might imagine.</p> <p>“We find that the relationship between museum collection mission and artist diversity is weak, suggesting that a museum wishing to increase diversity might do so without changing its emphases on specific time periods and regions,” the researchers conclude.</p> <p>They also admit that their analysis is constrained by a couple of limitations. First, a small proportion of artists identified could not be satisfactorily identified by gender or ethnicity. Second, artworks made by more than one artist were not included, and, third, many works of art – those from the Graeco-Roman period, for instance – are not assigned to identifiable individuals.</p> <p><em>Image credits: Shutterstock</em></p> <p><em>This article was originally published on <a rel="noopener" href="https://cosmosmagazine.com/people/society/white-male-artists-dominate-us-gallery-collections/" target="_blank">cosmosmagazine.com</a> and was written by Andrew Masterson. </em></p>

Art

AI declares National Gallery’s Samson and Delilah almost certainly a fake

<p><span style="font-weight: 400;">A painting previously attributed to Peter Paul Rubens, </span><em><span style="font-weight: 400;">Samson and Delilah</span></em><span style="font-weight: 400;">, has long been suspected of not actually being an authentic work by the Baroque artist, and <a rel="noopener" href="https://www.artnews.com/art-news/news/national-gallery-london-rubens-samson-and-delilah-ai-authentication-1234604957/" target="_blank">new research</a> has provided more proof for the claim.</span></p> <p><span style="font-weight: 400;">The work, which currently hangs in London’s National Gallery, was recently authenticated using artificial intelligence (AI) by Swiss-based tech company Art Recognition.</span></p> <p><span style="font-weight: 400;">The company concluded that the painting has a 91 percent probability of being fake, according to a report in the </span><em><span style="font-weight: 400;">Guardian</span></em><span style="font-weight: 400;">.</span></p> <p><span style="font-weight: 400;">Though Rubens did paint a scene of </span><em><span style="font-weight: 400;">Samson and Delilah</span></em><span style="font-weight: 400;">, depicting the moment when Delilah cut Samson’s hair, it disappeared after his death in 1640.</span></p> <p><span style="font-weight: 400;">The suspicious painting re-emerged in 1929, when it was attributed to Rubens by Ludwig Bruchard, an expert on the artist.</span></p> <p><span style="font-weight: 400;">However, following Bruchard’s death it was revealed that he provided certificates of authenticity for money, with 60 works authenticated by him since being identified as fakes.</span></p> <p><span style="font-weight: 400;">Since the London gallery purchased the work for a then-record of £2.5 million in 1980, several critics have questioned its authenticity.</span></p> <p><span style="font-weight: 400;">Euphrosyne Doxiadis is one of said sceptics, who has claimed in several papers that the National Gallery’s painting differed from studies that Ruben made for the work.</span></p> <p><span style="font-weight: 400;">The most recent findings using AI technology adds further doubt to the painting’s authenticity.</span></p> <p><span style="font-weight: 400;">Art Recognition used a database of fake and authentic Ruben paintings to teach an AI bot to identify minute details found in authentic Rubens works.</span></p> <p><span style="font-weight: 400;">Then, the bot analysed the National Gallery’s </span><em><span style="font-weight: 400;">Samson and Delilah</span></em><span style="font-weight: 400;"> by dividing the canvas into a grid and examining it square by square.</span></p> <p><span style="font-weight: 400;">“We repeated the experiments to be really sure that we were not making a mistake and the result was always the same,” Carina Popovici, the leading scientist behind the analysis, told the </span><em><span style="font-weight: 400;">Guardian</span></em><span style="font-weight: 400;">.</span></p> <p><span style="font-weight: 400;">“Every patch, every single square, came out as fake, with more than 90 percent probability.”</span></p> <p><span style="font-weight: 400;">However, it is unclear whether the bot takes into account varieties in style that might result from the help of studio assistants.</span></p> <p><em><span style="font-weight: 400;">Image: National Gallery of London</span></em></p>

Art

Prince Harry's new neighbour is Ellen DeGeneres

<p>Ellen DeGeneres is set to rub shoulders with her royal neighbours Prince Harry and Meghan Markle after snapping up a mansion in the exclusive area of Montecito, California.</p> <p>She bought the sprawling South-African-style mansion in late September and could meet the royal couple as they put roots in LA after stepping down as senior royals.</p> <p>Ellen and her wife Portia's rumoured new home has 4.3 acres of land, a 9,000 square foot South African style main building, a pool house, a guest house, a detached garage and a barn.</p> <p>All five structures circle a large lily pond stocked with fish that comes with a rowboat.</p> <p>There's also an infinity-edged swimming pool that overlooks the pond.</p> <p>Former owners SNL comedian Dennis Miller and his wife Carolyn Espley-Miller sold the home to DeGeneres in late September, with the private deal being one of the most expensive deals in the Santa Barbara County area.</p> <p>The estate was never publicly on the market, but many have gone through Espley-Miller's Instagram account to see what the inside of the home looks like.</p> <p>It boasts high ceilings, an open-plan kitchen, black and white checkerboard-style marble floors and an entire wall made of glass windows.</p>

Real Estate

Shadow Catchers review: Fakes, body doubles and mirrors from the analog to the digital lens

<p><em>Review: </em><a href="https://www.artgallery.nsw.gov.au/exhibitions/shadow-catchers/"><em>Shadow Catchers</em></a><em> at Art Gallery of New South Wales.</em></p> <p>Last week, Russian President Vladimir Putin <a href="https://www.abc.net.au/news/2020-02-28/vladimir-putin-says-he-never-used-body-double/12009780">denied using a body double</a>, saying he’d been offered one before but declined. The rest of us, in our glorious anonymity, might take up the offer. An actual person could shadow us through daily life. They could hold us tight while we attend to the task of living. They could reply to emails, chauffeur children and stand in for us at work while we go to the beach instead.</p> <p>Body doubles come into focus in a major exhibition at the Art Gallery of New South Wales. Curated by Isobel Parker Philip, <a href="https://www.artgallery.nsw.gov.au/exhibitions/shadow-catchers/">Shadow Catchers</a> includes almost 90 works from the art gallery’s collection: photography, video, sculpture and installations from Australia’s most respected artists, alongside important international works.</p> <p>Common to the works is the use of shadows, body doubles and mirrors, many of which challenge a straight forward understanding of photography and the moving image.</p> <p><strong>The camera can lie</strong></p> <p>Shadow Catchers shows that since the <a href="https://photo-museum.org/niepce-invention-photography/">first photography in 1827</a>, the medium has given us truthful copies of ourselves and the world. However, we also know it is easily exploited. In the era of fake news, we increasingly question the veracity of images.</p> <p>One of the oldest works in the exhibition, Clarence H. White and Alfred Stieglitz’ 1907 work <a href="https://www.artgallery.nsw.gov.au/collection/works/425.1977/">Experiment 27</a> (lady in white with crystal ball), shows images have long performed a dual function of revealing but also manipulating or concealing reality. The exhibition presents us with distortions, mirror images and doppelgangers and brings us truth and fiction in equal measure.</p> <p>Viewing the works of <a href="https://www.artgallery.nsw.gov.au/collection/works/412.2016.1-120/">Patrick Pound</a>, <a href="https://www.artgallery.nsw.gov.au/collection/works/?artist_id=redgate-jacky">Jacky Redgate</a> and <a href="https://www.artgallery.nsw.gov.au/collection/works/?artist_id=phillips-debra">Debra Phillips</a>, I wondered whether I was seeing the moon, the Earth, a UFO, a mirror or a simple ball.</p> <p>I was drawn into the cosy domestic space of what I thought was a lesbian couple. Instead, I was being intimately invited by <a href="https://www.artgallery.nsw.gov.au/collection/works/?artist_id=phillips-emma">Emma Phillips</a> to witness the tenderness of twin attachment.</p> <p>The self-splitting allure of the mirror reveals itself in works by <a href="https://www.artgallery.nsw.gov.au/collection/artists/moffatt-tracey/">Tracey Moffatt</a> and <a href="https://www.artgallery.nsw.gov.au/collection/works/?artist_id=morley-lewis">Lewis Morley</a> (famous for his portrait of Christine Keeler). The erotic force of a simple shop mannequin is the signature of French photographer <a href="https://www.artgallery.nsw.gov.au/collection/works/?artist_id=molinier-pierre">Pierre Molinier</a>.</p> <p><a href="https://www.artgallery.nsw.gov.au/collection/works/?artist_id=bing-ilse">Ilse Bing</a>’s intimate self-portrait from 1931 illustrates the central curatorial premise, duplicating her dark beauty in a staging of two angled mirrors where she looks both at us and away from us.</p> <p>Other highlights include eight imposing photographs by <a href="https://www.artgallery.nsw.gov.au/collection/works/?artist_id=raskopoulos-eugenia">Eugenia Raskopoulos</a>. Activating the illusory properties of the mirror after a hot shower, letters from the Greek alphabet are wiped onto the steamy surface.</p> <p><strong>Grand scale</strong></p> <p><a href="https://www.artgallery.nsw.gov.au/collection/works/?artist_id=fairskye-merilyn">Merilyn Fairskye</a>’s large scale portraits, printed on a plastic substrate, emit a shadow onto the wall behind them and create a schism that gently ruptures the faces of her subjects.</p> <p>Body double, a work by <a href="https://www.artgallery.nsw.gov.au/collection/works/?artist_id=rrap-julie">Julie Rrap</a>, is the centrepiece of the exhibition. The artist has worked with notions of the double in sculpture, video and photography since the early 1980s. Two silicon rubber casts of the artist’s body lie corpse-like on a stage, one face down and one face up. A ghost-like figure of a man or a woman is projected onto the bodies. The projection of the body rolls across the stage from one figure to the other, appearing to resuscitate the silicon forms.</p> <p>The organisation of the works across four rooms intermingles historical works with the contemporary, reminding us that the present is always informed by the past.</p> <p>The exhibition offers a poetic reflection and critical account of our enduring fascination with technologies of representation.</p> <p>While the exhibition successfully returns us to photography’s past and the defiant contribution of postmodern approaches to “doubling”, it neglects to question our current and future predicament.</p> <p>The world today is saturated, even drowning, in shadows, which we are too slow or too tired to catch. Today we share the world with millions of our body doubles whether we want to or not.</p> <p>Shadows and mirrors follow us through daily life and reflect us in the screens of our digital devices, ultrasound images, x-rays, dentists’ moulds; our experience of ourselves in the world is constantly mediated through the experience of seeing ourselves duplicated. Bitmoji, digital avatars, gaming skins, VR personas, Instagram feeds, CCTV surveilance and passport scans mean we have plenty of body doubles lurking in cyberspace.</p> <p>It is suggested we live in a <a href="https://www.lensculture.com/articles/mois-de-la-photo-montreal-biennale-2015-the-post-photographic-condition">post-photographic</a> time. What this means is that technology is creating images of and with us, for and not for us. These may be better or worse than our mortal bodies and mostly beyond our control.</p> <p><em>Shadow Catchers is showing at Art Gallery of New South Wales until May 17.</em></p> <p><em>Written by Cherine Fahd. Republished with permission of </em><a href="https://theconversation.com/shadow-catchers-review-fakes-body-doubles-and-mirrors-from-the-analog-to-the-digital-lens-132668"><em>The Conversation.</em></a></p> <p><em> </em></p>

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