Honolulu Academy of Arts Y M E D
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9 0 0 2 Y R A U R B E F / Y R A CalendarNews U HONOLULU ACADEMY OF ARTS N A J African Art from the Academy’s Collection Board of Trustees From the Director Continuing Exhibitions Lynne Johnson , Chairman Dear Friends, Good News from Hiroshige: A New Muraqqa’: Imperial Mughal Albums Linda Ahlers Interpretation of the Series “One from the Chester Beatty Library, Charman J. Akina As 2009 opens, the nation and the world are faced with a serious Burta Atherton Hundred Famous Views of Edo” Dublin Dawn Aull economic crisis. With this in mind, the Academy is making plans to Frank Boas I ROBERT F. LANGE FOUNDATION GALLERY THROUGH I HENRY R. LUCE GALLERY THROUGH MARCH 1 Mark Burak sustain its core programming through the next several years and JAN. 11 he 86 jewel-like paintings are some of the finest to Samuel A. Cooke beyond. Supported by the extraordinary vision of our founder, Anna election of prints from renowned artist Utagawa Tcome out of 17th-century Mughal India. The works Judy Dawson Diane Dods Rice Cooke, and the creativity and talent of our staff and Board of SHiroshige’s last great series. are a window to the culture of this pivotal period of Cecilia Doo Trustees, I have every confidence that the Academy will successfully negotiate these Barney A. Ebsworth Indian history. Peggy Eu uncharted waters. Look for greater emphasis on the strengths of our permanent collec - He Ho‘Åla Ana/An Awakening: Kapa Josh Feldman tion, in both gallery rotations and special exhibitions, in addition to other initiatives that Mark Fukunaga by Marie McDonald Helen Gary draw on the amazing assets we already have at hand. I GALLERY 22 THROUGH JAN. 18 Stephanie Hee I am delighted that the Academy’s superb collection of Ron Higgins he Academy honors a Living Treasure and an old Michael Horikawa French Impressionist and Pos t-Impressionist paintings (includ - Tartform with this solo show of breathtaking contem - Claire Johnson s t r ing major works by Claude Monet, Paul Gauguin, Vincent A porary kapa. f Akemi Kurokawa o y m e Clarence Lee d van Gogh, Odilon Redon, and Amedeo Modigliani) is back a c A u Warren K.K. Luke l u l o on display in Gallery 10. In addition, the current rotation of n Richard Lane and the Watters O. Martin, Jr. o H 9 0 0 Margaret Oda 2 works from the permanent collection in the Clare Boothe © Floating World o t Michael O’Neill o h Wesley T. Park Luce Gallery of Modern and Contemporary Art (Gallery 27) P Van Gogh ʻs Wheat Field is on I GALLERY 14 THROUGH FEB. 1 James F. Pierce includes masterpieces by Hans Hoffman, Morris Louis, view in Gallery 10. he first exhibition organized from the more than Susan Pillsbury Duane Preble Francis Bacon, Robert Rauschenberg, and Lee Bontecou, as T20,000 works in the Richard Lane Collection, which Jean E. Rolles well as outstanding pre–World War II Surrealist paintings by Giorgio de Chirico and the Academy acquired in 2003. This one focuses on Charles A. Sted Charles Stockholm ukiyo-e , and demonstrates the skills of the Academy’s Yves Tanguy. s t r A f Donna Tanoue o Asian Paintings Conservation Center. y Also, don’t miss the superb selection of 20th-century photographs in the exhibition m e d Thurston Twigg-Smith a c A u l Indru Watumull u Face to Face , on view in Gallery 9. Curated by intern Shaun Tateishi, this survey of l o n o Charles R. Wichman Graphic Cabinet #3: Face to Face H 9 0 portraits from the Academy’s permanent collection includes brilliant works by Bill Brandt, 0 Betty Wo 2 © o t o I h Yousuf Karsh, Sally Mann, Robert Mapplethorpe, and Sebastião Salgado, among others. GALLERY 9 THROUGH FEB. 22 P Emeritus Trustees ew people know that the Academy owns a notable Henry B. Clark, Jr. Theresa Papanikolas, Curator of European & American Art, has plans for the ongoing Phoebe Cowles Fcollection of photographic works. Portraits are the works-on-paper series Graphic Cabinet, which is sure to reveal many surprises. Decades of Abstraction Alice Guild focus of this exhibition that includes images by Robert Keiji Kawakami In the meantime, the Asian Art Department, under the direction of Curator Shawn I CLARE BOOTHE LUCE GALLERY THROUGH OCT. 18 Richard Mamiya Frank, Robert Mapplethorpe, Lisette Model and Garry Eichman, is planning a series of Gallery 14 exhibitions that focus on unknown treasures he museum pulls from its collection of modern art T. Clifford Melim, Jr. Winogrand. Ta survey that reveals the evolution of American Lila Morgan of the permanent collection. Also in the planning stage is a major survey of Japanese Yoshiharu Satoh abstraction. Don’t miss Robert Rauschenberg’s 1962 woodblock Ukiyo–e prints from the James A. Michener Collection, to be shown in The Joanna Lau Sullivan Trophy V (for Jasper Johns) , along with works by Lee Edward D. Sultan, Jr. Henry R. Luce Gallery (Gallery 28) toward the end of this year. Joanne V. Trotter Bontecou, Mark Tobey and Jasper Johns. For more on Finally, The Dragon’s Gift: The Sacred Arts of Bhutan opens to the public at the Asian Stephen Little , Director the collection, see page 15. ----------- Art Museum of San Francisco on February 20, and Hawaiian Modern: The Architecture On the cover: of Vladimir Ossipoff opens at the German Architecture Museum in Frankfurt on March A wooden standing female figure from the Bena All About Textiles Lulua tribe of the Congo (13,000.1) 14—two vital signs of the Academy’s growing presence in the art world beyond I MUSEUM LEARNING CENTER, GALLERY 31 The19t h- Century work is on view in Gallery 22 Hawai‘i’s shores. ----------- THROUGH AUG. 9 Calendar News vol. 81, no. 1, is published six rom Aboriginal sorcerer shoes to a Southeast Asian s t r times a year as a benefit for museum members by A f o Feel trap, this exhibition reveals that textiles are Honolulu Academy of Arts y m e d 900 South Beretania Street, a c about a lot more than fabric. You can see how cultures A u Honolulu, Hawai‘i 96814 l u l o n Editor: Lesa Griffith Stephen Little o use textiles for spirituality, life milestones and identity. H 9 Design Coordinator: Milt Chun 0 0 2 Staff Photographer: Shuzo Uemoto Director © In the interactive spaces, visitors can weave on a loom, o t o Design: Ledbetter Kennedy Creative h P Printing & Mailing: Edward Enterprises design fashions, tie knots and create quilt designs. Open © 2009 Honolulu Academy of Arts, Wednesdays, Saturdays and Sundays. All rights reserved. 2 Calendar News - January/February 2009 3 On Exhibit China’s enduring influence Academy works reveal the cues Japanese in more than a decade is a ShËgetsu landscape in hand - Chinese painters in Nagasaki, a distinctive style of Opposite Page: artists have taken from China since the scroll forma t— one of the Academy’s rarest paintings. Chinese painting often called “Nagasaki school” devel - O¯ kura R y¯uzan’s 8th century. 19th -century painting In the middle of the 17th century, just as the oped, while the lingering influence of earlier Chinese Winter Landscape in Tokugawa shogunate (161 5–1868) was being estab - styles introduced by SesshË, ShËgetsu, and others also the style of Wen ince the inception of Japanese painting, Japanese Zhengming SHAWN EICHMAN lished in Edo (modern Tokyo), the Ming collapsed, as remained pervasive. (TD 200 8–33–04) Asian Art Curator artists have looked to the Asian continent, particu - Manchu invaders from the northeast took control of the However, the 18th to 19th centuries saw the rise of is a superb landscape. S larly China, for inspiration. From the Academy’s While at the exhibition, nation. Many Chinese fled their war-torn homeland, yet another Chinese tradition that would once again compare it to the 16th- collection is an exhibition showcasing rare, historically particularly a group of Linji (Japanese Rinzai) Zen transform the Japanese art world: literati painting century Chinese work important works that illustrate this visual exchange. Clearing After Snowfall monks from the southern province of Fujian, a hotbed bunjinga , sometimes known as the Southern Tradition Along the River . The continental influence is visible in Japan’s earliest of Ming loyalist resistance. Highly literate and trained in nanga . First developed in China by theorists like Dong painting s— tomb murals from the sixth and seventh Below: the arts, these monks landed at Nagasaki. Eventually Qichang (155 5–1636), this tradition emphasized This landscape by centuries. In the Heian period (79 4–1185), paintings they were allowed to establish the temple of Manpukuji scholar-amateur painting that served foremost as a Sh ¯ugetsu were imported directly from China, particularly (1440? –1529) in Uji, near Kyoto, where they promoted a brand of means for self-cultivation, as opposed to painting by is one of the Academy’s Buddhist works brought back (for use in Esoteric Buddhism known as the ¯baku sect. As the Edo shogu - professional artists that was done for profit. Japanese rarest paintings rituals) by monks who studied on the continent, such as (2390.1) nate closed off its borders, these Chinese monks were advocates for literati painting such as Nakabayashi This is the first time it is KËkai (77 4–835) and SaichØ (767 –822). By this time, one of the few connections Japanese artists had to the ChikutØ (177 6–1853) and his student Okura RyËzan being shown in more than a decade.