JOE KUBERT RALLIES THE CREATVE COMMUNTY FOR DINA BABBIT

[MattBrady]

<img src="http://www.newsarama.com/general/5dina.jpg" border="0" align="right">Following an article in <i>The New York Times</i> ( http://select.nytimes.com/gst/abstract.html?res=F10C1FFB3A5A0C738FDDA1 0894DE404482 ) (now archived), legendary comics creator Joe Kubert has issued a rallying call that has been slowly making its way through comics’ creative community to help return the art of Dina Babbitt (formerly known as Dinah Gottliebova), a Holocaust survivor.

Babbit’s story mirrors that Kubert told in his graphic novel, <b>Yossel</b>, that is, Babbit was captured and sent to Auschwitz, but spared when Dr. Josef Mengele took a liking to her artwork. Babbit’s skill literally saved her own life and that of her mother and a handful of other prisoners in the camp. Now, she seeks the release of the art (currently on display in the Auschwitz-Birkenau State Museum) so that she can give the paintings to her family and put them on display in the United States.

The quest to acquire the paintings has been an ongoing one, evern garnering Congressional support (http://berkley.house.gov/legis/otr/press_releases/1999/pr_1999_0722a.html) in the late ‘90s. In 2002, Polish ambassador Przemyslaw Grudzinski told California U.S. Rep. Shelley Berkley said the museum's exhibits "cannot and should not be partitioned. All of it belongs to the place and its victims."

Kubert is undeterred. His letter to the creative community reads:

from the desk of
JOE KUBERT

August 30, 2006

Dear colleague:

I don't usually get involved in international controversies. But I am outraged by the refusal of the Polish government to return artwork belonging to a fellow-cartoonist and Auschwitz survivor, Mrs. Dina Babbitt. And I am writing to ask you to join me in protesting this injustice.

Deported to Auschwitz as a teenager, Mrs. Babbitt's life was spared by the infamous war criminal, Dr. Josef Mengele, after he saw a mural of Snow White that she had painted on the wall of the children's barracks to soothe the children in their final hours. He then compelled her to paint portraits of Gypsies upon whom he was performing his barbaric "experiments."

After the war, Mrs. Babbitt relocated to California, where she worked as an animator for Warner Brothers and Jay Ward Productions. Among other things, she illustrated such characters as Wile E. Coyote, Cap'n Crunch, and Tweety Bird for many years.

Some years ago, unbeknownst to Mrs. Babbitt, eight of the paintings she did at Auschwitz resurfaced and were acquired by the Auschwitz-Birkenau State Museum, a Polish government institution on the site of the former death camp. Mrs. Babbitt visited the museum and verified that they are hers (they are even signed "Dina 1944"), but the Poles refused to give them back, claiming they are legally the property of the museum.

Four years ago, when I wrote the book "Yossel," about a teenage cartoonist whose life was spared by the Nazis because they were amused by his drawings, I did not know that there had been a real-life case that bore similarities to my book. I was stunned to learn of Mrs. Babbitt, and even more stunned by the Polish government's position.

Together with officials of The David S. Wyman Institute for Holocaust Studies, an organization with which I have been active, I have prepared a petition to the Polish authorities. It is intended to be signed specifically by cartoonists, animators, and comic book artists. Adam, Andy, and I are very much hoping that you will join us.

To have your name added to the petition, please send an email to the Wyman Institute's director, Dr. Rafael Medoff, at: rafaelmedoff@aol.com

With thanks in advance for your support,


Sincerely,

Joe Kubert,
President
Joe Kubert School of Cartoon
& Graphic Art, Inc.
37 Myrtle Avenue
Dover, NJ 07801

[Hokeyboy]

I can't imagine anything more horrific than being forced to paint a portrait of someone being brutalized by one of the sickest f*ckers in history, while knowing full well that you could be suddenly and without warning murdered on the spot. :(

[Spaz_Monkey]

It's terrible what this museum is doing to Mrs. Babbit. For her to have survived the living hell of the worst concentration camp the world has ever know is one thing. For the former camp to do this, to be acting like a petulant three year old ("It's mine and you can't have it!") is beyond words. Instead of considering the good that could come from a joint venture between the artists and the museum (can you think of a better place to display some original Maus artwork?), they've instead gone out of their way to alienate not just Mrs. Babbit, but an entire community of artists, veterans and survivors of World War 2 who could have made some significant contributions to the cause.

**************************************** ******EDIT****************************** ****************
Stuff went here that has since been proven wrong. Never mind.

[Stressfactor]

Actually, as a historian by career (and at heart) I can see both sides of this.

On the one hand, Ms. Babbitt was coerced/forced to do this work. Unlike regular artists she was not paid for her work, she did not "sell" it to the museum, nor did she give her permission for it to be put on display. Indeed she is the true owner of the work.

On the other hand, the museum is doing a service to history by gathering and making available items such as this and telling the stories surrounding them -- keeping history alive and imparting to future generations. No museum wants to see items of historical value potentially locked away where only a handful may see them or learn about them or sold off to the highest bidders... Not that this is what Ms. Babbitt wants but if she intends to give them to family members then it will be up to those family members to decide what happens to the art after Ms. Babbitt dies. Regrettably somethings become less precious to family members the more generations removed from the original it grows.

The ideal would be for the museum to make a deal with Babbitt to retain the originals on display while she maintains ownership. Perhaps even arrange for a tour of the paintings to museums in the US (particularly the US Holocaust museum). Also to allow ownership to pass into the hands of Ms. Babbitt's family but with the understanding that if family members ever *did* decide to sell the art then the museum would be given the first opportunity to purchase them.

It is a sad and regrettable conundrum and one that many museums are facing as there are many art treasures whose "history of ownership" is not very clean or legal. The Greeks want the Elgin Marbles back from the British and there are a number of Egyptian artifacts scattered throughout the world that were robbed from tombs that the Egyptian government wants back...

[BaronZito]

[QUOTE=MattBradyFollowing an article in <i>The New York Times</i> ( http://select.nytimes.com/gst/abstract.html?res=F10C1FFB3A5A0C738FDDA1 0894DE404482 ) (now archived) [/QUOTE]

You can find the same article here:

http://www.iht.com/articles/2006/08/30/features/ausch.php

[The Bry]

Actually, as a historian by career (and at heart) I can see both sides of this.

On the one hand, Ms. Babbitt was coerced/forced to do this work. Unlike regular artists she was not paid for her work, she did not "sell" it to the museum, nor did she give her permission for it to be put on display. Indeed she is the true owner of the work.

On the other hand, the museum is doing a service to history by gathering and making available items such as this and telling the stories surrounding them -- keeping history alive and imparting to future generations. No museum wants to see items of historical value potentially locked away where only a handful may see them or learn about them or sold off to the highest bidders... Not that this is what Ms. Babbitt wants but if she intends to give them to family members then it will be up to those family members to decide what happens to the art after Ms. Babbitt dies. Regrettably somethings become less precious to family members the more generations removed from the original it grows.

The ideal would be for the museum to make a deal with Babbitt to retain the originals on display while she maintains ownership. Perhaps even arrange for a tour of the paintings to museums in the US (particularly the US Holocaust museum). Also to allow ownership to pass into the hands of Ms. Babbitt's family but with the understanding that if family members ever *did* decide to sell the art then the museum would be given the first opportunity to purchase them.

It is a sad and regrettable conundrum and one that many museums are facing as there are many art treasures whose "history of ownership" is not very clean or legal. The Greeks want the Elgin Marbles back from the British and there are a number of Egyptian artifacts scattered throughout the world that were robbed from tombs that the Egyptian government wants back...


My brother said something similar to me when I shot this article, it's a sad truth and I still don't think it's right but it makes more sense to hear it from more then one person

[Charlie Hustle]

i understand the museum's perspective on this, but the art wouldn't exist without the person..

[avengingtitan]

Thats really messed up.

[jesidres]

My brother said something similar to me when I shot this article, it's a sad truth and I still don't think it's right but it makes more sense to hear it from more then one person

Normally, as a museum employee, I would side with the museum, as this could easily fall into the same category as the http://en.wikipedia.org/wiki/Elgin_Marbles . There, the museum cannot give the pieces back, because every museum would have to return their objects to the place of origin- something that is by no means feasible, or possible. Had the marbles stayed in Greece, there is little doubt they would have survived to today.

But here, by denying one of the people they are trying to memorialize and tell their story their own art goes against their own mission statement and purpose. What they're doing is no better than many US private collectors who have to be taken back to court so family members can have their possessions back. The U.N. has already sided with the families in those cases, so I don't see where the museum in Poland feels they have any legal standing to do this.

This is a sad reflection on museums worldwide. *sigh* we're not all bad, honest!

[EMeadow]

Actually, as a historian by career (and at heart) I can see both sides of this.

On the one hand, Ms. Babbitt was coerced/forced to do this work. Unlike regular artists she was not paid for her work, she did not "sell" it to the museum, nor did she give her permission for it to be put on display. Indeed she is the true owner of the work.

On the other hand, the museum is doing a service to history by gathering and making available items such as this and telling the stories surrounding them -- keeping history alive and imparting to future generations. No museum wants to see items of historical value potentially locked away where only a handful may see them or learn about them or sold off to the highest bidders... Not that this is what Ms. Babbitt wants but if she intends to give them to family members then it will be up to those family members to decide what happens to the art after Ms. Babbitt dies. Regrettably somethings become less precious to family members the more generations removed from the original it grows.

The ideal would be for the museum to make a deal with Babbitt to retain the originals on display while she maintains ownership. Perhaps even arrange for a tour of the paintings to museums in the US (particularly the US Holocaust museum). Also to allow ownership to pass into the hands of Ms. Babbitt's family but with the understanding that if family members ever *did* decide to sell the art then the museum would be given the first opportunity to purchase them.

It is a sad and regrettable conundrum and one that many museums are facing as there are many art treasures whose "history of ownership" is not very clean or legal. The Greeks want the Elgin Marbles back from the British and there are a number of Egyptian artifacts scattered throughout the world that were robbed from tombs that the Egyptian government wants back...

The Polish government is definitely playing the stupid game of "finders keepers".

The artist is alive, they go to her. Plain and simple.

You want them to be used for historical accuracy? I have no doubt after she gets ownership of them, after being with her family they'd make sure they were put somewhere deserving like the US Holocaust museum in Washington DC.

They just don't want more of their history to go to the United States.

If she was still living in Europe, I'm sure they'd have given them to her.

[The Bry]

This is a sad reflection on museums worldwide. *sigh* we're not all bad, honest!

I'm sure they're not but this sucks for the family I sincerely hope they get this settled or the museum steps up and makes them an offer I'm sure they're not bad, but they're not acting good either