Art

Women Who Made Art in Japanese Internment Camps Are Getting Their Due – The New York Times

Published

5 months ago

April 8, 2024

Ibuki Hibi Lee remembers waking up to the sounds of her mother’s paintbrush hitting the canvas in their small New York City apartment.

After World War II, during which their family was incarcerated at an internment camp in Utah, they moved to New York City in 1945 so that Hibi Lee’s parents, Hisako and “George” Matsusaburo Hibi, could pursue art. Hisako Hibi would always find time to paint, often early in the mornings before she had to start work as a dressmaker, her daughter said.

The family struggled, Hibi Lee recalled. They lived in a modest apartment for $20 a month and struggled to pay bills. Her mother received some recognition throughout her career but never at the level of her male peers. Now, 32 years after Hibi’s death, her work is part of “Pictures of Belonging,” a traveling exhibition that features the artwork of three Japanese American women of the pre-World War II generation at some of the nation’s most well-known museums, including the Smithsonian.

“My mother was just a very humble farmer’s daughter, she would say,” Hibi Lee said. “She would be very surprised and flabbergasted by all the attention to her.”

The exhibition debuted in February at the Utah Museum of Fine Arts in Salt Lake City, where it will remain through June. The exhibition will then travel to the Smithsonian American Art Museum in Washington; the Pennsylvania Academy of the Fine Arts in Philadelphia; the Monterey Museum of Art in Monterey, Calif.; and finally the Japanese American National Museum in Los Angeles in 2026.

Besides Hibi, the exhibition will feature Miki Hayakawa and Miné Okubo, who also were incarcerated or had family incarcerated with other Japanese Americans in internment camps during World War II.

Hibi and Okubo were interned at Topaz Relocation Center near Delta, Utah, from 1942 until 1944 and 1945. While Hayakawa herself was not detained, her parents were interned at the Tanforan center in San Bruno, Calif., and later at Topaz as well. Hayakawa relocated to Santa Fe, N.M., to avoid internment.

An estimated 120,000 people of Japanese descent were ordered to leave their homes and jobs on the West Coast in the aftermath of the Japanese attack on Pearl Harbor in 1941 and were sent to internment camps, where they were held without due process. At Tanforan, many lived in converted horse stalls, and many were later sent to Topaz.

Most were U.S. citizens or legal permanent residents, and most of the camps were remote and in the West. In the camps, surrounded by barbed wire and armed guards, some Japanese Americans died because of inadequate medical care, and some were killed by military guards for allegedly resisting orders.

During these dark times, many people turned to art, and the Topaz Art School was born, where hundreds took classes in still-life and architectural drawing within the internment camp at Tanforan. The teachers were interned, too. Both Hibi and Okubo taught classes there.

Those classes provided a source of comfort, said Kimi Hill, granddaughter of Chiura Obata, a renowned artist who co-founded the school, and family historian.

“They established the arts schools as a way to ground themselves, find a purpose but ultimately just find their humanity in this situation,” Hill said.

About halfway through the exhibit, visitors will see the work made by the artists while they were at the internment camps. ShiPu Wang, the curator of the exhibit, said he didn’t want their experience then to overpower the exhibit.

“My approach is that these artists — because of their very long careers — should not be defined by that one period,” Dr. Wang said. “In fact, that injustice and trauma did not stop them from making art. So to stop there at that period is not really seeing the full picture and also misses the point about resilience and perseverance.”

It also isn’t always obvious which paintings were made in the internment camps, he said, noting that most of Hibi’s paintings were landscapes.

“If you did not know the context you would just think, Oh, that’s just beautiful nature,” Dr. Wang said. “But artists under incarceration weren’t just reacting to nature. Painting was a way of making sense of what was happening.”

For Dr. Wang, the exhibit is about “artists that were very active and productive, that we know very little about,” he said.

There are several explanations as to why prolific artists fall out of the public eye, Dr. Wang said. If they don’t have a gallery representing them or a museum collecting their work, becoming well known could be challenging, he said.

In the case of Hayakawa, who died at age 53, a gallery had owned her work, which was sold off to various private collectors, posing a challenge to curators who might want to showcase her work in museums. Dr. Wang spent about seven years searching for some of her work.

When Dr. Wang was selecting pieces, he tried to pick representative works from each period of the artists’ lives. For instance, when Hibi moved from New York to San Francisco in 1954, her work became much more abstract. This change in style also came during a time of major upheaval in her personal life, when she lost her husband and had to raise their two young children on her own.

Okubo also moved toward abstract art as her career progressed. After she chose to leave her job as a commercial illustrator at Forbes and focus on fine arts, she went “back to basics,” Dr. Wang said. Museumgoers can observe her work progress throughout the years and see her art become simpler with consolidated shapes but stronger colors.

Dr. Wang said he hoped that people would leave the exhibit with a nuanced understanding of the artists’ lives and careers.

“It’s not just a greatest hits show,” he said. “It’s a whole journey.”

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

Published

18 hours ago

September 13, 2024

Harry Miller

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.

Art

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

Published

2 weeks ago

September 2, 2024

Harry Miller

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

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

August 18, 2024

Harry Miller

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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