• Abstract and Figures
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SEPT • OCT • NOV • 2012 Aloha Members, At a recent retreat of the Board work to the Spalding House Café of Trustees, we selected three kitchen (which will be followed priorities for the museum to by a new menu!), are being done tackle. The goals are: achieving with the help of the McInerny financial equilibrium (a fancy Foundation. Finally, the Cooke way of saying “balance the Foundation has jumped in budget”), fulfilling our educa- to help with enhancing the tional mandate, and, finally, museum’s entryways and visitor improving the quality of the experience. visitor’s experience. We are Curator of Contemporary launching initiatives to support Art Jay Jensen has curated an each goal which I will share exhibition that features the with you in the next issue. work of five artists who photo- Many of you ask about the graphed American service financial health of the museum. men and women titled Courage In terms of overall assets, we And Strength: Portraits of Those are quite strong. On the other Who Have Served. At Spalding hand, we have had chronic House we have a suite of five operational deficits for the past small exhibitions that focus decade. We are solving the on the connection between art problem in an incremental way, and literature, which is part of a cutting the deficit in half each larger move to closely connect WE'D LOVE TO HEAR Courage and Strength: The portraits year, so that we can maintain Spalding House with our educa- YOUR VOICE. Portraits of Those Who Have Served demonstrate the programming and forward tional activities. September 6, 2012–February 24, 2013 momentum. Some members With increased program- SUBMIT YOUR Courage and Strength: Portraits of Those Who Have Served presents power of photography enjoy knowing details of our ming and attendance, many the works of five photographers—Nina Berman, Ashley Gilbertson, COMMENTS TO: Peter Hapak, Tim Hetherington, and Suzanne Opton—who have to document a financials so I have had our things are on the right track. created powerful images that provide an intimate and personal look at complete audited financials That said, it is only with the AUDIENCE@ American men and women service members who have been in Iraq particular moment from fiscal year 2010–2011 and support of people like you that and Afghanistan. The photographs on view do not depict the tension of our IRS 990 form (basically we can successfully serve our HONOLULU combat but rather offer glimpses into the minds and hearts of service as well as convey members in quiet moments during and after their tours of duty. our tax return for non profits) community. When you are MUSEUM.ORG The portraits in this exhibition demonstrate the power of photog- emotion and provide posted on our website. Once our asked to renew your member- raphy to document a particular moment as well as convey emotion 2011–2012 audits are complete, ship and donate to the Annual and provide a springboard for questioning and contemplation. a springboard for they will also go online. Fund, I hope that you will take Photographs are also open to interpretation and can elicit a range of responses—memories, emotions, aspirations—offering each viewer a questioning and Behind the scenes a lot is the time and respond in a favor- unique experience. Ultimately, the viewer fuels the power of photo- going on. With the support able manner. graphs, bringing to them interpretation based on their own experi- contemplation. of the Strong Foundation we ences and desires. are preparing to start a coffee We cannot do it without you! The subjects in the images in Courage and Strength have had as lll111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 1 important a role in shaping the works as the photographers who took Above left to right: service in the courtyard Sincerely, them. Their willingness to sit, lie down, stand, and bare themselves Tim Hetherington heightens our attentiveness and leads the eye and mind to a deeper, (British-American, 1970–2011) nearest to Ward Avenue. All the Nevala, Korengal Valley, Kunar Province, European and American art richer place, where we might not otherwise linger. Afghanistan, 2008 Digital c-print —JAMES JENSEN Curator of Contemporary Art galleries are being reinstalled © Tim Hetherington, Courtesy Yossi Milo Gallery, New York with help from The Walter F. and Peter Hapak (American, born Hungary 1973) Mary Dillingham Frear Trust. Stephan F. F. Jost Major funding is provided by the Atherton Family Foundation. Sgt. Jelani Lucas, 2011 Additional support from Helen Gary, and Galen and Patricia Ho. Digital c-print Capital projects, including major Director © Peter Hapak, Courtesy of Peter Hapak Modern Luxury Hawai‘i is the media sponsor. 2 EXHIBITIONS 3 lll11111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 11 Below left: The newly reinstalled gallery of 18th-century European art includes a recently conserved painting by Leonardo EXHIBITION~ Coccorante and a dazzling porcelain display. Below right: Félix Bracquemond (French, 1833–1914) The Top Half of a Door, 1852 Etching Purchase, 1951 (13001) The Arts of the Bedchamber: Japanese Shunga Beyond Ukiyo-e: November 23, 2012–March 17, 2013 Non-Representational Abstraction in Japanese Prints Sexuality has been a consistent topic throughout the history of art. Japanese artists of the Edo period (1615–1868), including major ukiyo-e August 16–October 14, 2012 artists such as Hiroshige, were involved in the production of erotica In the early 20th-century, after two and a half centuries of restricted known as shunga (literally “spring pictures”). Exploring this genre offers trade and communication with other nations, many Japanese print- a much richer understanding of ukiyo-e printmaking and Edo society makers, such as Onchi Kōshirō (1891–1955) and Shinagawa Takumi in general. (1908–2009), relished opportunities for cultural exchange and took The museum's collection includes more than 800 works of shunga inspiration from Western abstract artists. In this exhibition you can that have never been publicly displayed. This exhibition—the first in a see the influence of artists such as Man Ray (1891–1955) and Joan series of three—features more than 90 woodblock prints, woodblock- Miró (1893–1983), and eloquent expressions of the Japanese artists’ printed books, and paintings, and focuses on the development of complex feelings about their country’s rapid modernization. shunga during the 17th and 18th centuries. —S TEPHEN SALEL Moods and Dreams The Arts of the Bedchamber promises a startlingly bold reconsidera- Robert F. Lange Foundation Research Associate for Japanese Art in 19th-Century Graphic Arts tion of many noted and familiar works in the museum’s permanent November 29, 2012– collection and will challenge the viewers’ assumptions and attitudes about sexuality and gender. The Legacy of Sharaku: February 10, 2013 The museum is grateful to the Robert F. Lange Foundation for its Expressionistic Portraiture in Japanese Theater ongoing support of the museum’s continuing efforts to catalogue its October 18–December 16, 2012 extensive collection of Japanese art, including the works that are in Hawai‘i Abstraction this exhibition. —S TEPHEN SALEL Tōshūsai Sharaku (act. c. 1793–1794) created most of his woodblock October 4, 2012– Robert F. Lange Foundation Research Associate for Japanese Art praints of kabuki actors in one year—then he mysteriously disap- January 20, 2013 peared. In this exhibition, his expressionistic work is paired with prints by his followers, revealing what an immediate, enduring impression See European and American The combining of collections with the his iconoclastic style left upon the subsequent history of Japanese art. works in a new light merger last year of the Honolulu Academy —S TEPHEN SALEL of Arts and The Contemporary Museum Robert F. Lange Foundation Research Associate for Japanese Art By the end of the year, the reinstallation of Gallery. “It’s one of the building’s most created a strong representation of abstract the galleries of European and American art beautiful spaces for portraiture, in which the art produced in Hawai’i in the last half of will be complete. Initiated in October 2011 museum is strong,” says Papanikolas. And the the 20th century. This exhibition presents with the Portraiture Gallery, the project will style is matched by substance: “It engages the selected works, beginning with Isami Doi, end with the Antiquities Gallery. theme of how artists represent a likeness and who left Hawai‘i to study and work in New “I’ve been planning this since I arrived at how sitters are engaged in the process,” says York City and Paris in the 1920s and 1930s, the museum four years ago,” says Theresa Papanikolas. and continues to some of today's most Papanikolas, curator of European and Meanwhile the museum’s Impressionist notable abstract artists. American art. “It’s so rewarding to see it and post-Impressionist masterpieces, such In the exhibition is work by Tadashi Sato, coming to fruition.” as Claude Monet’s Water Lilies, have been Satoru Abe, Bumpeo Akaji, Tetsuo Ochikubo, Her reinstallation re-imagines the collec- moved from their small, low-ceilinged gallery Harry Tsuchidana, Ralph Iwamoto, Jerry tion while accomplishing three things: show- to a larger, high-ceilinged space that allows Okimoto, John Young , Ben Norris, Murray casing the best of the best of the museum’s the works to breathe. And the galleries that Turnbull, Ken Bushnell, Mamoru Sato, Ron art; presenting the works in a way that is told the East-Meets-West story are now Kowalke, Mary Mitsuda, Alan Leitner, and immediately engaging and arresting, while dedicated to 20th-century work, from 1900 Sean Browne. 111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 also telling the story of the history of art from to 1970—it’s where Georgia O’Keeffe’s Hawai‘i —JAMES JENSEN Curator of Contemporary Art Left to right: antiquity to 1970.

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