HENRY FUKUHARA
|
Born: April 25 1913
Died: January 31 2010 Birth Location: Fruitland, California Henry Fukuhara (1913–2010) was an American watercolorist known for energetic, abstract paintings, particularly of Manzanar and Santa Monica, where he grew up. Although he is primarily known for his watercolors, Fukuhara also painted with acrylics and has created mixed-media collages. He was born in Fruitland, California, located in Humboldt County, on April 25, 1913, and was one of ten children of Japanese immigrants, Ichisuke and Ume Fukuhara, and grew up near Santa Monica in Southern California. While attending Santa Monica High School, Fukuhara's artistic ability was noted by his art teacher, who encouraged him to pursue a career in painting. Following graduation, he enrolled at the Otis Art Institute, although his formal art schooling would only last for two months, when financial hardships brought on by the Depression forced him to quit school and find work to help support the family. Courtesy of Patricia Wakida, Densho |
Alabama Hills #5
Maker Fukuhara, Henry
Date April 2005
Medium watercolor, charcoal
Dimensions H: 15 in, W: 22 in
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 28 Jan 2022, 12:40 PST. <https://www.facebook.com/photo.php?fbid=130798120703399&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date April 2005
Medium watercolor, charcoal
Dimensions H: 15 in, W: 22 in
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 28 Jan 2022, 12:40 PST. <https://www.facebook.com/photo.php?fbid=130798120703399&set=pb.100013196356163.-2207520000..&type=3>
Manzanar #2
Maker Fukuhara, Henry
Date March 2005
Medium watercolor, charcoal
Dimensions H: 15 in, W: 22 in
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 28 Jan 2022, 12:40 PST. <https://www.facebook.com/photo.php?fbid=130798120703399&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date March 2005
Medium watercolor, charcoal
Dimensions H: 15 in, W: 22 in
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 28 Jan 2022, 12:40 PST. <https://www.facebook.com/photo.php?fbid=130798120703399&set=pb.100013196356163.-2207520000..&type=3>
Manzanar War Relocation Center Entry Sign
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
Manzanar War Relocation Center entry sign
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 12 Dec 2021, 0:14 PST. <https://www.facebook.com/photo.php?fbid=840932826356588&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
Manzanar War Relocation Center entry sign
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 12 Dec 2021, 0:14 PST. <https://www.facebook.com/photo.php?fbid=840932826356588&set=pb.100013196356163.-2207520000..&type=3>
Manzanar Guard Shack
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
Manzanar concentration camp guard shack
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 21:53 PST. <https://www.facebook.com/photo.php?fbid=840921479691056&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
Manzanar concentration camp guard shack
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 21:53 PST. <https://www.facebook.com/photo.php?fbid=840921479691056&set=pb.100013196356163.-2207520000..&type=3>
PORTFOLIO OF 50 SCENES AT THE RELOCATION CENTERS
Portfolio of 50 Scenes of the Relocation Centers
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
1-A Manzanar Portfolio. Sentry Tower
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:01 PST. <https://www.facebook.com/photo.php?fbid=819497365166801&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
1-A Manzanar Portfolio. Sentry Tower
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:01 PST. <https://www.facebook.com/photo.php?fbid=819497365166801&set=pb.100013196356163.-2207520000..&type=3>
Portfolio of 50 Scenes of the Relocation Centers
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
2-B Poston Portfolio. Administration Building
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:03 PST. <https://www.facebook.com/photo.php?fbid=819496531833551&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
2-B Poston Portfolio. Administration Building
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:03 PST. <https://www.facebook.com/photo.php?fbid=819496531833551&set=pb.100013196356163.-2207520000..&type=3>
Portfolio of 50 Scenes of the Relocation Centers…..
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
1-C Tule Lake Portfolio. Entrance Tule Lake Center
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:01 PST. <https://www.facebook.com/photo.php?fbid=819497341833470&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
1-C Tule Lake Portfolio. Entrance Tule Lake Center
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:01 PST. <https://www.facebook.com/photo.php?fbid=819497341833470&set=pb.100013196356163.-2207520000..&type=3>
Portfolio of 50 Scenes of the Relocation Centers
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
1-D Topaz Portfolio. Water Tower
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:02 PST. <https://www.facebook.com/photo.php?fbid=819497281833476&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
1-D Topaz Portfolio. Water Tower
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:02 PST. <https://www.facebook.com/photo.php?fbid=819497281833476&set=pb.100013196356163.-2207520000..&type=3>
Portfolio of 50 Scenes of the Relocation Centers
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
4-E Gila River Portfolio. Mess Hall
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 12 Dec 2021, 0:25 PST. <https://www.facebook.com/photo.php?fbid=819499258499945&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
4-E Gila River Portfolio. Mess Hall
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 12 Dec 2021, 0:25 PST. <https://www.facebook.com/photo.php?fbid=819499258499945&set=pb.100013196356163.-2207520000..&type=3>
Portfolio of 50 Scenes of the Relocation Centers
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
2-F Arkansas Portfolio. Hauling Wood
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:04 PST. <https://www.facebook.com/photo.php?fbid=819496508500220&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
2-F Arkansas Portfolio. Hauling Wood
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:04 PST. <https://www.facebook.com/photo.php?fbid=819496508500220&set=pb.100013196356163.-2207520000..&type=3>
Portfolio of 50 Scenes of the Relocation Centers
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
1-G Heart Mt. Portfolio. Heart Mountain Center
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:03 PST. <https://www.facebook.com/photo.php?fbid=819496568500214&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
1-G Heart Mt. Portfolio. Heart Mountain Center
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:03 PST. <https://www.facebook.com/photo.php?fbid=819496568500214&set=pb.100013196356163.-2207520000..&type=3>
Portfolio of 50 Scenes of the Relocation Centers
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
8-F Arkansas Portfolio. Jerome concentration camp, Hospital Wing & Heating Plant.
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:00 PST. <https://www.facebook.com/photo.php?fbid=819497378500133&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
8-F Arkansas Portfolio. Jerome concentration camp, Hospital Wing & Heating Plant.
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 20:00 PST. <https://www.facebook.com/photo.php?fbid=819497378500133&set=pb.100013196356163.-2207520000..&type=3>
Portfolio of 50 Scenes of the Relocation Centers
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
2-H Minidoka Portfolio. Typical Street Scene with Water Tower in the Background
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 12 Dec 2021, 0:28 PST <https://www.facebook.com/photo.php?fbid=819495191833685&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
2-H Minidoka Portfolio. Typical Street Scene with Water Tower in the Background
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 12 Dec 2021, 0:28 PST <https://www.facebook.com/photo.php?fbid=819495191833685&set=pb.100013196356163.-2207520000..&type=3>
Portfolio of 50 Scenes of the Relocation Centers
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
5-I Amache Portfolio. Chicken Coop
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 11:57 PST <https://www.facebook.com/photo.php?fbid=819498531833351&set=pb.100013196356163.-2207520000..&type=3>
Maker Fukuhara, Henry
Date 1942-1944
Medium pencil, paper
5-I Amache Portfolio. Chicken Coop
Courtesy of Rack Fukuhara
Henry Fukuhara. Facebook. Photos page. 20 Dec 2019. 10 Dec 2021, 11:57 PST <https://www.facebook.com/photo.php?fbid=819498531833351&set=pb.100013196356163.-2207520000..&type=3>
MANZANAR PAINTOUT
History of Henry Fukuhara and the Manzanar Art Workshop
History by Michele Pearson and Al Setton – Stories compiled and edited by Michele Pearson
1942
Fuji and Henry Fukuhara were interned at Manzanar from 1942 until 1944. Fuji is an American citizen, born in Hawaii. Henry is also an
American citizen, born in California in 1913. They moved into the camp with their oldest daughter, Joyce. Their second daughter, Grace,
was born there.
Later in the war, internees were allowed to leave the camp for short periods, often to work. Henry took these opportunities to fish,
sketch and paint in watercolor. Henry and several of his drawings during this period were featured on a Huell Howser segment of
California Gold in 2005. His paintings and drawings include the fields and crops, the dramatic backdrop of Mount Whitney and the
eastern Sierra on one side and the Inyo Mountains on the other. What he couldn’t paint was the constant wind that drove sand and dust
through the unheated and uninsulated barracks, or the spirit of the camp, which did its best to re-create the pre-camp life. The arts
flourished, and the school tried to provide an education that included memories of how life once was. Some internees volunteered for
the US Armed Forces to “prove” their loyalty, and support their country. There were beauty pageants and churches, a clinic, and a
cemetery.
There are many well-told stories of these years in the camps. For Henry, what couldn’t be painted was stored inside for the future. It
would be many years after leaving Manzanar before Henry would return to painting. In 1944 when they were released, Henry and his
entire family (including 4 brothers) relocated to the East coast.
1988
After Henry again relocated to Santa Monica, California, now retired, he returned to painting, using the teachings of many of his most
admired teachers including Carl Molno and Edgar Whitney. He connected with the local Japanese Cultural Center in nearby Culver City.
The Cultural Center offers many classes and activities including calligraphy, ikebana (flower arranging) and painting. Henry joined, and
then taught the watercolor classes.
He soon had a loyal and close following. Being the teacher he was, he was adamant about his students stretching and devel-oping as
artists. He somehow thought they weren’t making enough progress in the Center classroom. It wasn’t long before he arranged his
Thursday paintouts. Every Thursday he would choose a different outdoor site and the group would meet there to paint. Henry always
started with a demonstration to “inspire” them. The group covered the local area, the Santa Monica Pier, Chase Park in Marina del Rey,
Palisades Park, and Playa del Rey. It wasn’t long before they expanded their hori-zons to Palos Verdes, Madrona Marsh in Torrance and
Malibu. Any place that could be reached in a short amount of time....and had “facilities”
The Thursday outings were expanded to include Saturdays through the Santa Monica College Emeritus program, and even more people.
Henry was beloved and a favorite. If we briefly jump to 2008, Henry’s investment in these groups, and in teaching, is evident in the
incredible quality of artwork this group now produces.
1996
In 1996 Henry decided to take the bus from his home in Santa Monica, to the annual Manzanar Pilgrimage 230 miles north. This is an
annual event every April in which hundreds of people participate.
However, Henry is Henry, and he never does anything quite as one would expect. Before going, Henry contacted the Lone Pine
Chamber of Commerce and asked for the name of someone who knew the area and who he might contact. He was given the name of a
local man-about-town (Lone Pine is a very small town, about 1700 people), Dan Dickman. He called Dan and arranged to meet him, and
the adventure begins.
When Henry stepped off that bus in 1996, he did not follow the crowd to Manzanar. He met Dan and they began a conversation and a
tour that grew into the paint-out. Henry knew that Dan was also an artist....one of many other qualities that make up this amazing man.
Henry asked him if he knew any good places to paint in the area. Indeed Dan did, and took Henry on a tour of them that day.
The western backdrop of Lone Pine is the lower, rocky, Alabama Hills and the high eastern Sierra beyond them. Mount Whitney (at
14,505 feet) crowns these peaks and the Owens valley, and looks east toward the Inyo Mountains, the last big range before Death
Valley. Many, many westerns from the 1930’s to 1960’s were filmed in the Alabama Hills, including the Lone Ranger and the TV series
Wagon Train. (A museum, the Lone Pine Film History Museum, has an extensive history and collection regarding this era.)
Dan took Henry through the hills, to many of the movie film sites, such as the setting for Genghis Khan, and they spent the entire day
exploring the area and Dan’s favorite places, before Henry boarded the bus back to Santa Monica. For Henry, the trip did not end there.
He returned home full of ideas as well paintings in his head.
He developed the idea of taking a group on a paintout to Manzanar, with the help of his friend, Al Setton, (“side-kick” for those that
know them). Al had been attending Henry’s Saturday paint-outs for some time. They initially planned a 2 day paint-, similar to his local
paintouts. The first day the group would paint in the Alabama Hills, the second day at Manzanar. As the paintout became
“established” (over 70 painters participated in 2008), there was reluctance to leave the area after the two days. The weekend soon
evolved into a two day workshop with an “optional” third day of painting in Keeler, an even smaller (than Lone Pine) old town about 13
miles east. In 2008, an “optional” fourth day (Friday) was added. With Dan’s inter-vention, permission was gotten to paint at a local,
working, family ranch, which was also a past setting for western movies.
He developed the idea of taking a group on a paintout to Manzanar, with the help of his friend, Al Setton, (“side-kick” for those that
know them). Al had been attending Henry’s Saturday paint-outs for some time. They initially planned a 2 day paint-, similar to his local
paintouts. The first day the group would paint in the Alabama Hills, the second day at Manzanar. As the paintout became
“established” (over 70 painters participated in 2008), there was reluctance to leave the area after the two days. The weekend soon
evolved into a two day workshop with an “optional” third day of painting in Keeler, an even smaller (than Lone Pine) old town about 13
miles east. In 2008, an “optional” fourth day (Friday) was added. With Dan’s inter-vention, permission was gotten to paint at a local,
working, family ranch, which was also a past setting for western movies
Traditionally a “paintout” is an event where a group of artists go out and paint. This event quickly evolved into more. Henry was not only
motivated to paint, and to share the area and its history with others, but also to teach, and encourage people to express themselves
artistically. His core group being those from the Thursday and Saturday paint-outs, he continued his mission to expand their horizons.
Demonstrations from others besides himself, and critiques each day were soon added to the activities.
For the next 9 years Henry, Al and Dan repeated the location- seeking adventure, and identification of demonstrators and critics in
preparation for the annual workshop. (Henry didn’t restrict his teaching to painting. When a “student” was ready, he also put them in
front of an audience. But that’s another story.)
2010
Henry passed in 2010. In fact he was unable to attend the workshop after 2005. But the tradition continued for another decade, led by
his friend and fellow artist Al Setton. At its peak, over 100 artists attended in response to the area’s rich history and the compelling
story of the imprisonment of people of Japanese ancestry by the U.S. government during WWII.
Courtesy of Michele Pearson
History by Michele Pearson and Al Setton – Stories compiled and edited by Michele Pearson
1942
Fuji and Henry Fukuhara were interned at Manzanar from 1942 until 1944. Fuji is an American citizen, born in Hawaii. Henry is also an
American citizen, born in California in 1913. They moved into the camp with their oldest daughter, Joyce. Their second daughter, Grace,
was born there.
Later in the war, internees were allowed to leave the camp for short periods, often to work. Henry took these opportunities to fish,
sketch and paint in watercolor. Henry and several of his drawings during this period were featured on a Huell Howser segment of
California Gold in 2005. His paintings and drawings include the fields and crops, the dramatic backdrop of Mount Whitney and the
eastern Sierra on one side and the Inyo Mountains on the other. What he couldn’t paint was the constant wind that drove sand and dust
through the unheated and uninsulated barracks, or the spirit of the camp, which did its best to re-create the pre-camp life. The arts
flourished, and the school tried to provide an education that included memories of how life once was. Some internees volunteered for
the US Armed Forces to “prove” their loyalty, and support their country. There were beauty pageants and churches, a clinic, and a
cemetery.
There are many well-told stories of these years in the camps. For Henry, what couldn’t be painted was stored inside for the future. It
would be many years after leaving Manzanar before Henry would return to painting. In 1944 when they were released, Henry and his
entire family (including 4 brothers) relocated to the East coast.
1988
After Henry again relocated to Santa Monica, California, now retired, he returned to painting, using the teachings of many of his most
admired teachers including Carl Molno and Edgar Whitney. He connected with the local Japanese Cultural Center in nearby Culver City.
The Cultural Center offers many classes and activities including calligraphy, ikebana (flower arranging) and painting. Henry joined, and
then taught the watercolor classes.
He soon had a loyal and close following. Being the teacher he was, he was adamant about his students stretching and devel-oping as
artists. He somehow thought they weren’t making enough progress in the Center classroom. It wasn’t long before he arranged his
Thursday paintouts. Every Thursday he would choose a different outdoor site and the group would meet there to paint. Henry always
started with a demonstration to “inspire” them. The group covered the local area, the Santa Monica Pier, Chase Park in Marina del Rey,
Palisades Park, and Playa del Rey. It wasn’t long before they expanded their hori-zons to Palos Verdes, Madrona Marsh in Torrance and
Malibu. Any place that could be reached in a short amount of time....and had “facilities”
The Thursday outings were expanded to include Saturdays through the Santa Monica College Emeritus program, and even more people.
Henry was beloved and a favorite. If we briefly jump to 2008, Henry’s investment in these groups, and in teaching, is evident in the
incredible quality of artwork this group now produces.
1996
In 1996 Henry decided to take the bus from his home in Santa Monica, to the annual Manzanar Pilgrimage 230 miles north. This is an
annual event every April in which hundreds of people participate.
However, Henry is Henry, and he never does anything quite as one would expect. Before going, Henry contacted the Lone Pine
Chamber of Commerce and asked for the name of someone who knew the area and who he might contact. He was given the name of a
local man-about-town (Lone Pine is a very small town, about 1700 people), Dan Dickman. He called Dan and arranged to meet him, and
the adventure begins.
When Henry stepped off that bus in 1996, he did not follow the crowd to Manzanar. He met Dan and they began a conversation and a
tour that grew into the paint-out. Henry knew that Dan was also an artist....one of many other qualities that make up this amazing man.
Henry asked him if he knew any good places to paint in the area. Indeed Dan did, and took Henry on a tour of them that day.
The western backdrop of Lone Pine is the lower, rocky, Alabama Hills and the high eastern Sierra beyond them. Mount Whitney (at
14,505 feet) crowns these peaks and the Owens valley, and looks east toward the Inyo Mountains, the last big range before Death
Valley. Many, many westerns from the 1930’s to 1960’s were filmed in the Alabama Hills, including the Lone Ranger and the TV series
Wagon Train. (A museum, the Lone Pine Film History Museum, has an extensive history and collection regarding this era.)
Dan took Henry through the hills, to many of the movie film sites, such as the setting for Genghis Khan, and they spent the entire day
exploring the area and Dan’s favorite places, before Henry boarded the bus back to Santa Monica. For Henry, the trip did not end there.
He returned home full of ideas as well paintings in his head.
He developed the idea of taking a group on a paintout to Manzanar, with the help of his friend, Al Setton, (“side-kick” for those that
know them). Al had been attending Henry’s Saturday paint-outs for some time. They initially planned a 2 day paint-, similar to his local
paintouts. The first day the group would paint in the Alabama Hills, the second day at Manzanar. As the paintout became
“established” (over 70 painters participated in 2008), there was reluctance to leave the area after the two days. The weekend soon
evolved into a two day workshop with an “optional” third day of painting in Keeler, an even smaller (than Lone Pine) old town about 13
miles east. In 2008, an “optional” fourth day (Friday) was added. With Dan’s inter-vention, permission was gotten to paint at a local,
working, family ranch, which was also a past setting for western movies.
He developed the idea of taking a group on a paintout to Manzanar, with the help of his friend, Al Setton, (“side-kick” for those that
know them). Al had been attending Henry’s Saturday paint-outs for some time. They initially planned a 2 day paint-, similar to his local
paintouts. The first day the group would paint in the Alabama Hills, the second day at Manzanar. As the paintout became
“established” (over 70 painters participated in 2008), there was reluctance to leave the area after the two days. The weekend soon
evolved into a two day workshop with an “optional” third day of painting in Keeler, an even smaller (than Lone Pine) old town about 13
miles east. In 2008, an “optional” fourth day (Friday) was added. With Dan’s inter-vention, permission was gotten to paint at a local,
working, family ranch, which was also a past setting for western movies
Traditionally a “paintout” is an event where a group of artists go out and paint. This event quickly evolved into more. Henry was not only
motivated to paint, and to share the area and its history with others, but also to teach, and encourage people to express themselves
artistically. His core group being those from the Thursday and Saturday paint-outs, he continued his mission to expand their horizons.
Demonstrations from others besides himself, and critiques each day were soon added to the activities.
For the next 9 years Henry, Al and Dan repeated the location- seeking adventure, and identification of demonstrators and critics in
preparation for the annual workshop. (Henry didn’t restrict his teaching to painting. When a “student” was ready, he also put them in
front of an audience. But that’s another story.)
2010
Henry passed in 2010. In fact he was unable to attend the workshop after 2005. But the tradition continued for another decade, led by
his friend and fellow artist Al Setton. At its peak, over 100 artists attended in response to the area’s rich history and the compelling
story of the imprisonment of people of Japanese ancestry by the U.S. government during WWII.
Courtesy of Michele Pearson
Special thanks to:
Rack Fukuhara
Michele Pearson
Alvin Takamori, GVJCI Day of Remembrance committee member
Patricia Wakida, Densho
Rack Fukuhara
Michele Pearson
Alvin Takamori, GVJCI Day of Remembrance committee member
Patricia Wakida, Densho
