Honolulu Academy of Arts Y M E D

Cal O H N L O endar L U U A A C E D Y M N O ews A F fr T R A ican S Ar t fr om t he Ac adem y’s Coll ect io n

JANUARY/FEBRUARY 2009 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

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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 u¯getsu 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. the term kara-e , or “Chinese painting,” had come into outside world. ¯baku monks brought with them new (178 4–1850) criticized the professional quality of use to distinguish a separate tradition in Japan from Chinese painting and calligraphy styles, as well as actual Nagasaki-school paintings, and proposed instead yamato-e , literally “Japanese (style) painting.” paintings, notably from the Wu-school tradition codified adherence to the scholarly ideal of painting for personal The newly arrived styles immediately evolved into by Wen Zhengming (147 0–1559) and his students. The expression of one’s inner character, done by an elite distinctive Japanese traditions, with their own aesthetic monumental handscroll Clearing After Snowfall Along circle of highly educated sophisticates. Of special note principles. The Japanese art world experienced periodic the River , traditionally attributed to the 8th century but in this exhibition is a superb landscape by Okura revolutions as new schools of painting in China continued almost certainly done by an artist in Wen Zhengming’s RyËzan, which was recently donated by noted Seattle to serve as fresh sources of inspiration. The 15th century circle, is one of the exhibition’s most historically impor - collector Griffith Way. This painting, done in the manner marked one of the most important of these tant paintings. of Wen Zhengming, makes for a fascinating comparison revolutions, when the monk-painter SesshË Continental Style: Through the influence of ¯baku monks and other with Clearing After Snowfall Along the River . (142 0–1506) and his student ShËgetsu (c. Chinese Influence in Japanese Paintings 1427 –c. 1510) were allowed to travel as government ambassadors to China, where November 24, 2008 a century of Mongol rule had recently –March 22, 2009 come to an end. The Maurice J. Sullivan Arriving in the port city of Ningbo, for Family Gallery of Chinese Art centuries the source of Japan-bound Gallery 16 Chinese Buddhist paintings, SesshË and ShËgetsu were exposed to popular styles of Chinese painting. The new native Chinese dynasty, the Ming (136 8–1644), had instituted a revival of earlier court-painting styles, particularly in the Zhe school that, privileged with official patronage, s s t t r

dominated the Chinese-painting world. SesshË and r A A f f o o y y m m e ShËgetsu brought Ming painting styles to Japan, setting a e d d a a c c A A u u l l u u l new standard for landscape painting that defined official l o o n n o o H H 9 9 0 0 0

painting schools such as the KanØ and Unkoku even 0 2 2 © © o o t t o o h into the early modern period. On view for the first time h P P

4 Calendar News - January/February 2009 5 On Exhibit

Stars of the stage Inside the Lane Collection Nishiki-e prints brought Kabuki he Honolulu Academy of Arts acquired the century—that’s unheard of! There are only two compa- stars to their fans Japanese art collection of independent scholar rable collections in Japan—the Tenri and National Diet T and dealer Richard Lane in 2003. Since 2004, Dr. Libraries—and neither is easily accessible. atsukawa ShunshØ (1726–1792), who is Scott Johnson, a professor at Kansai University in Osaka, has been sorting through the enormous assemblage of Q: How did you come to be involved? BY SAWAKO CHANG well-known as the teacher of famed wood- Japanese Art Imaging K block-print artist Katsushika Hokusai paintings, prints, and books. Now on view in Gallery 14 SJ: For one thing, I knew Lane. I met him in about 1980 Project Manager & through Feb. 1 is the first glimpse of works from the Research Assistant (1760–1849), was a pioneer in the production of and we got together several times, spoke on the tele- Asian Art Department multicolor woodblock prints (nishiki-e), particularly collection, curated by Johnson. He talks about explor- phone, and exchanged postcards. At the same time I ing the labyrinthine holdings. of Kabuki actors. read essays that he wrote, and his great book Images — Lesa Griffith On view in January will be approximately 30 rare from the Floating World. So when I heard that his collection was acquired by prints that introduce viewers to some of the most Q: What is the significance of the Lane Collection for the the Honolulu Academy of famous Kabuki plays and serve as a brief history of Honolulu Academy of Arts? Arts and needed sorting, I Kabuki actor prints. Scott Johnson: It’s several things. One is that Lane was eagerly but naively volun- Before ShunshØ’s time, Kabuki-actor prints were an eclectic collector. He didn’t just put together a group teered. I was totally unpre- produced primarily by Torii-school artists. However, of masterpieces. He bought widely, and many of the pared for the scale of the by the 1760s, the Torii-school style had become things he was interested in and purchased were not task. extremely formal and stylized. Nishiki-e prints, on especially popular at the time, such as Taishô era Another reason why it’s the other hand, were innovative in their use of bril- (1912–1926) paintings. Now with the Taishô Chic show really fortuitous for the Scott Johnson in Gallery 14. liant colors and dynamic compositions. ShunshØ the Academy put together, everybody’s talking about Academy to have the Lane began using nishiki-e technology to portray the TaishØ. A great part of the collection’s significance lies Collection is that many superb paintings have condition actors’ unique characteristics, such as in its comprising works that appeal to both scholarly problems, and the Academy’s Asian Paintings their individual expressions and poses. and general audiences. Conservation Center is fabulous. I’m so thrilled with the The more realistic portrayals of conserved paintings now on view in Gallery 14, because Capturing the I know what they looked like before, and Asian Art ShunshØ’s prints meant people could Q: Is the collection concentrated on a specific area? Actor’s Spirit: Conservator, Eddie Jose and his staff have done now identify the actors without the aid of Kabuki Actor Prints SJ: It’s much wider than I’d expected. When I volun- wonders. by Katsukawa inscriptions. Edo urbanites and Kabuki teered to sort the Lane Collection, I had no idea what I Shunsh¯o fans welcomed the prints featuring their was getting into. Lane never wrote about Buddhist paint- Q: How did you come to choose these initial works January 15–March 29 idols. ings, but he collected Buddhist paintings. He never on view? Galleries 20 and 21 ShunshØ was also a renowned master wrote about zenga (Zen paintings), but he collected SJ: I wanted to show partly the stylistic range of painting of bijinga (paintings of beautiful zenga. He never wrote about haiga, sketchy paintings in the collection, and I wanted to unify it by connecting women). In fact, ShunshØ first trained in the lineage with haiku poems on them, but he collected hundreds of haiga paintings. it with the whole idea of daily life in the Edo period— of the renowned Miyagawa ChØshun (1682–1752), After he finished his B.A. in Japanese literature at the no TV, no movies, no DVDs. In the evening people went who was best known for his spirited bijinga. University of Hawai‘i–MÅnoa, Lane went to Columbia for to Kabuki, they went to sumo when there was a match. The c. 1773 color However, ShunshØ renounced this heritage and his Masters and Ph.D. There he focused on the develop- Public events broke the monotony of daily life, and woodblock print changed his lineage name from Miyagawa to many of the paintings embody that. That includes, for Danj¯ur¯oV as Kagekiyo ~ ment of commercial fiction in 17th century Japan. He in the play Hatsu Katsukawa when ChØshun was disgraced, and eventu- I was recognized in the 1950s by Japanese scholars as a men, the dream of spending an evening with an Akebono Niwatori Soga ally exiled, in 1749. At the same time, the delicate I ..------._ _ 2 iii! (HAA 12993) powerful new voice in a field that is difficult even for extremely beautiful, accomplished woman in the by Katsukawa Shunsh¯o lines and elegant sensibility derived from his training Japanese people. To have a foreigner come in and start Pleasure Quarters. This was mostly fantasy stuff for men (1726–1792) is a fine example of in bijinga remain visible in his Kabuki-actor prints. making contributions at that time was really extraordi- rather than any possibility of reality—and yet this is an how nishiki-e prints The excellence of the captured poses and balanced nary. Many people who collect Japanese illustrated books important part of Japanese art history. So this is a lot to captured the essence of popular Kabuki actors. compositions in ShunshØ’s actor prints are unparal- tend to concentrate on 18th- and 19th-century books. get into, and the book illustrations that I chose are the Lane’s collection of books is about one-third 17th tip of the iceberg.

6 Calendar News - January/February 2009 7 On Exhibit

Opposite page: African sojourn A Reliquary Figure (mbulu-mgulu) from A new exhibition reveals the complex The juxtaposition of textiles and objects provides the Kota people of Gabon, made of wood covered with brass and copper cultures of Africa insight to regional design connections. The striking sheeting to deflect harmful spirits. geometric patterns found in a selection of musese Mbulu-mgulu, “the image of the spirit of the dead,” were attached to a relic n celebration of Black History Month, the Textile cloth, or cut-pile raffia cloth, are a distinguishing box holding the skull and bones of an SARA OKA feature of Kuba art from south-central Democratic ancestor. The Kota believed ancestral Textile Collection and Education departments teamed up to present a bones could continue to control a Manager I rare exhibition of African art from the Academy’s Republic of the Congo. The small cloths were often family’s well-being. sewn together- to make a large piece of BETSY ROBB collection. sewn together to make a larg€ Top: Education Curator African Art from the Academy’s clothing or used as stoolsto coverings for An example of the Kuba people’s he Academy's raffia cloth made of plain weave and people of high rank.rai Kuba men Collection representss the appliqué in the mid-20th century. wove the basebas1 cloth on a (5653.1) diverse cultures fromI the small 1001loom, while the world’s second largest,t Bottom: women stitched raffia Textiles such as this colorful, prover- continent. On view womer in densed1 loops that bial Asafo Flag (ca. 1900) from are outstanding Ghana, mirror the active daily lives werwere cut to make a of Fante people.

examples of African Photo © 2009 Honolulu Academy of Arts (5886.1) smoothSID( pile. The objects such as a geometricgeo Chiwara antelope patterns—whichpatt headdress from Mali havehav, names and used in rituals to meaningme: and often ensure healthy crops relaterela to specific and teach traditional kings—resemblekings the legends, and a sculp- carvecarved patterns on tural image of the Kuba wooden cups, Yoruban goddess bowls,bow~ small lidded Oshun containers,conta a head from rest, andai a divination African Art from the Nigeria. inllplemimplement in the shape Academy’s The textiles,tiles, of an anianimal. Collection as in manyy tradi-tradi An exhibitionexhil highlight February 12–April 5 tional cultures,:ures, also is the Female AnAncestor Figure Gallery 22 mirror dailyily life. Solemnly from the Bena LuluaLult people of marking birth,,irth, marriage, and Zaire, Congo (see the cover). It was used in death, the “liminal”"liminal" times of the tshibola ceremony, whiwhich encouraged transition in human life,ife,Africantextiles African textiles young children who had died prema- play a significant role: in complex, turely to return to lifelife. The elegant, ritually sanctioned social,cial serene pregnant frfemale stands customs. They can alsoso boast of with her hands on01 her swollen the power and the wealth~alth of abdomen.abdomen. Scarifi.1Scarification patterns kings and chiefs or protectrotect the cover the chin, cheeks,chi neck, spirit from evil forces.,. On view are chest and abdomen, contrastingc with colorful, proverbial AsafolSafo flags, “cut"cut the smooth, dark surfacesurfac( of the body pile” velvet raffia embroidered>roidered cloths of polished with tukula (camwood(cam powder) the Kuba kingdom, and11d “mud”"mud" dyed cotton oil. The work is one of only rntwo known to cloths of Mali. exist.

8 Calendar News - January/February 2009 9 European & American Art Lecture

achieved success and received acclaim. But it was their emphasis on drawin g— motivated, no doubt, by the Thank you Mr. and Mrs. Vogel spatial limitations of the tiny apartment they shared with The Academy is one of 50 museums to Service, while Dorothy Vogel was a librarian at the numerous cat s— that brilliantly testifies to the Vogels’ receive part of the celebrated Vogel Brooklyn Public Library; their abiding passion for art extraordinary foresight as collectors. Long considered a blueprint or a nascent idea, drawing has over the past Collectio n— a major acquisition prevailed over their modest means. They began collect - ing in the early 1960s, taking a deeply two decades exploded as a primary medium, freely personal approach that was driven by practiced by contemporary artists, and enthusiastically friendships and open dialogue with then- acquired by museums and private collectors. In emerging artists such as Carl Andre, John deciding from the outset to focus on drawing, the Chamberlain, Dan Graham, Sol LeWitt Vogels anticipated and influenced the legitimization of and dealers such as Leo Castelli. the medium, and their gift of 50 of the finest works Assembled over the course of 40 years, from their collection will strengthen the Academy’s the Vogel Collection is a moving reflection already considerable holdings of 20th-century work on of this spirit of collaboration: many of its paper. The Vogel Collection has appeared in numerous exhi - s t r treasures are inscribed by the artists as A

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Dorothy and Herbert Vogel Collection: Fifty Opposite top: Herb and Works for Fifty States , an ambitious initia - Laura Hoptman lecture Dorothy Vogel visiting artist James Siena, in tive, coordinated with the assistance of the Artists of Hawai‘i 2009 juror Laura Hoptman, Senior Curator at the New Museum of Contemporary Art in the film Herb and National Gallery of Art, the National New York, will be in Honolulu in February to conduct studio visits to select recipients of the special exhibition Dorothy . Endowment for the Arts, and the Institute of awards. On February 19, she will present a partisan overview of the contemporary art situation in the Opposite bottom: Bill Museum and Library Services, to distribute United States. The lecture is a chance for Honolulu residents to hear one of the international art world’s Jensen’s 1986 untitled drawing is one of the 2,500 objects from the Vogels’ extensive leading contemporary curators. Seating is limited 50 works that the collection to a designated institution in each and offered on a first-come, first-served basis. Academy will receive from the Vogel of the 50 states. Hoptman’s latest exhibition at the New Museum is Collection. Artists represented in the Academy’s gift Live Forever: Elizabeth Peyton , on view through include Bill Jensen (American, born 1945), Top: January 11. This sculpture by Joel Joel Perlman (American, born 1943), David Hoptman was previously Curator of Contemporary Perlman is one of Reed (American, born 1946), Judy Rifka 50 works the Academy Art at Pittsburgh’s Carnegie Museum of Art where will receive from the (American, born 1945), and Richard Tuttle she organized the Carnegie International Vogel Collection. (American, born 1941). (200 4–05). Bottom: Comprised largely of drawings from the Artists of Hawai‘i 2009, the Academy’s biennial Laura Hoptman, Senior Curator at the New s

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Vogel worked for the United States Postal h P lecture. 10 Calendar News - January/February 2009 11 News Briefs

AFI Project 20/20 at the Child prodigy gives the A fond farewell Japanese print gallery gets a new name Doris Duke Theatre Academy a thumbs up In December, Carol Khewhok left the n Nov. 17, the Academy hosted a small gathering Japanese print database. Academy to become the Program Manager in the Joanna Lau Sullivan Chinese Garden for The majority of the Lange Foundation grants, at Shangri La. As Curator of the Academy Art O the rededication of Gallery 21, which is now offi- however, have supported conservation for Japanese Center at Linekona, Khewhok oversaw the cially called the Robert F. Lange Foundation Gallery— prints and paintings. innovative programming at the school for where the woodblock prints of the James A. and Mari “As a consequence,” remarked Academy Director 17 years. Under her leadership, the Art Michener Collection are displayed. In attendance were Stephen Little at the ceremony, “works of art from the Center has grown into the largest art school Lange Foundation board members Jack Lockwood, Dr. Academy’s permanent collection have been included in in Hawai‘i, and is a thriving community arts Ruedi Thoeni, David Franklin, Dan Williamson, Mary numerous international exhibitions, such as the monu- center with a full schedule of exhibitions, Williamson, Patti Lyons and Marilynn Matsumoto. mental shows on Hokusai and Hiroshige at the Royal classes, workshops and active partnerships The foundation made the first of many grants to the Academy in London, and at venues elsewhere in Europe Photo © 2009 Honolulu Academy of Arts Photo © 2009 Honolulu Academy of Arts with many community groups. Prior to Academy in 1991, to fund the conservation of 11 and throughout Japan and the United States. These Malian filmmaker Salif Traore, Project 20/20 Adora Svitak, author of Flying Fingers, in her bedroom leading the Art Center, Carol served as the Japanese paintings from the permanent collection. Since loans could not have happened without the support of producer Stacey Marbrey and Academy Film Curator in Seattle. Academy’s Director of Public Relations the Lange Foundation.” Gina Caruso visited Ulupo heiau. then, the Lange Foundation has funded critical conserva- In October, 10-year-old brainiac Adora from 1987 to 1992. As rain fell, Foundation President Jack Lockwood tion of the James Michener Collection of ukiyo-e wood- Film Curator Gina Caruso pulled off a Svitak, already a published author, blogger “The Academy will always be in my also spoke of the two organizations’ long, fruitful block prints, the hiring of key staff, acquisitions of cinematic coup in November when the and literacy advocate, visited the Academy heart,” says Khewhok. “Any institution’s history. Then he and Little removed the maile draped in Japanese art (such as a rare 15th-century ink painting), American Film Institute chose the Doris with her mother Joyce Svitak. Here’s what success is due to the people who work front of the gallery entrance and Kahu Leolani Pratt-Hao the outreach Ambassador Program, an internship for Duke Theatre as one of only five venues she had to say on the comment card that there and the Academy has a wonderful blessed the space. the Asian Art Department, and the creation of a (and the only museum theater) to screen its she thoughtfully filled out. ohana of staff and supporters. I am grateful traveling film festival Project 20/20, a to George Ellis and Stephen Little who were program that aims to foster cross-cultural so supportive over the years. The real credit understanding. Funded by the National is due to everyone on the Art Center staff Endowment for the Arts, the President’s Comments who worked tirelessly over the years to Committee on the Arts and Humanities, and make the institution a success. I will miss the Institute of Museum and Library them tremendously and owe every staff I member a huge debt of gratitude. I feel Sciences, AFI flew Caruso to Los Angeles for Please share your thoughts w~h us. its Project 20/20 conference and film fortunate that I’ll still have ties to the festival, then flew the directors of the five Academy through my new position at films to Honolulu. The filmmakers Shangri La and I look forward to keeping in presented their films and led Q and A touch with everyone in the future.”

12 sessions afterward, drawing big crowds who asked a lot of well-informed questions. The Project 20/20 directors and films were: Sascha Paladino (U.S.), Throw Down Your Heart; Siatta Scott Johnson (Liberia), Iron Ladies of Liberia; Anthony Fabian (UK), Skin; Salif Traore (Mali), Faro: Goddess of the Water; and Alexandra Westheimer (Russia), Alone in Four Walls. For more on the filmmakers’ visit and their films, go to the Academy blog aloHAA at www.honoluluacademy.org/blog.

1. Jack Lockwood, President of the Robert F. Lange Foundation, and Academy Director Stephen Little. 2. Lange Foundation board members, left Honolulu Academy of Arts

to right, Jack Lockwood, Mary Williamson, Marilynn Mastumoto, Dan Williamson, Patti Lyons, Ruedi Thoeni and David Franklin. 3. Kahu 900 South Beretania S1reet Photo © 2009 Honolulu Academy of Arts Honolulu, Hawaii 96814-1495 Leolani Pratt-Hao blessed the renamed gallery. 4. Enjoying refreshments in the Chinese Garden. Photo © 2009 Honolulu Academy of Arts Carol Khewhok

12 Calendar News - January/February 2009 13 News Briefs From The Archives

Shelf Life Fujifilm Hawaii donates Back story: Morris Louis’ ‘Turning’ ow on view in Gallery 27 is Decades of Bontecou was purchased from Signals of the Sixties . New books in the Robert Allerton Art cameras to Art to Go Abstraction: From the Collection of the In 1970, David Armitage of the City of Auckland Art Research Library N Honolulu Academy of Arts . How did the Gallery proposed a trans-Pacific exhibition of works by MARY ANN AKAO According to Hazen, Art to Go partici - Archivist Academy acquire this phenomenal selection of modern influential Color Field and Stain painter Morris Louis. Cabinets of Curiosities: pants will use photography to explore visual art, which includes Morris Louis’ mammoth color-field Foster endorsed it “with enthusiasm.” However Louis’ Four Artists, Four Visions literacy—framing, point of view and the use painting Turning and Lee Bontecou’s eerie Untitled? dealer, the Andre Emmerich Gallery in New York, and Elvehjem Museum of Art of concepts and symbols. The assignments Through the vision of James W. Foster, the Academy’s his heirs (Louis died of lung cancer in 1962 at the age students will tackle: a self-portrait, docu - Street Art, Street Life: director from 1963 to 1982. A painter himself, Foster of 49) were reluctant to ship the large canvases across menting family life, exploring your commu - From the 1950s to Now sought to provide Hawai‘i’s growing community of the Pacific. Their reservations quelled, Honolulu was nity, storytelling and capturing dreams and Lydia Yee, Katherine Bussard, artists with opportunities to experience the exciting the first stop in a circuit that took the exhibition to aspirations. Frazer Ward contemporary art scene he encountered on his trips to Melbourne, Australia; Auckland, New Zealand; and Hazen launched the Art to Go photogra - Giorgio Morandi, 1890-1964 , Skira phy program in 2007 at Nanakuli New York City. Santa Barbara, California. Elementary, Nanakuli Intermediate and So the Academy brought works by leading contempo - On April 29, 1971, Works by Morris Louis opened in Marie Raymond & Yves Klein rary artists to Honolulu. Signals of the Sixties , a survey the Second Floor Galleries (now Galleries 30, 31 and Expressions Contemporaines Kuhio Elementary in partnership with Big n November, Fujifilm Hawaii donated Brothers Big Sisters of Honolulu. The photo of the era’s art trends organized by former Guggenheim 32) with 11 canvases measuring 7 to 8 feet in height Sindh: Past Glory, Present Nostalgia 20 digital cameras to the Honolulu sessions were a success, but processing the director James Johnson Sweeney at the invitation of and up to 18 feet in width. A week later, Assistant I Academy of Arts’ Art to Go outreach Foster in 1968, was a highlight of his tenure. Foster also Director Selden Washington wrote to the Andre Pratapaditya Pal film used in the plastic Holga cameras was program. The generous gift is part of the costly, limiting the amount of pictures orchestrated single-artist exhibitions that included Hans Emmerich Gallery: “Interest and enthusiasm in the Himalaya: Land of the Snow Lion company’s goal of being a “good corporate students could take. Fujifilm’s digital Hoffman in 1968, and Emerson Woelffer and Mark show is picking up now after our slow start.” Turning Andrea Baldeck citizen” by being active in the communities cameras mean more students can delve Tobey in 1970. was purchased from the show with the assistance of Fifty Drawings: where it is based. “The Art To Go program more deeply into photography. These exhibitions stimulated interest and encouraged funds from the Academy Volunteers. Mantegna to Cezanne to Picasso is grateful for the digital cameras donated “Art to Go relates the value of art in our the purchase of works for the Academy collections. The R.S. Johnson Fine Art by Fujifilm,” says incoming head of the daily lives, builds self-esteem and provides Academy Art Center at Linekona, Vince a sense of belonging in a fun and safe envi - Seeing the Light: Hazen. “Photography makes high art acces - ronment,” says Hazen, “and Fujifilm is Postmodern Luminous Landscapes sible to people.” helping us to bring that to the community.” Frederick W. Wight

James Castle: A Retrospective Philadelphia Museum of Art Art to Go in Action European Tapestries in the he Academy’s Outreach Programs their own footwear in clay. Art Institute of Chicago Coordinator Pearlyn Salvador led an One rambunctious student, Kewin Hyunh, Koenraad Brosens T after-school ceramics session at Palolo when asked if doing art made him feel Elementary as part of the Art to Go program calmer, replied “Yes! Yes, yes, yes.” in December. Big Brothers Big Sisters volun - teers from Saint Louis School and Sacred Hearts were paired up with second, third and fourth graders on a project. Some of the “Bigs” plan on going on to careers in education, another hopes to

study human behavior in college. They all z e u q z a l s t e r

enjoy working with the kids in Art to Go. V A

f a o n

i r y b m

a Former Director James e S

Salvador showed students examples of d y a b c

A o W. Foster and Trustee

t u o l h u l P

shoes from the Academy’s lending o Duane Preble with n o H

9 Morris Louis stain Saint Louis School senior Teejay Tom, a Big Brothers 0 ’ librar y— from Native American mocassins 0 2

14 Calendar News - January/February 2009 15 Art Center

Take a spring art class University of Workshops Korean-American artists at Art Center in January Kansas in Spaces are still available in the Art Lawrence, whose Michigan), Taek H. Lee (Fairfax Station, of the visiting artists will hold workshops. Kazuko Inomata: Cloisonné n January, the Academy Art Center Center’s spring semester of adult studio art work is in more Virginia), Kloe Sookhee Kang (Honolulu), Opening reception: Wednesday, Jan. 7, and Silver Clay presents Traces and Trajectories: classes, which run Jan. 20 to May 1. Classes than 50 public I Jin Chul Kim (Salisbury, Maryland), Jinja 5:30-7:30 p.m. On view through Jan. 31. collections, I FEB. 7, 5–8 P.M.; FEB. 8, 11 A.M. –5 P.M. Current Works of Ten Korean- include Beginning Drawing, Drawing II, Life FEB. 14, 5 –8 P.M.; FEB. 15, 11 A.M. – 5 P.M. American Artists , an exhibition of new Kim (Honolulu), Sumita Kim (Gaithersburg, Drawing, Oil and Acrylic Painting, Chinese including the TUITION: $130 (SUPPLIES NOT INCLUDED) works by noted artists from across the Indiana), Wonsook Kim (Bloomington, Calligraphy, Beginning Printmaking, New York Public country. Indiana), Yoonchung Park Kim (San Diego, Intaglio, Lithography, Monotype, Screen Library; the Osaka-based cloisonné artist Kazuko “This important show is intended to California), and Komelia Hongja Okim Printing, Ceramics, Sculpture, Jewelry Museo Del Barro in Asunción, Paraguay; Inomata returns to present a workshop in reflect and set a new landmark in Hawai‘i, (Rockville, Maryland). Making, Fabric Design, Weaving, Basketry, the Museum of Fine Arts in Boston; and cloisonné and silver clay techniques. Open where our forefathers landed more than “As Korean-American practicing artists Ceramic Sculpture, Gemology and more. Harvard University’s Fogg Museum. The to beginners and intermediate students. 105 years go,” says Komelia Hongia Okim, and educators, they have been intensely Treat your favorite young person to exhibition is organized by the Honolulu Printmakers. who organized the exhibition. “In memory involved with promoting their professional Spring 2009 art classes at the Academy Art Edwin Cheung Opening reception: Wednesday, Feb. 18, of the brave, daring Korean pioneers, these endeavors,” says Okim. “These artists have Center. The 11-week series of Saturday Oshibana (Pressed Flowers) 5–7 p.m. 11 artists are producing their contemporary been educated in Korea and America, and classes for young people grades K–12 runs I MARCH 21 AND 28, 3 – 6 P.M. s t r A

o Jan. 17 to April 4. Among classes offered TUITION: $75

work through their endless perseverance they have achieved their American dreams y m e

d A Tale of Two Cities, a c are Exploring art for grades K–4; Drawing (SUPPLIES INCLUDED EXCEPT FOR FRAME) A by participating, setting and establishing and relentless effort struggling in the arena u l u l o n

o and Painting for grades 5–12; Cartooning Recent paintings of Tunis H of today’s American art scene.” new directions and trajectories in American Oshibana is the Japanese art of pressed- 9 0 0 2

o and Prague flower arrangement. Students will learn Participating in the show are Nam Cho communities.” t o h P for grades 7–12. Classes are subdivided by how to preserve pressed flowers and use (Seoul, Korea), Y. David Chung (Ann Arbor, In conjunction with the exhibition, three Nam Cho I FEBRUARY 1 8–MARCH 13 (SECOND FLOOR) grade level. Tuition for the series is $145. them in compositions. The arrangements For information and to enroll, call the Honolulu are not limited to framed pictures and can Visiting Korean- Sumita Kim: Self-portrait Yoonchung Kim: Image Academy Art Center at 532-8741. watercolor be incorporated into other items. Instructor American artists in a Limited Palette from Transfer on Ceramics and artist Roger Edwin Cheung carefully selects and picks Photograph Glass Surface Whitlock the flowers from his own garden. Cheung workshops shows his new was born in China and attended the Hong I JAN. 9–11, 10 A.M .–3 P.M. DAILY. I JAN. 9–11, 10 A.M .–3 P.M. works Kong Art Academy. He studied oshibana Komelia Hongja Okim: TUITION: $300 (MATERIALS NOT INCLUDED) TUITION: $300 inspired by under Noboshiro Yamauchi and is a Students will Learn image trips to Prague member of the Hawaii Kai Orchid Society. Pendant and Bracelet s t s r t r A

A f

f o

create a self- transfer tech - y y and Tunis. m m e e I d d JAN. 9 –11 10 A.M .–3 P.M. a a c c A

portrait from a niques on u

Pictured here l Michiko Kasu Kobachi: u l u l u l o o

TUITION: $300 (NOT INCLUDING MATERIALS) n n o o H

photograph in ceramics or H

Blue Door, is 9 Japanese Calligraphy 9 0 0 0 0 2

either oil or glass using the o t

o Sidi bou Saïd . t o I o h MARCH 2 4–29, 10 A.M. – 3 P.M. h P learn techniques acrylic paint. Kim photo P Whitlock has TUITION: $150 such as reticula - teaches painting silkscreen won many awards in Hawaii Watercolor Participants will study basic methods in tion, scoring, as an assistant image transfer Society exhibitions, becoming a signature Exhibitions Japanese calligraphy including kaisho , and tube stone professor at Montgomery College, and laser artist of the organization in 1993. His paint - gyosho and sosho forms. Students will end settings with Rockville, Maryland. She has exhibited in printer decal ings have been selected for mainland shows Honolulu Printmakers the workshop with one finished work. kum-boo. Okim one-person and group shows, including image transfer techniques. For beginning and are included in the collections of many 81st Annual Juried Brushes and paper will be provided. is Professor of Dreams and Reality: Centennial Celebration and advanced levels. Kim is a professor of local corporations, including the Bank of Students should bring ink, blotting cloth Metal Art at of Korean Immigration to America at the fine arts at San Diego City College and has Exhibition Hawaii, and are in the collection of the State and newspaper. Montgomery Smithsonian Institution. participated in more than 150 solo and Foundation on Culture and the Arts. He I FEBRUARY 1 8–MARCH 13 Michiko Kashu Kobachi is a member of College, Rockville, Maryland. She has had group exhibitions in the U.S., Korea, and teaches watercolor painting at the Academy The Honolulu Printmakers Annual Juried the Nitten Calligraphy and Yomiuri exhibitions in Asia, Europe and the U.S. Hong Kong. Art Center. exhibition is one of the state’s biggest print - Calligraphy Association and is a director of Opening reception: Wednesday, Feb. 18, making shows. This year’s juror is Michael Seishitsukai. Her works were selected for 5–7 p.m. Krueger, Associate Professor of Art at the Artists of Hawaii 2006.

16 Calendar News - January/February 2009 17 Education/Museum Learning Center

Tour and Tea New Spotlight Tours for adults I Tuesday, Thursday and Sunday 2:30 p.m. in the galleries Docents bring art to life Academy collection. Have lunch in the All Academy docents have completed a Pavilion Café, and then join the daily two-year training program and continuing Contemporary Kapa Spotlight Tour. Every week brings a new education on new exhibitions. The by Marie McDonald topic, focusing on an area of the collection Academy’s Docent Council has more than Charlene Hughes . . . . Jan. 6, 8, 11 with a different docent each day. Tuesdays 120 members. Face to Face: through Saturdays at 1:30 p.m. Call 532- Docents also lead the Tour and Tea Interactions and Response Jacquelyn Wesolosky . . Jan. 13, 15 s

t 8700 or pick up a flyer at the front desk for r program, a creative thematic tour (see A

f o

y m

e the art topic of the week. Imperial Mughal Albums

d schedule below) and the monthly Book a c A

u l Mary Flynn ...... Jan. 20, 22, 25 u

l The Spotlight Tours join the Academy’s

o Club program that combines a discussion n o H

0 wide range of adult tours that are free with 0 on an art-related novel with a gallery The Floating World of Old Japan 2

o t o

h admission: Myra Kent . . . . . Jan. 27, 29, Feb. 1 P discussion. Book Club meets on the last Joyce Azama gets into the spirit of ancient Greece as I SPECIAL EXHIBITIONS TOUR: Saturday of each month, from 2 to 4 p.m. A Mummy Case for Your Cat she leads a tour in Gallery 1. TUESDAY – SATURDAY, 10:15 A.M. The next two Book Club selections are: and Other Useful Art I WESTERN OR ASIAN COLLECTION TOUR: Karen Thompson . . . . . Feb. 3, 5, 8 I JAN. 31: THE MODIGLIANI SCANDAL he Academy Docents are now offering TUESDA Y–SATURDAY, ALTERNATING DAILY, Spotlight Tours—a new 30-minute BY KEN FOLLETT American Art: From the Pilgrims to Pop 11:30 A.M. Sue Tetmeyer . . . . . Feb. 10, 12, 15 T gallery discussion with a docent that I FEB. 28: THE PAINTER FROM SHANGHAI I JAPANESE LANGUAGE HIGHLIGHTS TOUR: will help visitors get acquainted with the BY JENNIFER CODY EPSTEIN Imperial Mughal Albums WEDNESDAY, FRIDAY AND SATURDAY, 1:30 P.M. Cathy Levinson Feb. 17, 19, 22 The Food Network—Bento Style Take a Tutu Tour or two after the tour just to see the pieces Marilyn Smith Feb. 24, 26, Mar 1 again! Since 2006, the Honolulu Academy of “Jackson was always a creative child. But spending time at the Academy of Arts has Arts has been offering its Tutu Tour, held the opened the floodgates! He now notices second Saturday of every month. Led by a connections to art in his every day world Docent training for docent—with the help of the puppet Tutu and views them in a new light. What was Japanese speakers Anna—children (pre-school to second once a pod is now a stylized sailing canoe. graders) and an accompanying adult get to The Museum Learning Center would The sky is never just blue. When he like to expand its group of Japanese- explore the Academy’s galleries and comments in public about perspective and s t

r speaking docents with a new training A complete an art project. f o

y negative space, you can see the jaws drop. m

e program. Training will begin in late d a

The Education Department recently c A

u “The best part for me is that he is so l u

l January, meeting one day a week for o n received this testimonial from Shannon o H engaged that I can bask in the gallery 9

0 10 weeks. Textbooks and lectures will 0 2

o around me and enjoy a relaxing day amid t o

h be in English and Japanese. Become “Jackson, 7 years old, has been coming P beautiful work, too! (And, yes. I too look Tutu and Jackson Murphy. a part of the prestigious Docent Gallery 31 Art Studio to the Tutu Tours for over two years and forward to trying my hand at the projects in Council while you learn and share looks forward to the next adventure in art Academy members and I attended classes at the art room afterward!) your love of art with others. Visit the Museum Learning Weekly menu: every month! The Tutu Tour is a warm and the Honolulu Academy of Arts. When I Thank you! If you are bilingual, interested in Center’s art studio and get Wednesdays: String art humorous way to draw children into what heard about the Tutu Tours, I thought it was Shannon and Jackson Murphy learning about the Academy creative with the array of art Fridays: Weave away! might otherwise seem like a stodgy and supplies. The studio is free Saturdays: Patchwork the perfect opportunity to introduce collection, and would enjoy intimidating environment. ‘When Tutu tells with museum admission. For Sundays: Academy Atelier Jackson to the Academy that I loved so volunteering as a museum guide for stories about the art, it is exciting and funny. information, call 532-3621. Painting Studio much as a child. I have continued to renew Next Tutu Tours adults, please contact Aaron Padilla, I really like making art afterwards with the my membership because the Tutu Tours January 10 and February 14 Assistant Curator of Education, at special materials!’ Jackson explains. present a fresh view of the academy’s 532-3621. Hours: Sun, Wed, Fri 1-4pm Sat 10am-4pm “When I was a child, my family were exhibits every month. We often visit a week

18 Calendar News - January/February 2009 19 Kama‘aina Christmas

Cake Couture Cheryl and George Hetherington Mary Nurse & Stacy Rogers Cartier Hilton Hawaiian Village Beach Resort & Spa Frank and Christine O’Brien A Hawaiian Tradition Gina Caruso, Curator of Film Hilton Waikoloa Village Paesano Ristorante Italiano he 23 rd annual Kama‘aina Christmas, busy as they bid on artwork, fabulous conservation work. Co-chairs Michael D. and Public Programs Douglas Himmelfarb Theresa Papanikolas, Tthe Academy’s premier fundraiser, was a getaways and fine wines. Then guests Horikawa and Watters O. Martin, Jr., grate - Paul Chesley, National Geographic Society Home Inspections Inc. Curator of European and American Art memorable evening. Eddie Kamae and the danced the night away to the sounds of Ginai fully acknowledge the support and generos - Cedric & Patricia Choi The Honolulu Advertiser Paul Brown Salon Sons of Hawaii played as guests sipped on and the Honolulu Jazz Quartet. ity of all those who helped make this year’s Leonard Chow Michael & Linda Horikawa Edmund Keoki Pestana Grey Goose martinis provided by Sommer Proceeds from the event support the event a success through the purchase of Timothy Y.C. Choy Hotel Renew Michael and Lacey Pfeffer Meyer and Bacardi Brands. Chef Chai general operating budget of the Academy to premium tables, underwriting and dona - Christian Dior Ilori Piper Shale Poleman Co. Chaowasaree’s feast was accompanied by maintain the permanent collection, provide tions, silent auction donations and countless Tony and Jill Clapes Intentcity, Ltd./Hedge Matthews Fund PRADA wines donated by Langtry Estates and art education programs for children and volunteer hours. Estate of Mary Colbert INTO Linda Pregitzer Vineyards. The silent auction kept guests adults, support special exhibitions and fund Georgianna M. Lagoria, Itaki Teppanyaki Ikooki Corp. Price is Right Gameshow Affiliates Corp. The Contemporary Museum Suzanne P. Ivey Refurio Orc Refuquio Samuel and Mary Cooke Estate of Tamako Izuno Ripe for the Taking Corp. Cooke Family Jeanie Chun of Jacqueline de Michel Robyn Buntin of Honolulu Table Purchasers Mr. and Mrs. Sherman Hee Donations/Underwriting Sam and Zoe Cooke-Cummins Lynne Johnson and Randy Moore Romano’s Macaroni Grill (as of November 5, 2008) Alexander & Baldwin/A&B Foundation (as of 11/5/08) Edith Cooke Cummins Mark and Stephanie Johnson Roy’s Restaurants Heidi Snow (two tables) Distinguished Benefactor Mike and Trish O’Neill Juliette M. Cooke The Kahala Hotel & Resort Roy’s Waikiki The Shidler Family Foundation Mr. and Mrs. Larry Johnson Karl and Megumi Essig Catherine Cooke and Les Ihara Kahala Interiors Restaurant Suntory Joan Bellinger Bank of Hawaii Catherine Evans Lloyd Moore Diamond Head Theatre Mr. and Mrs. Ron Kats Alice K. Robinson Robert R. Bean Merry Widows John and Ruth Overton Cecilia and Gene Doo Estate of E. Alison Kay Jean Rolles Doris Duke Foundation for Islamic Art Ivor Kraft Ruth’s Chris Steak House Dr. & Mrs. Philip Wright Dr. Ruth Ono Susan Dorsey and Van Whiteman Mitch Kysar Ms. Patricia Salmon Premier Benefactor First Hawaiian Bank Walter and Diane Dods E&O Trading Co. La Verdiere France Partners, FLP Mr. and Mrs. C. Sharp Catherine Evans Lloyd Moore Mr. and Mrs. Robert A. Levy Lynne Johnson Shawn Eichman, Curator of Asian Art Laurens Laudowicz of Buddhawelt John Stephenson Jim and Lynn Lally Michael and Linda Horikawa Kimi Matar Elite Limousine Service Inc. Laulau Woodworks Sandra Stephenson Henry and Charlotte Clark Swimming Pool Associates, LLC Jim Napier Jodi Endicott Le Bistro Kelly Sueda Entymologists for Street Fermented Mangos Mr. and Mrs. Watters O. Martin, Jr. Entymologists for Street Fermented Mangos Ernest and Letah Lee Suenos Adictivos Y Mas, Inc. Premium Benefactor Josh and Lori Feldman Robyn Buntin of Honolulu Escada LensCrafters at Kahala Mall Swimming Pool Associates, LLC Campbell Family Island Art and Framing Faces by Toni Paul Levitt Maja Thomas and Susan Sayre Batton Ron and Sanne Higgins Philip Samulski Patron Deanna Fee, Marsha Nadalin Salon and Spa Stephen Little Barbara B. Tilley Allison & Keith Gendreau Catering Connection Mr. and Mrs. Robert C. Wo Fendi Russell Lowrey Tori Richard Jean E. Rolles Langtry Estate & Vineyards Scott Fitzel & KC Grennan, Xen Design, Inc. Rochelle Lum Mr. and Mrs. Nobuhide Torii Hustace Friends Friends of Kiiko Nakahara Renoir Robert Fox and Justin Johnson Louis Vuitton Sharon and Thurston Twigg-Smith Dr. and Mrs. James Pierce Nordstrom Silent Auction Donors Mr. and Mrs. S. W. Friedman The Marsha Nadalin Salon and Spa David and Pumehana Wadsworth Wayne Pitluck & Judy Pyle Joseph and Mariko Lyons (as of November 5, 2008) Georg Jensen Mr. and Mrs. Watters O. Martin, Jr. Gulab and Indru Watumull Koga Engineering and Construction, Inc. Foodland Super Market, Limited Grand Wailea Resort Hotel & Spa Mr. and Mrs. Ash Matar Buzz and Kitty Wo Carrie Able Cheryl and George Hetherington Gucci Danny Matsushita, Maitre d’ Hau Tree Lanai, Tracey Lee Wong Anonymous Benefactor $10,000 Fruehling Friends Michael Haig Kaimana Beach Hotel Sharon Kim Venegas Baccarat Samuel & Mary Cooke Kenneth and Shaunagh Robbins Haimoff & Haimoff Creations in Gold Estate of Darren Matthews VIP Trans Christmas Lovers Table Peter and Kimberly Backus Commercial Data Systems Halekulani Corporation Collection of Darren Matthews Nola Yee Linda & Steve Ahlers/ Nelly Baers-Bright OmniTrak Group, Inc. Hapuna Beach Prince Hotel Matthews Foundation for the Yerwol Llessur Hedge Partners, Inc. Ellsworth and Carla Peterson Ameila Ana Bailey Hawaii Food & Wine Paradise/ Psychologically Impaired Yves Saint Laurent Tuscany Table Charitable Foundation Estate of Ruth Ballard Mr. Keola Lloyd Matthews Pipelines MLP Allen and Nobuko Zecha Peng Yu I Ernst & Young Bishop Museum Hawaii International Film Festival Mauna Lani Bay Hotel and Bungalows Zucchero Sugar Fornaciari Mr. and Mrs. Watters O. Martin, Jr. Choi International Blue Moon Builders Inc. Hawaii Opera Theatre Michel’s at the Colony Surf Frank Boas Ruedi Thoeni & David Franklin Bluwater Grill Christopher J. Herrmann Nobu Waikiki Sharon and Thurston Twigg-Smith John Michael & Geri Lambert C. S. Wo & Sons, Ltd. Hermes Greg Northrop

20 Calendar News - January/February 2009 21 Planned Giving Members & Donors

Leave a legacy with a bequest Academy The Chairman’s and Director’s Circles The Honolulu Academy of Arts, Chairman’s Circle ne of the simplest ways to make a planned gift to prepared by your attorney in consultation with your tax Business Council honors donors who make annual leadership gifts the Honolulu Academy of Arts is through a and financial advisors, we would be pleased to discuss of $25,000 or more. Our Director’s Circle honors O bequest in your will or a provision in your living any of the various giving opportunities with you. All We salute leading members donors who make annual gifts of $10,000. trust. Whether you wish to provide general operating donors who have included the Academy in their will or of the Academy Business Council We are deeply grateful to these special Academy friends for their generosity and commitment to the museum. income or to support a specific department or living trust are welcomed as members of the Anna Rice Corporate Leaders $15,000+ program, your bequest expresses your lasting commit- Cooke Society. There are no dues or fees associated ment to the Academy and its mission. A charitable with the Society and benefits include an exclusive Chairman’s Circle $25,000+ 4~-y Burta Atherton Jim & Lynn Lally bequest can also help you meet your financial and annual reception with the Director and recognition in J .. L Cartier FIRST INSUIMNCe r::J)Nt/lUNO,.H-.i_Ll'D.. Richard Mamiya estate-planning goals, since an estate and gift tax chari- the Academy’s annual report. For more information, Bank of Hawaii ...... -fo;ol,,,,_ Robert Bean Joan Bellinger Mike & Trish O’Neill table deduction for the entire amount of the gift can be please contact Karen Sumner, Director of Development, Marc & Lynne Benioff Michael & Susan Pillsbury received. Types of bequests are described below. at 532-8714 or [email protected]. Henry & Charlotte Clark Judith Dion Pyle & ~ PRJ\.DJ\. ""- ARMSTRONG A general bequest is for a stated dollar amount of HERMES A---~ BUILDERS LLC . Flora Atherton Crichton Wayne Pitluck PA RI S Jean Rolles property, usually cash. This is the most Watters & Christy Martin Chuck & Maryanna Barney Ebsworth common type of charitable provision Stockholm Eddie & Peggy Eu and may be particularly suitable if you TORI RICHARD" "; :rhe Honolulu Advertiser Jay & Wallette Shidler wish to establish an endowment or Keith & Allison Gendreau Larry & Joyce Stupski Ruth Goodsill Thurston & Sharon designate a use for which a certain Ron & Sanne Higgins sum is required. Corporate Director’s Circle $10,000+ Twigg-Smith Robert Ho Helga Wall-Apelt A specific bequest con sists of a Ameron Hawaii Island Insurance Sotheby’s Mike & Linda Horikawa Charlie & Jean Wichman particular asset, such as shares of Lynne Johnson & Philip & Anne Wright stock, a piece of real estate, or Corporate Patrons $5,000+ Randy Moore Anonymous (1) artwork. ABC Stores Alert Alarm of Hawaii Director’s Circle $10,000+ A residual bequest is for all or a Bentley Honolulu Christie’s Steve & Linda Ahlers Christopher Haig portion of the “rest, residue, and Club Monaco Design Within Reach E & O Trading Company First Hawaiian Bank Bill & Dawn Aull Sherman & Stephanie Hee remainder” of your estate after all Hawaii Pacific Health Hawaiian Electric Indus., Inc. Peter Bihari & Les Ihara & Cathy Cooke debts, taxes, expenses, and other Wall-to-Wall Studios, Inc. Chris Campbell Clarence & Elsa Lee bequests have been satisfied. It’s a Fred & Diane Blum Michael Leong & good way to provide for the museum Corporate Benefactors $2,500+ Frank Boas Barbara Fischlowitz-Leong

while giving priority to your wishes for Photo © 2009 Honolulu Academy of Arts Brodhead, Warren, Ltd. Commercial Data Systems Victor & Marie Cole John Levas family and friends. Ferraro Choi & Assoc., Ltd. HonBlue Kevin Comcowich & Edmund & Julie Lewis A contingent bequest takes effect Red Circle Style Maile McLaughlin Susan O’Connor only under certain circumstances. Sam & Mary Cooke Alex & Frances Pickens Corporate Guardians $1,000+ Thus, you could provide that if a Walter & Diane Dods Alice Robinson primary beneficiary predeceases you, Aloha Naomi Auto Body C.S. Wo & Sons, Ltd. Gene & Cecilia Doo Abel & Sophia Sheng some or all of the bequest intended for Castle & Cooke Homes Hawaii, Inc. Robert J. Clancey, LTD. Peter Drewliner & Joanna Sullivan Market City Shopping Center Mary Worrall Associates that person would instead go to the Charles Higa Ruedi Thoeni & Min Plastics & Supply, Inc. Office Pavilion Pam Ebsworth David Franklin Academy. Outrigger Enterprises, Inc. Pacific Guardian Center Sandy & Jill Friedman Gulab & Indru Watumull You should be aware that, whether Systemcenter, Inc. Helen Gary David & Henrietta the provision for the Academy is in a Donald & Laura Goo Whitcomb will or living trust, it is revocable. You Corporate Sustainers $500+ Bequests help the Jim & Priscilla Growney Bob & Betty Wo Atalanta/Sosnoff Capital Corp. Crazy Shirts Academy maintain its can change the amount or cancel the Robert & Alice Guild Anonymous (2) collection, such as the provision altogether. Many people like Hilton Hawaiian Village ICAT Logistics, Inc. - HNL modern works on view Laser Eye Center of Hawaii Pacific Gallery & Frames in Gallery 27, top, and this flexibility, especially during times Shelton Corporation R.M. Towill Corporation For more information about joining the Chairman’s or Director’s the many aspects of the of economic uncertainty. Jeff White, C.F.P. Circle, please contact Karen Sumner, Director of Development, at facility, such as tranquil While your estate plan will be 532-8714, [email protected]

22 Calendar News - January/February 2009 23 Honolulu Academy I of Arts A Registered National Historic Place Accredited by the American Association of Museums Lynne Johnson Chairman, Board of Trustees

Stephen Little, Director

Museum hours: Tuesday–Saturday: 10 a.m.–4:30 p.m., Sunday: 1 p.m.–5 p.m. 11 a.m.–5 p.m. Bank of Hawaii Sundays (admission free) Closed Mondays, New Year’s Day, Fourth of July, Thanksgiving, and Christmas.

Telephone: 532-8700 Administration 532-8701 Recorded Information 532-8768 Recorded Theater Programs 532-8724 Membership Services 532-8734 The Pavilion Café 532-8703 The Academy Shop (866) DUKETIX or 532-DUKE Shangri La Reservations

Admission: General $10 Seniors (62+)/Students (12+)/Military $5 Age 12 and under FREE/Academy members FREE Bank of Hawaii Sundays FREE First Wednesday of every month FREE First Sunday of every month FREE for military personnel & families The Academy Shop, The Pavilion Café, and The Robert Allerton Library are always FREE

The Pavilion Café: Open Tuesday–Saturday 11:30 a.m.–1:30 p.m. Reservations 532-8734

Annual Clearance Sale The Academy Shop: Open during museum hours

The Robert Allerton Art Research Library: 30% to 80% off Open Tuesday–Saturday 12:30 –4 p.m. Books, stationery, posters, jewelry, and ethnic clothing Tours: Guided tours: Tuesday–Saturday at 10:15 a.m.,11:30 a.m, Also duplicate and donated books from the 1:30 p.m., and Sunday at 1:15 p.m. Japanese language tours: Robert Allerton Art Research Library and collectibles Wednesday, Friday, and Saturday at 1 p.m. presented by the Academy Guild. Special and group tours are available, and tours for hearing impaired can be arranged. Call 532-8726

The Honolulu Academy of Arts is handicapped accessible. Members’ Preview Day Courtesy wheelchairs and handicapped parking for disabled Friday, Feb. 13, 10:00 a.m. to 4:30 p.m. persons are available on a first-come, first-served basis. Continuing Saturday, Feb. 14, 10:00 a.m. – 4:30 p.m. Academy Parking: Art Center Lot: Monday–Saturday 7:00 a.m.–11:00 p.m. Sunday, Feb. 15, 11:00 a.m. – 5:00 p.m. Sunday 10:00 a.m.–6:00 p.m. (Closed Monday) $3 with validation for every 4 hours. 1035 Kinau Street Lot: Tuesday, Feb. 17, 10:00 a.m. to 4:30 p.m. (Diamond Head of Admiral Thomas) Closed during regular museum hours except for museum staff and volunteers. Open during evening The Art Center at Linekona and weekend hours until 11:00 p.m.

Parking Fees: Most items remaining after Sunday, February 15 $3 for every 4 hours with validation, or will be further reduced on $4 flat rate (evening) without validation or for parking beyond the validation period. Tuesday, February 17 the final day. Parking during member openings is free.

The Art Center and Kinau Street lots are The Academy Shop controlled by Diamond Parking, Inc. www.honoluluacademy.org

Honolulu Academy of Arts NON-PROFIT 900 South Beretania Street ORGANIZATION I Honolulu, Hawaii 96814-1495 U.S. POSTAGE PAID HONOLULU, HAWAII ~ PERMIT NO. 119 Halekulani. Everything for the Arts

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