Ewa
Gallery, Second Floor
November 3, 2002 - September 29,
2012
Rediscovering
Our Hawaiian Heritage
The culture of Hawaii’s indigenous
people, the Hawaiians, changed with the
arrival of European and American
explorers and settlers in the late 18th
century. During the 19th and 20th
centuries most forms of artistic
endeavor were presented from a Western
point of view. More recently, with the
renewal of a Hawaiian identity and the
desire for self-determination, artists
have looked for inspiration to the rich
cultural traditions and heritage of the
Hawaiians.
From left to right: Two
Sisters of Old Hawaii by Madge Tennent, Mango
by Robert W. Butts, Kalaunu
O Liliuokalani by Josephine Hanakahi
From left to right
(background): Wallele A Hinaby
Pam Barton, He Mā‘onaby Rocky Jensen,
Kukuna
by Kauka de Silva, Ka Pe‘ahi IV
by Sean Browne, Hauloli‘i
by Carl Pao, Ulupōby Meleanna
Meyer, Koa Bowl
by Daniel De Luz, Frances
Pickens, Jean Charlot. Foreground:
Josephine Hanakahi, Robert W. Butts
Artists and Social Consciousness
Throughout history certain
artists used the emotive nature of art
to give voice to social issues.
Concern for the environment, the
quality of life in Hawai‘i, and
sovereignty has prompted the emergence
of an ideological consciousness in the
work of some artists. Through a
respect for the discovery and
development of this expression we come
to understand ourselves, others, and
the world we share.
From left to
right: Stepping
Wind by Fred Roster, Moanalua Orange
by Ron Kowalke, Name UnknownPōhaku, ‘Ewa
by
Joseph Singer, A Bombing
Target by David Ulrich, Akaku‘u
‘ole ka makanikūhonua
by
Piliāmo‘o
(Kapulani Landgraf and Mark Hamasaki)
From left to right: Pakala
Heiau and ‘Apuakehau
Heiau by Kapulani
Landgraf, The Eye
of the Storm by Fred
Roster, Lele on
Pu‘u Moa‘ula and Military
Helicopter, Kaho‘olawe by
Franco Salmoiraghi, Ground Cover
by Karen Kosasa and Stan Tomita
Discovering
Our Asian Roots
The rise of an Asian ethnic
consciousness following World War II
introduced new concepts and new
approaches to the arts in Hawai‘i. The
children and grandchildren of
immigrants from Asia, no longer bound
to the labor of the plantations,
changed the economic, political, and
cultural life of Hawai‘i. Although
artists, many of Asian ancestry,
worked predominantly in the Western
aesthetic, they looked to cultural
traditions that give a regional
sensibility to the art of the last
half of the 20th century.
From left to right: Far the
Stillness by Tetsuo Ochikubo, Garden
Piece by Toshiko Takaezu, Composition
1995 by Tadashi Sato
Clockwise from
left: To-Tan
by Glenn Yamanoha, Copper Cutouts
#1 by Satoru Abe, Shadow Play
by Ben Norris, Paper
Wings by Randy Hokushin, Radiance by
Hideo Okino, Zin-Kibaru
by Carl Fieber, Kimono Quilt by
Levina Gerrisen, Palaka by
Alice Kagawa Parrott, Forms from "The
Four Sleeper" by Mokuan Reien by
Wayne Miyata
Clockwise from
left: A Drop of
Dew, A Drop of Ocean by Renee
Iijima, Crossing
by Michael Tom, Interface
Series: Cross the Line by
Dean Oshiro, East and West
by Satoru Abe, Far the
Stillness by Tetsuo Ochikubo, Waterscreen
by Brian Isobe, . . . And
by Joan Gima, Forms from "The
Four Sleepers" by Mokuan Reien
by Wayne Miyata, Round, Round
by Sally Fletcher-Murchison, Dragonland
by Betty Tseng Yu Ho Ecke Gallery
photographs by Paul Kodama
Hawai‘i State Foundation on Culture and the Arts
| 250 South Hotel Street, 2nd Floor, Honolulu, Hawai‘i
96813 | Telephone: (808) 586-0300 |
Fax: (808) 586-0308
