September 4, 2009 - July 2010
What do you feel people need to know about hula? What do we want them to come away with?
1. Inspiration to create, to learn hula, and Hawaiian culture
2. 2 points to convey throughout exhibit: continuity via creativity to develop new dances & maintenance of tradition and legacy
3. Important to state that there’s more than 1 way in interpretation; be open with interpretation to encompass many beliefs within hula
The exhibition will be in 4 parts:
1. The front part of DH galleries will have paintings, drawings, prints, etc. The intent will be to “tell the story” of the beginnings of hula—the version told in the book “The Epic Tale of Hi`iakaikappoliopele”. Puakea Nogelmeier translated newspaper accounts of the tale from the early 1900’s. The book’s illustrations are by Solomon Enos. An account of the writing of the story can be found at:
http://archives.starbulletin.com/2008/02/19/features/story03.html
A somewhat simplified version of the Hi`iaka story can be found at:
http://en.wikipedia.org/wiki/Hi'iaka
2. The second trunk will have portraits of five important kumu:
* `Iolani Luahine (awarded the State of Hawaii Order of Distinction for Cultural Leadership 1969-1970)
* Edith Kanaka`ole (awarded the State of Hawaii Order of Distinction for Cultural Leadership 1979)
* Mary Kawena Pukui (She received the Hawaii Award for Literature in 1976)
* Lokalia Montgomery
* Tom Hiona
3. This third area is the large space in the center of the DH galleries. This will be largely black and white photos of kumu important in the development of hula in the modern era. The portraits are those found in the book Nana I Na Loea Hula – Look to the Resources Volume 1. The photos were taken by Shuzo Uemoto. It was published in 1984 by the Kalihi-Palama Culture & Arts Society. The project took over 2 ½ years of research, interviewing and photographing. Each notable hula exponent is not only represented by a photo, but by a page of first-person narration explaining his or her background in/relationship to hula.
4. This fourth part will have more “art objects”, photos, and hula costumes.
Websites
Hula Preservation Society.org
HPS is a non-profit dedicated to documenting and sharing the amazing life stories of our eldest living Hula Masters and their efforts to perpetuate hula, so their legacies live on to inspire and educate generations to come in the authentic culture of Hawai`i.
Mele.com
Hula Hālau worldwide listings
Books/Articles
Wednesday, August 26, 2009
Past Exhibitions
2011
Accession
Gifted
2010
Accession
Gifted
2010
Hiʻiakaikapoliopele: Visual Stories by Contemporary Native Hawaiian Artists
May 7 - July 17, 2010
The 47th Annual Hawaiʻi Regional Scholastic Art Show
February - April 2010
Hoʻoulu- The Inspiration of Hula
September 4, 2009 - July 2010
Accessions
Fall 2008 - Summer 2009
Recent acquisitions of the Art in Public Places Program
February 6 - April 4, 2009The 46th Annual Hawaiʻi Regional Scholastic Art Show
Recent acquisitions of the Art in Public Places Program
February 6 - April 4, 2009The 46th Annual Hawaiʻi Regional Scholastic Art Show
2-d, 3-d, and portfolio artwork created by Hawai'i public and private school students in the 7-12 grade. HSFCA February 2009 (pdf)
2008
Uncommon Objects
11/2007 - 11/2008
Works created from wood, clay, glass, fiber and metal challenge the viewer to rethink the concept of craft.
(Photos) hawaiistateartmuseum.org
(Honolulu Advertiser article 11/2007) honoluluadvertiser.com
(KGMB interview with former gallery director Dr. Peter Britos) kgmb9.com
Intertwine: A Selection of Hawai‘i Fiber Art
9/2008 - 1/2009
A selection of fiber art from the Art in Public Places collection. This show is in conjunction with the 11th Biennial Symposium of the Textile Society of America
45th annual Hawaiʻi region of the Scholastic Art Awards exhibit
2008
Uncommon Objects
11/2007 - 11/2008
Works created from wood, clay, glass, fiber and metal challenge the viewer to rethink the concept of craft.
(Photos) hawaiistateartmuseum.org
(Honolulu Advertiser article 11/2007) honoluluadvertiser.com
(KGMB interview with former gallery director Dr. Peter Britos) kgmb9.com
Intertwine: A Selection of Hawai‘i Fiber Art
9/2008 - 1/2009
A selection of fiber art from the Art in Public Places collection. This show is in conjunction with the 11th Biennial Symposium of the Textile Society of America
45th annual Hawaiʻi region of the Scholastic Art Awards exhibit
2/2008 - 4/2008
2-d, 3-d, and portfolio artwork by students in the 7-12 grade.
(Star Bulletin article 2/2008) starbulletin.com
He Alo Ā He Alo: Face to Face, Visions & Portraits of Hawai‘i
5/2008 - 9/2009
(Star Bulletin article 7/2008) starbulletin.com
Palolo Kids
located at Downtown @ the HiSAM 5/2008 - 2009
(Pdf. of Art Reach magazine article Spring 2008) Page 6 hawaii.gov/sfca
2-d, 3-d, and portfolio artwork by students in the 7-12 grade.
(Star Bulletin article 2/2008) starbulletin.com
He Alo Ā He Alo: Face to Face, Visions & Portraits of Hawai‘i
5/2008 - 9/2009
(Star Bulletin article 7/2008) starbulletin.com
Palolo Kids
located at Downtown @ the HiSAM 5/2008 - 2009
(Pdf. of Art Reach magazine article Spring 2008) Page 6 hawaii.gov/sfca
2006
Precious Resources: The Land & the Sea
(Photo) hawaiistateartmuseum.org
This exhibition features ninety-seven works of art from the Art in Public Places Collection inspired by the natural environment of Hawai’i. The land and sea provides us with life-giving sustenance, natural beauty, and cultural traditions. The delicate balance of Hawai’i’s precious resources is explored through the eyes of artists, providing a forum for civic discourse on the topic of environmental sustainability.
Precious Resources: The Land and The Sea is developed in partnership with the State of Hawai’i’s Department of Land and Natural Resources
Art in Public Places(Honolulu Advertiser article 4/2006) honoluluadvertiser.com
2005
Summertime
short films screened by HIFF
2004
Inner ScapesHSFCA Summer 2004 pdf.
2002
Enriched by Diversity: The Art of Hawai`i
November 3, 2002 - 2004
Interactive map - Honolulu Advertiser
Collected Works - Star Bulletin article October 2002
Precious Resources: The Land & the Sea
(Photo) hawaiistateartmuseum.org
This exhibition features ninety-seven works of art from the Art in Public Places Collection inspired by the natural environment of Hawai’i. The land and sea provides us with life-giving sustenance, natural beauty, and cultural traditions. The delicate balance of Hawai’i’s precious resources is explored through the eyes of artists, providing a forum for civic discourse on the topic of environmental sustainability.
Precious Resources: The Land and The Sea is developed in partnership with the State of Hawai’i’s Department of Land and Natural Resources
Art in Public Places(Honolulu Advertiser article 4/2006) honoluluadvertiser.com
2005
Summertime
short films screened by HIFF
2004
Inner ScapesHSFCA Summer 2004 pdf.
2002
Enriched by Diversity: The Art of Hawai`i
November 3, 2002 - 2004
Interactive map - Honolulu Advertiser
Collected Works - Star Bulletin article October 2002
Art in Public Places Artists
Toshiko Takaezu
One of the first artists to explore ceramic’s possibilities as an independent aesthetic medium, Toshiko Takaezu revolutionized the field with abstract shapes, painterly glazes, and lyrical installations. Inspired by ceramist Maija Grotell, her teacher at the Cranbrook Academy of Art, Takaezu absorbed a philosophy of irregularity and asymmetry and drew upon diverse artistic influences from Europe, Asia, and the natural world. Takaezu was also strongly influenced by the theories of Hong Kong–born potter Bernard Leach and the works of Hamada Shoji, which taught her the Zen approach of intuition and formal simplification that shaped the artist’s mature style. Through her mastery of ancient firing techniques, Takaezu created earthenware that reached sculptural heights, just as her exploration of surface decoration led her to use glaze with the same expressiveness as abstract painters. Takaezu’s ceramics lucidly articulate the cross-cultural influences of East and West, bridging her American, Hawaiian, and Japanese heritages while announcing her originality and independence. - The Art Institute of Chicago (T. Takaezu Ceramics March 22–June 8, 2008; Gallery 109)
"One of the best things about clay is that I can be completely free and honest with it. And clay responds to me. The clay is alive and even when it is dry, it is still breathing! I can feel the response in my hands, and I don't have to force the clay. The whole process is an interplay between the clay and myself and often the clay has much to say." - Quoted from The Penland School of Crafts Book of Pottery, New York: Bubbs-Merrill, 1973, p. 145.
HSFCA Annual Report 2002-2003 (No. 1 Capitol District Facade Cover)
APP page 20
HSFCA Annual Report 2003 -2004 (Genoa Keawe Cover)
APP page 21
HSFCA Annual Report 2004-2005 (James Kaʻupena Wong Cover)
APP page 21
HSFCA Annual Report 2005-2006 (George Naʻope Cover)
APP page 22
HSFCA Annual Report 2006-2007 (Eddie Kamae Cover)
APP page 23
HSFCA Annual Report 2007-2008 (Ceramic Sculpture - Na Kama Ku I Ka Moku, artist Bob Flint Cover)
APP page 22
One of the first artists to explore ceramic’s possibilities as an independent aesthetic medium, Toshiko Takaezu revolutionized the field with abstract shapes, painterly glazes, and lyrical installations. Inspired by ceramist Maija Grotell, her teacher at the Cranbrook Academy of Art, Takaezu absorbed a philosophy of irregularity and asymmetry and drew upon diverse artistic influences from Europe, Asia, and the natural world. Takaezu was also strongly influenced by the theories of Hong Kong–born potter Bernard Leach and the works of Hamada Shoji, which taught her the Zen approach of intuition and formal simplification that shaped the artist’s mature style. Through her mastery of ancient firing techniques, Takaezu created earthenware that reached sculptural heights, just as her exploration of surface decoration led her to use glaze with the same expressiveness as abstract painters. Takaezu’s ceramics lucidly articulate the cross-cultural influences of East and West, bridging her American, Hawaiian, and Japanese heritages while announcing her originality and independence. - The Art Institute of Chicago (T. Takaezu Ceramics March 22–June 8, 2008; Gallery 109)
"One of the best things about clay is that I can be completely free and honest with it. And clay responds to me. The clay is alive and even when it is dry, it is still breathing! I can feel the response in my hands, and I don't have to force the clay. The whole process is an interplay between the clay and myself and often the clay has much to say." - Quoted from The Penland School of Crafts Book of Pottery, New York: Bubbs-Merrill, 1973, p. 145.
HSFCA Annual Report 2002-2003 (No. 1 Capitol District Facade Cover)
APP page 20
HSFCA Annual Report 2003 -2004 (Genoa Keawe Cover)
APP page 21
HSFCA Annual Report 2004-2005 (James Kaʻupena Wong Cover)
APP page 21
HSFCA Annual Report 2005-2006 (George Naʻope Cover)
APP page 22
HSFCA Annual Report 2006-2007 (Eddie Kamae Cover)
APP page 23
HSFCA Annual Report 2007-2008 (Ceramic Sculpture - Na Kama Ku I Ka Moku, artist Bob Flint Cover)
APP page 22
HSFCA Annual Report 2008-2009 (Aquarius by Tadashi Sato. State Capitol Rotunda Cover)
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