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The Honolulu Advertiser
Posted on: Sunday, June 22, 2003

Colors of Hawai'i return to long-running exhibit

By Victoria Gail-White
Advertiser Art Critic

 •  Artists of Hawai'i 2003

Through July 27

10 a.m.-4:30 p.m., Tuesdays through Saturdays

1-5 p.m. Sundays

Henry R. Luce Gallery

Honolulu Academy of Arts

532-8701

Hawai'i is our home. The work made by artists here reflects the vibrant colors that we live with every day. It is a good feeling to "come home" to an exhibit juried by someone who understands, perhaps unlike jurors from the Mainland, that the colors in our artworks are not garish exaggerations. If the quality of a jurored show is determined by the quality of the works submitted, it is also determined by the juror's sensibilities. And this year's Artists of Hawai'i exhibit is scrumptious on both counts.

The color is back. And no sign is posted at the gallery entrance (as in last year's exhibit) warning us to view the artworks at our own discretion. What a relief.

"This is an act of sheer bravado and perhaps stupidity that this year I am the juror, because I have no intention to leave town," said George Ellis during his May 11 juror's talk at the art museum's Doris Duke Theater. Recently retired after 21 years as director of the Honolulu Academy of Arts, he noted that the Artists of Hawaii show is the oldest (this is the 53rd exhibition), longest-running, all-media juried exhibition in the Islands. His talk recapped a history of how art exhibitions emerged from the service of ruling political bodies and into the hands of artists, who have always challenged the status quo. He offered amazing statistics as well as tips for artists. An exchange of ideas followed, peppered with Ellis' wit.

In 1978, the exhibit for the first time included a special Invited Artists section to recognize established artists. This year, four master printmakers have been recognized: Allyn Bromley, Laura Ruby, Laura Smith and Dodie Warren. This seems fitting because The Honolulu Printmakers organization is celebrating its 75th anniversary.

Bromley's three large screen prints (with added oil, pastel and graphite) on paper — "Dead Man Sleeping," "Mother With Cancer" and "Predilection" — deal with a more personal and figurative expression than in the past. "I used to respond to the external beauty of the Hawaiian landscape," writes Bromley in her artist's statement. "Now I'm interested in a simple examination of my own personal observations of self and others, and how they fit within my world view."

Ruby's "Na Ki'i" grouping of seven screen prints is part of her "Diamond Head Series." In it, Hawaiian artifacts and contemporary images merge to convey her objective of addressing the removal of public artifacts from public view for culturally political reasons. "Part of my intention in the 'Na Ki'i' works is to help restore these important cultural artifacts to public appreciation," she writes.

Smith continues to work on figurative issues in her storylike, mixed-media woodcut prints. The accordion-book structure of "A Story of Envy" and "A Story of Lust" further substantiate her tales of deadly sins.

"Sometimes the figures are only present in fragments or with artifacts or clothes," she writes. "But the subject matter of people and the narratives that they suggest is important to me."

Warren's selection of mezzotints and photogravure prints exemplify the magical qualities of light in an otherwise dark world. "First Light" (mezzotint) is a perfect example; it glows. "Hopefully one can see the imagery of my work evolving over the years as the expression of my art has matured," she writes.

The first Artists of Hawaii exhibit (1950) featured 77 artists with 118 works. The all-time lowest count took place in 1978, with only 15 artists and 17 works selected by the juror that year. At his talk, Ellis commented on that juror's "arrogant behavior and attitude."

"It is, at its best, a showcase for established artists," Ellis says, "along with the work of new and emerging artists who will, at a later date, become the artists that you will all admire and recognize."

Artwork is submitted for a preliminary selection process by slide. This year, Ellis viewed 2,400 slides representing 967 works submitted by 400 artists.

"Some of the worst photographers in the world live in this state," he commented. "Some slides were so bad I couldn't even give the artist the benefit of the doubt because I didn't know what to doubt." Bad framing was another point of contention.

However, he said, "those artists who did not get into the AOH should not be despondent or move to the Mainland in desperation. A lot of factors determine whether you get in. One of them is the juror's special preference of one kind or another. If you don't get in five years in a row, then I would begin to wonder whether I was being told something or not."

Finally, out of 165 entries selected for the final jurying process (from the actual artworks rather than from slides), Ellis finally chose 91 works by 91 artists.

The quality of the show is determined by what is submitted, Ellis said. Also, the number of entries is limited to 125 artworks.

"A work of art is meant to be seen and enjoyed with your eyes as well as your heart," said Ellis. "I want to see a work that has mana, a work that has soul. I want to see a work that speaks to me but I want them to do it in a wonderful, visual way." He is also a big fan of originality.

"Today, no single style, approach or direction dominates the art world," says Ellis, "and all AOH shows in recent years are reflections of this. We are all at least now artistic agnostics and, at the extreme, artistic atheists cast adrift, each to follow our art muses."

The following artists reaped Recognition Awards with cash stipends (something that always adds excitement to the show):

The Baciu Visual Arts Award: Franco Salmoiraghi for "Pa'ia Sugar Plantation" (2002) — a toned gelatin-silver print with ash, grease, iron rust, dirt and thumbtack (in three sheets).

The Honolulu Academy of Arts Director's Choice Award: Sally French for "Ballso Talks Bubble-speak (panel 3 of Beehop)" (2002) — an oil, alkyd, prismacolor, pastel with gnats on panel.

The Melusine Award for Painting: Jianjie Ji for "Virtual Screen" (2002) — oil, mixed media, found objects on plywood and Plexiglas.

The Roselle Davenport Award for Artistic Excellence: Renee Iijima "A Dream of Karma" (2003) — Xerox, wax, ink, color pencil and antique frame.

The Cynthia Eyre Award: Jeffrey Kurosaki "I Miss Our Every Yesterdays" (2002) — mixed-media installation with clay, firing posts and concrete tiles.

The Jean Charlot Foundation Award for Excellence: Gaye Chan for "Whim" (2002) — bones and found handkerchief; burned diptych. (Encouragement tip: this piece was rejected by other jurors.)

The Reuben Tam Award for Painting: Cory Morgenstein for "Self Portrait" (2002) — oil on canvas.

The Alfred Preis Memorial Award for the Visual Arts: Vanessa Boer for "Gutter Songs" (2002) — mixed-media installation with wooden gutter, layer piano scrolls and acrylic paint. (Read the lyrics from the bottom up.)

Other memorable works are: the comical sculptures of Frank Sheriff "Buddha's Bus" and Felix Kang "Suicide Bomber"; the ceramics of Kenny Kicklighter, "The Echo of Line and Space," and Clayton Amemiya "Wet and Dry Sides"; the paintings and drawings of Pamela Andelin, Kandi Everett, Lynda Hess, Linda Kane, Pat Walker, Yida Wang and George Woollard; the photographs of Wayne Levin and Jin-A Kang; and the textiles of Jay Wilson, Sandra Clark and the previously discussed quilt, "The Therapist" by Charlene Hughes (see review for the Abilities 2003 exhibit, published May 25). Hughes has entered the exhibit competition for 12 years; this is the first time she has been accepted. (Encouragement tip No. 2: Never give up, even after five rejections.)