BEIJING (AP) — For sale at a recent Beijing art exposition was a painting with an asking price of $2,460 that depicted the snow-capped Mount Paektu, the mythical birthplace of the Korean people.
A portrait of a prim young lady in bright brushstrokes was being sold for $5,190. For buyers on a budget, there were colorful landscapes being offered for less than $100.
The dealer hawking the art made no effort to disguise who produced the pieces, despite stiff U.N. sanctions prohibiting the sale of such goods: “They were painted over there,” the dealer said, “in North Korea.”
The dealer, who had salt-and-pepper hair and refused to divulge his name, was a representative of an art gallery that trumpets itself as China’s premier seller of North Korean art. The gallery, The Paintings Say Arirang, also operates a studio for North Korean artists in the outskirts of Beijing.
Housed in a fenced and heavily surveilled compound, the North Koreans paint glorified, idyllic visions of life back home. For the right price, the Arirang studio says, the artists will render “exquisite” portraits at “unimaginable prices.”
The gallery’s existence and conspicuous sales tactics, experts say, highlight China’s lax enforcement of U.N. sanctions targeting North Korea to stymie Pyongyang’s nuclear program. A. The U.N. has sanctioned a long list of North Korean goods, including arms, coal and art. The U.N. has also sought to block North Koreans from working overseas in the hopes of preventing North Korea from garnishing the wages of such laborers to fund its nuclear program. U.N. report in March singled out Arirang for selling North Korean art and hosting North Korean artists in apparent violation of sanctions.
China has a long history of rebuffing efforts by the U.N. to rein in such suspected sanctions violators, and last year vetoed a U.N. resolution that would have toughened such restrictions. The U.N. reported that Arirang did not respond to requests for information.
Arirang was not hard for the U.N. to find. That’s because the gallery is actively seeking to tap a niche audience drawn to the unique, socialist realist style of North Korean artists.
Arirang was founded by Jin Zhe, an ethnic Korean and art lover born in China near the North Korean border, according to posts written by Jin on Arirang’s website. The son of a prominent painter, Jin spent years at a Chinese state-run radio station before a trip to Pyongyang instilled a taste for North Korean art. Jin, Arirang’s director, couldn’t be reached for comment.
An Arirang employee told The AP by phone that the studio was in operation and offered a tour of the complex. She also said the studio was selling customized portraits by its North Korean artists. The employee, a woman identifying herself as surnamed Shen, changed her story a few days later, saying the base wasn’t in operation because “business is bad.”
When AP journalists visited the “painting base,” guards turned them away.
In lengthy posts on Chinese chat application WeChat, the art gallery expounds at length on the beauty rendered by North Korean artists because they are free from the fetters of the “market economy.”
“They do not compare who is richer than the other, but simply focus on pure aesthetics,” Arirang wrote on WeChat. “They regard the pursuit of art as a mission of spiritual civilization,” not vulgar commodification.
Such art is exceptionally valuable, Arirang said, “because of its superb realistic skills, high-cost performance, high collection value and other advantages.”
In most countries, art is seen as a form of self-expression. But in North Korea it is strictly regulated. Artists work directly for North Korea’s propaganda authorities, and their mission is to create art glorifying the state and its socialist, nationalist ideology.
Their work also provides income for the North Korean state.
“All artists in North Korea are slaves to the Party,” said Song Byeok, a dissident artist who painted propaganda posters in North Korea until he fled to the South two decades ago. “North Korean art is a tool of the Kim family, with no identity of its own.”
Posts on Arirang provide glimpses of the artists’ lives in China. In one photo, they raise glasses of beer around sizzling barbecue. Others show them playing ping pong or visiting historic monuments and bustling market streets.
Nearly a thousand paintings had been rendered in Arirang’s “painting base,” Jin wrote wrote on WeChat. The artists work hard, often refusing breaks, the gallery’s director added.
“It’s very relaxing, no worries,” Jin recounted one artist saying.
Another told Jin that they can’t sleep until they were done, Jin said.
BG Muhn, an expert in North Korean art at Georgetown University, said artists enjoy special care and respect in North Korean society.
“The interesting thing is they don’t consider themselves doing propaganda art,” said Muhn, who met artists on nine trips to North Korea. “They feel they are doing art for the country, to serve the country and the people.”
For decades, North Korean art was created largely for North Korean audiences. That changed in the 1990s when Pyongyang’s biggest benefactor, the Soviet Union, collapsed. North Korea desperately needed cash, so it turned to its artists.
The government organized teams of artists to go to friendly countries in Africa and the Middle East, where they erected sculptures and painted murals eulogizing local leaders. Those efforts were financially lucrative. At the same time, the private art market took an interest, especially after South Korea began encouraging trade with its northern neighbor. Tens of thousands of paintings began flowing into South Korea, often through Chinese dealers.
After Kim Jong Un took power in 2011, Pyongyang began loosening its grip on the artists’ creativity. They were told they no longer had to make portraits glorifying state leaders. Business boomed: Pyongyang’s state-run Mansudae studio outfitted a museum in Cambodia and was paid to erect statutes of soldiers and dictators in Senegal, the Congo, Angola, and over a dozen other sites across Africa. North Korea reaped tens of millions of dollars in art sales.
Art and cultural exchanges are now resuming, Jin wrote recently.
“Art is becoming an important way for the outside world to understand North Korea,” Jin wrote on WeChat. “Through unremitting effort and by expanding their horizons, North Korean artists will definitely go abroad and out into the world.”
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Corrects to say that North Korean landscape paintings were being sold at a Beijing art exposition for less than a hundred dollars, not a few hundred dollars.
AP writer Alan Suderman contributed to this story from Washington.
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.
