Skip to Content




On view as a part of 2017 MFA THESIS EXHIBITIONS at

The Art Gallery at the University of Hawai‘i at Mānoa
March 5 – April 7, 2017

Hannah Day presents The Grove, an installation of drawings and prints

These works in graphite and intaglio explore the uncertainty and perceived futility that consumes the life of the figure, a character explored through undefined narratives constructed primarily with repetitious imagery. A woman wearing a cage over her head like a helmet, wanders the world of her subconscious, seemingly alone. At moments she is joined by a second figure, at others, she is isolated in a dense thicket of trees. A series of graphite drawings appear ghostly on the page, smooth and seamless impressions of unassuming portraits. In contrast, installations assembled of cut elements from line etchings are pieced together with the texture of a puzzle being put together with the wrong pieces.

Artist Statement:
Picturing one’s mental space as a literal terrain to be traversed and explored, The Grove puts on display the mental wanderings of one individual. A female figure is shown traipsing about the locales that compose her inner landscape, a space made up of densely wooded areas and pockets of stark nothingness. In her travels she finds things hidden amongst the trees that continually dissolve her trust in the line between real and imagined. Subject matter is rendered with a minimal value range, highlighting the work’s consideration of the ephemerality of her psychology and the instability of her understanding of her self and all that exists around her.

more on Hannah Day


Hannah Day
(work in progress)

Hannah Day
Paper cut elements (work in progress)




On view as a part of 2017 MFA THESIS EXHIBITIONS at

The Art Gallery at the University of Hawai‘i at Mānoa
March 5 – April 7, 2017

Jan Dickey presents cover the earth, an installation of paintings

cover the earth focuses on two forms of painting: covering walls with white house paint, i.e. “whitewashing,” and laminating the surface of textiles that are stretched over wooden frames, i.e. “paintings on canvas” or “easel paintings.”

Artist’s Statement:
This is the kind of research I do. I look for affective responses that occur according to the cracks and flows of natural tempera paint (milk and eggs), as well as in the seepage of soil, rust, rabbit skin glue, and madder root. I am always stretching, un-stretching, and re-stretching canvas over wooden frames. Sometimes the back becomes the front. I staple the canvas directly to wall and remove it. Sometimes the wall becomes a painting. I get closer and closer to my materials and their smells become more familiar: the stench of milk curd, the hot choking steam from the madder root, the congealing animal fat, etc. Nothing is revealed. There are irrational fleeting moments of closeness to paint, and painting. My objects are the result of this fugitive searching, an the unending labor of pulling things together and looking at them, holding them gently in place, as they discolor and come apart.


more on Jan Dickey

Jan Dickey
cover the earth (painting5), 2016
milk paint, egg tempera, rabbit skin glue, rust, madder root, and soil on cotton canvas, over wooden frame
27″ x 19″ x 2″

Jan Dickey
cover the earth (painting15), 2016
milk paint, egg tempera, rabbit skin glue, madder root, and soil on cotton canvas, over wooden frame
19.75″ x 17″ x 4″



DIAMOND HEAD by Drew Broderick with Gan Uyeda
March 13 – April 7, 2017
Commons Gallery

Sunday, March 19 / 1:00-4:00pm @ Commons Gallery + John Young Museum of Art
Dual opening Diamond Head by Drew Broderick with Gan Uyeda at Commons Gallery + Ula Leo by ‘Imaikalani Kalahele and Cory Taum at John Young Museum of Art.
1:30–2:00 Artist conversations with ‘Imaikalani Kalahele and Cory Taum at John Young Museum of Art
2:30–3:00 Artist conversation with Drew Broderick at the Commons Gallery

Exhibition Information:

Located in the ahupuaʻa of Waikīkī on the southern shore of the island of Oʻahu, Diamond Head crater has been utilized for various social, political, and cultural purposes throughout the islands’ history. A short layover for Tūtū Pele on her mythic journey across the Hawaiian archipelago in search of a suitable home, Diamond Head is said to have been her Oʻahu abode. In the late 18th century, after his successful conquest of Oʻahu, the Maui chief Kahekili is often credited with the construction of Papaʻenaʻena heiau (a Hawaiian temple dedicated to surfing), one of several heiau located on the crater’s slopes. Following the unification of the Hawaiian Islands by Hawaii chief Kamehameha I, American business interests pushed for the spread of the United States into the Pacific. In order to make way for new developments in the mid 19th century, the stones that once formed the sacred grounds of Papaʻenaʻena were crushed to pave the streets of an increasingly expanding Waikīkī. After the illegal annexation of the kingdom of Hawaii at the end of the 19th century, Diamond Head was purchased by the US Government as the soon-to-be home of Fort Ruger, the Territory of Hawaii’s first military reservation. Established in 1906, Fort Ruger was a strategically important installation for the US military in the early 20th century.

Diamond Head has since served an almost exclusively commercial function. Aside from the multi-million dollar properties sprinkled along its slopes, the crater itself is a physical background to any iconic image of Waikīkī, and as such has become the stock logo of a booming international tourism industry that now hosts millions of visitors a year. Diamond Head, an exhibition of new work by Drew Broderick with Gan Uyeda, considers the role that Diamond Head, or more specifically its silhouette, has played in the branding, marketing, and consumption of Hawaiʻi by locals and tourists alike. Whether it’s a free pamphlet at the visitor information counter, a $5.99 postcard on the streets of Waikīkī, or a $24.99 novelty t-shirt online, it is certain that iconicity comes at a price. Diamond Head’s transformation from a geological feature of Oʻahu into a mass-produced symbol of Paradise is deserving of continual examination.

Artist Information:

Drew Broderick is an artist and cultural producer living and working between Honolulu, Hawaii and Los Angeles, California. He is the founder and director of SPF Projects — an arts effort dedicated to building capacity for contemporary art and dialogue in Hawaiʻi. He is also a contributing member of Honolulu-based collective PARADISE COVE. Broderick received a BA from Wesleyan University in Middletown, CT.

Gan Uyeda is a curator and writer based in Chicago. He serves as Associate Director at Richard Gray Gallery and organizes exhibitions with the curatorial collective Third Object. His writing has appeared in Frieze, Artslant, and ArtCritical, and he holds dual MAs in Art History and Arts Administration from the School of the Art Institute of Chicago (SAIC).

This exhibition and its related events are part of UHM ART: CRITICAL GEOGRAPHY IN HAWAI‘I SERIES that highlights local and international artists who address social-cultural concerns associated with space, place, and environment in O‘ahu. Programs consider diverse approaches by artists including mapping and map-making and visual story-telling.

Gallery hours + admission:
Mon. – Fri. 10:00 a.m. – 4:00 p.m.
Sun. 12:00 – 4:00 p.m.
Closed Saturdays, Prince Kūhiō Day, Mar. 27.
By appointment: Spring Break, Mar. 28 – 31.
Free admission. Donations are appreciated.
Parking fees may apply.

This event is made possible by the Student Activity Program Fee Board, UHM.

Contact: Jaimey Hamilton Faris |

Landmark Looking at Itself in a Mirror
vintage postcard
Collection of the artist.




Readymade Place
January 9 – 27, 2017
Commons Gallery

Jan Dickey and Nisha Pinjani, graduate art students at the Department of Art + Art History, have organized an exhibition entitled Readymade Place. Contributions to this exhibition were made by Atis Puampai, Baixin Chen, Kainoa Gruspe, Sheanae Tam, Brad Taylor, Nick Hunsinger, Charles Cohan, Gaye Chan, and Gideon Gerlt.

Readymade Place Statement:

Dickey and Pinjani are currently pursuing MFA degrees in painting and in printmaking respectively at the Department of Art + Art History, UHM.

Gallery Hours / M-F 10 am – 4 pm; Sun. 12 – 4 pm
Closed Sat.
Admission to exhibition is free. Parking fees may apply.




The exhibition IMAYŌ: JAPAN’S NEW TRADITIONISTS shows that the past is alive and with us. Animé, manga, and pop culture, along with Japan’s rich art and craft traditions provide a focus for this exhibition of contemporary art. Six artists utilize their innovations and technical mastery to propel those traditions toward new directions in the twenty-first century. Unique works are presented at two venues.

October 2 – December 2, 2016
The Art Gallery at the University of Hawai‘i at Mānoa

October 13, 2016 – January 8, 2017
Honolulu Museum of Art

Additional Exhibition-Related Program!

The exhibition examines the inspirational power of historical Japanese art and craft traditions in the work of six contemporary artists, all of whom utilize their expertise in the history and technical mastery of Japan’s rich pre-twentieth century art and craft traditions. Their artworks demonstrate how cultural heritage can inspire transformational and innovative thinking, with the potential to renew and reinvigorate the familiar and the conventional. The exhibition both honors and transcends the confines of “tradition,” reflecting and commenting upon Japan’s own complex relationship with the past. This approach is ironically referenced in the exhibition title word Imayō, a Japanese term of ancient origin that means “in the contemporary style.” After its presentation in Honolulu, Imayō will travel to The Shoto Museum Museum of Art (Shōtō Bijutsukan) in Tokyo. Additional venues are under consideration.


CURATOR John Szostak

Additional Exhibition-Related Program!

UHM Department of Art + Art History; UHM College of Arts + Humanities; Honolulu Museum of Art; The Cooke Foundation; Hawai‘i Council for the Humanities; Japan Foundation; UHM Center for Japanese Studies; UHM Japan Studies Endowment; UHM SEED Initiative for Diversity, Equity, Access and Success; UHM Student Activity and Program Fee Board; Waikiki Parc Hotel; GalleryHNL; and anonymous donors.



Glass sale image fixed460_460

Jelly Beans-A  ART  EVENTS  


December 1 – 5, 2016 / Commons Gallery

The annual Glass + Ceramic Holiday Sale features great holiday gifts! Check off your gift list and support the art students and the Department of Art + Art History.

December 1:
4 – 6 pm

December 2 – 5:
10 am – 4 pm

Directions + where to park
Parking fees may apply.

For more information contact Professor Rick Mills at or 808-956-5258


photo credit: Sipke Visser



Round Table Discussion “Tradition: What’s the Use?”
Wednesday, November 30 / 3:30 – 5:00 pm
Honolulu Museum of Art, Doris Duke Theater
with Jaimey Hamilton-Faris, professor of Critical Theory and Contemporary Art, UHM; Yamamoto Tarō, painter and professor of Fine Arts, Akita University of Art. (a part of concurrent exhibition IMAYŌ)

Public Lecture
Thursday, December 1 / 3:00-4:15 pm
Room 101, ART Building
book sale + signing to follow lecture
(Books will be available for sale from the UH Bookstore)

“Production Values: Narratives of Making in Contemporary Art”
Today’s artists have an unprecedented level of choice with regard to materials and methods available to them, yet the processes involved in making artworks are rarely addressed in books or exhibitions on art.

In this lecture, preeminent craft theorist and historian Glenn Adamson will draw from his new book Art in the Making (co-authored with Julia Bryan-Wilson). He will share stories from contemporary art, which collectively demonstrate that the materials and methods used to make artworks hold the key to artists’ motivations, their attitudes to authorship, uniqueness and the value of objects, the economic and social contexts from which they emerge, and their approach to the perceived opposition between materiality and conceptualism in art.

Glenn Adamson is a curator and theorist who works across the fields of design, craft and contemporary art. He was until March 2016 the Director of the Museum of Arts and Design, New York. He has previously been Head of Research at the V&A (Victoria and Albert Museum – UK), and Curator at the Chipstone Foundation in Milwaukee. His publications include Art in the Making (2016, co-authored with Julia Bryan Wilson); Invention of Craft (2013); Postmodernism: Style and Subversion (2011); The Craft Reader (2010); and Thinking Through Craft (2007).

Recommended Readings:
• Introduction + Chapter 6 [Cashing In] from Art in the Making: Artists and their Materials from the Studio to Crowdsourcing 2016 (by Glenn Adamson and Julia Bryan-Wilson)

co-sponsored by Mark and Carolyn Blackburn





Friday, October 14 / 5:30–7:00 pm / UHM Art Auditorium

The Past as Future in Japanese Contemporary Art
Drawing on his experience as a curator of exhibitions of traditional Japanese art at The Metropolitan Museum of Art, John Carpenter will comment on the works of various contemporary artists, both Japan-born and Western, who incorporate images or concepts from premodern East Asian art. Sometimes, as in the work of Yamaguchi Akira, Hisashi Tenmyouya, as well as the artists featured in Imayō: Japan’s New Traditionists, the citation process is intentional and conspicuous though the artist’s motives are by no means reverential. References to the past in the dazzlingly complex drawings of Manabu Ikeda draw on a collectively shared set of imagery, such as Hokusai’s Great Wave, that for the artist seems to be the foundation for an ecologically aware, forward looking or even prophetic world view.

JOHN CARPENTER is a Mary Griggs Burke Curator of Japanese Art at the Metropolitan Museum of Art, where he has worked since the summer of 2011. From 1999 to 2009 he taught the history of Japanese art at the School of Oriental and African Studies (SOAS), University of London, and served as Head of the London Office of the Sainsbury Institute for the Study of Japanese Arts and Cultures. He has also taught courses at the University of Heidelberg. From 2009 to 2011 he was Visiting Professor at the University of Tokyo. He has published widely on Japanese art, especially in the areas of calligraphy, painting, and woodblock prints. Among his recent publications is a catalogue of an exhibition at the Metropolitan Museum, Designing Nature: The Rinpa Aesthetic in Japanese Art (2012).

Carpenter’s lecture is a part of exhibition IMAYO. [ For more information ]






    directions + where to park
    ART Building / 2535 McCarthy Mall
    Honolulu, Hawai'i 96822

    Fall + Spring Semester Hours
    M-F 10am - 4pm, Su 12 - 4pm
    closed holidays


    directions + where to park + hours
    2500 Dole Street
    Honolulu, Hawai'i 96822

Phone: 808.956.6888