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CURRENT + UPCOMING PROGRAMS


KOSTA KULUNDZIC

Jelly Beans-E  EXHIBITION

KOSTA KULUNDZIC by Kosta Kulundzic
Nov. 5 – 22, 2017
Commons Gallery

Exhibition Information:
In public view, Kosta Kulundzic will produce a large-scale drawing from start to finish in the Commons Gallery.

Artist Information:
Born in 1972, Kosta Kulundzic is a French artist of Serbian origin. His work, based on biblical texts, focuses on belief and mysticism in contemporary society. He has taught at the École Nationale Supérieure d’Architecture Paris Val-de-Seine and the Université d’Orsay, Paris Sud XI.

Meet the Artist:
Sunday, November 12
3:00–4:00 pm Gallery walk-through
4:00–5:00 pm Freestyle

Gallery hours : M-F 10am-4pm, Sun 12-4pm
Closed: Saturdays; Veterans Day, Nov. 10
Free admission. Donations are appreciated.
Parking fees may apply.

Images:
Apocalypse selon Saint Georges
Current drawing in progress (left); completed drawings (right)

Images courtesy of the artist.


MEL CHIN

Jelly Beans-A  ART  EVENTS  

MEL CHIN, INVITED DAI HO CHUN CHAIR
Nov. 13 – 17, 2017

PUBLIC LECTURE & RECEPTION
Wednesday, November 15th Reception 5:30-6:15.
Wednesday, November 15th Lecture, Trouble in Mind, 6:30-7:30.

Artist Information:
There has always been much trouble in the world, and in a wired world, we are more conscious of the problems than ever before. What are the expectations for art to provide solutions or response? Artist Mel Chin will talk about his art and practice as attempts to provide and provoke greater social awareness of toxic situations found in both politics and the environment.Mel Chin was born in Houston, Texas in 1951. Chin’s art, which is both analytical and poetic, evades easy classification. He is known for the broad range of approaches in his art, including works that require multi-disciplinary, collaborative teamwork and works that conjoin cross-cultural aesthetics with complex ideas.

ABOUT MEL CHIN: Chin’s sculpture practice bridges natural, political, and social ecologies. In 1989, he developed Revival Field, a project that was a pioneer in the field of “green remediation,” the use of plants to remove toxic, heavy metals from the soil. From 1995 to 1998, Chin formed a collective that produced In the Name of the Place, a conceptual public art project conducted on the popular prime-time TV series, Melrose Place. In KNOWMAD, Chin worked with software engineers to create a video game based on rug patterns of nomadic people facing cultural disappearance. His hand-drawn, 24-minute film, 9-11/9-11, won the prestigious Pedro Sienna Award—the “Oscar” of Chile—for best animation in 2007. His ongoing project, Fundred Dollar Bill/Operation Paydirt, focuses national awareness and prevention on childhood lead poisoning. A multi-venue exhibition of Chin’s work will be presented in New York City in the spring of 2018.

Chin was featured on PBS’s ART 21 series and has received numerous awards and grants from organizations such as the National Endowment for the Arts, New York State Council for the Arts, Art Matters, Creative Capital, and the Penny McCall, Pollock/Krasner, Joan Mitchell, Rockefeller and Louis Comfort Tiffany foundations, among others. Chin’s website is www.melchin.org.

Free admission to events. Donations are appreciated.
Parking fees may apply.

These events are made possible by the late Dr. Dai Ho Chun through his estate gift, which established The Dai Ho Chun Distinguished Chair Endowment in the Colleges of Arts & Sciences. Dr. Chun was a distinguished and visionary educator. The colleges of Arts and Humanities and Languages, Linguistics & Literature, the Department of Art and Art History, and UH Office of Sustainability have helped to promote these events.


TINFISH PRESS EXHIBITION

Jelly Beans-E  EXHIBITION

TINFISH AT 22
October 8 – November 3, 2017

About Tinfish Press:
Celebrating 22 years. Tinfish Press was founded in 1995 and publishes experimental poetry (and some prose) from the Pacific. Various works of Tinfish published authors will be on display for guests to flip through.

Free admission to events. Donations are appreciated.
Parking fees may apply.


AMY YAO : VISITING ARTIST + PRESENTATION

Jelly Beans-A  ART  EVENTS  

VISITING ARTIST AMY YAO
October 22 – November 22, 2017

PUBLIC LECTURE
Tuesday, October 31 / 3-4pm
room 101

TRADES A.i.R. is pleased to welcome its inaugural artist Amy Yao. Named by Artnet News as one of the “10 Most Exciting Artists in the United States Today,” Yao will be in residence on O‘ahu from October 22 to November 22, 2017. “Yao’s work spans virtually all mediums: painting, sculpture, photography, performance. But it’s her objects… that offer a through-line in their crooked anthropomorphic qualities, suggesting serious jokes about contemporary life.” (Kevin McGarry, T Magazine; August 19, 2014). A

Amy Yao (b. 1977) lives and works in Los Angeles and New York City. She received her MFA in Sculpture in 2007 from Yale University School of Art, and BFA with Honors in 1999 from Art Center College of Design. She has taught at Princeton University and is currently a visiting artist in the Cal State University Long Beach Ceramics program. Her most recent solo exhibition “Weeds of Indifference”, at 47 Canal Gallery in New York City opened in September and was named a “critic’s pick” by Art Forum. She has exhibited internationally, including at The Whitney Museum of American Art; MoMa P.S.1; Musée d’Art moderne de la Ville de Paris; and He Xiang Art Museum in Shenzhen, China.

TRADES A.i.R. program seeks to address the underrepresentation of contemporary art in the Hawaiian Islands by providing maximum community access and fostering arts appreciation locally. At the core of our mission is a Visiting Artist in Residence Program. TRADES aims to fund travel, lodging and studio space for selected national and international visiting artists. Committed to outreach, we are partnered with the Honolulu Museum of Art and the Department of Art and Art History at the University of Hawai‘i Mānoa. TRADES creates a round-trip circuit for contemporary art in the islands, with the introduction of offshore techniques and the exportation of local perspectives. TRADES was founded by Don Felix Cervantes and Aaron Wong in January 2016. A sponsored project of Fractured Atlas, our intended reach is to all Hawaiian Islands and to visiting artists worldwide.


WHORL / SITE-SPECIFIC INSTALLATION BY JACQUELINE RUSH LEE

jrl

Jelly Beans-E  EXHIBITION

WHORL
September 6, 2016 – September 6, 2017 (extended through 2018)
A site-specific installation by Jacqueline Rush Lee.
The artist will create a new work amidst the bamboo grove near our art galleries. The work is loosely based on her recent series Elemental whereupon she inserts books into tree branches and stumps. After initial installation, Whorl will work in collaboration with nature over the period of one year.
Read more


2017 MFA THESIS EXHIBITIONS

Jelly Beans-E  EXHIBITION

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

SPECIAL EVENTS:
All events are free and open to the public.

Sunday, March 5, 2017
2:00 – 3:00 p.m. Gallery walk-throughs
2:00 p.m. Jan Dickey
2:20 p.m. Hannah Day
2:40 p.m. Kelly Ciurej
3:00 – 5:00 p.m. Opening reception + music by The Drowning Dreamers Band

Friday, March 17, 2017
1:00 p.m. Hannah Day, Thesis defense

Friday, March 24, 2017
1:00 p.m. Kelly Ciurej, Thesis defense

Friday, April 7, 2017
1:00 p.m. Jan Dickey, Thesis defense

The graduate program at the Department of Art + Art History, University of Hawai‘i at Mānoa is a comprehensive and diverse center for the graduate study of the visual arts and Asian and Pacific art history. The exciting thesis exhibitions are part of a demanding course of study, production, and review. MFA candidates concurrently present new and engaging works that demonstrate each artist’s caliber of ideas, skills, awareness of the global context within which art is created and circulated, and critically engaged artistic practice.

The artists, the titles of their exhibitions, and their areas of specialization are:

Kelly Ciurej, Artificial Sweetener, (photography)
Hannah Day, The Grove, (printmaking)
Jan Dickey, cover the earth, (painting)

EXHIBITION SUMMARIES + ARTIST STATEMENTS:

Kelly Ciurej presents Artificial Sweetener, an installation of digital prints

Artificial Sweetener is an exhibition that explores psychological “stickiness.” With this project Ciurej explores the misrepresentation of images as truth. The installation consists of approximately fifteen photographs at larger than life scale, in a combination of found family photographs, recipes, and staged performative studio photographs using sticky material such as sugars, food dyes, candies, pastries, processed foods, etc.

Artificial Sweetener is both an exhibition and an exploration of psychological “stickiness.” In these photographs, I exploit food materials that are largely glutinous—candies, pastries, and sugary treats—to study certain spaces of the mind that are internalized from familial experiences. The substances I manipulate are often heavy, sweet, sugar-based confections, widely used in processed foods as well as within the household setting for baked goods. They express both excess and absence, as these particular substances are the epitome of “junk foods,” high in additives and artificial sweeteners, but provide no value to the human body, often even causing it palpable harm. This material serves as a stand-in for an inescapable, smothering stickiness of the emotional spaces I am investigating through photography. The Artificial Sweetener installation is a way to visually explore and re-contextualize the shifting systems that are present within a nuclear family—to question an assumed knowledge of the past and the invented realities we often create for ourselves and for others.

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

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.

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.

Jan Dickey presents cover the earth, an installation of paintings

The exhibition cover the earth focuses on two forms of painting: covering wall panels and painting on canvas. This installation of panels and canvases can be considered in sections or as one single painting. In either case, they are fragments of the great Painthing that covers the earth.

Paint never forms an everlasting impregnable lamination. People have gone to great lengths to design paints that will permanently bind earthly things into artificial spaces and aesthetic objects. Yet painted surfaces still eventually crack, flake, and discolor. The earth gets back in.

To better explore paint delamination and discoloration, I use pre-industrial painting materials like milk, eggs, animal glue, roots, and dirt. These materials take me deeper into the history of painting and closer to an understanding of paints as earthly substances.

The exhibition cover the earth emerges out of a love for watching entropy tug at the framed-off things people presume to be stable spaces and objects. As a painting project occurring in a gallery space, cover the earth specifically investigates the frame—the artificial edges—of personal-sized canvases and standard wall panels. With this exhibition, I have tried to make a place for those categories to erode into one another, to fade into whiteness, and slowly crack apart.

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.

SPONSORS: University of Hawai‘i at Mānoa’s Department of Art + Art History and College of Arts + Humanities; and supported by Waikiki Parc Hotel – Hospitality Sponsor for the Arts at UH Mānoa; Student Activity and Program Fee Board, UHM; and anonymous donors.

 

KELLY CIUREJ

k_ciurejportrait600x600

Jelly Beans-E  EXHIBITION

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

Kelly Ciurej presents Artificial Sweetener, an installation of photographs

Artificial Sweetener is an exhibition that explores psychological “stickiness.” With this project I am exploring the misrepresentation of images as truth. The installation consists of approximately fifteen photographs at larger than life scale, in a combination of found family photographs, recipes, and staged performative studio photographs using sticky material such as sugars, food dyes, candies, pastries, processed foods, etc.

Artist’s Statement:
The Artificial Sweetener project first emerged in December of 2015 when I went back to my childhood home in Chicago and stumbled across many of my mother’s recipes as well as several boxes of family photographs, consisting of about thirty years of documentation of my family members’ lives. The conceptual basis of the work is an investigation of the ways in which photographs distort actual memories and instead create performed, invented realities. Artificial Sweetener examines specific relationships within the nuclear family and the incongruence between memory and photographic record. Using food materials, which are largely gluttonous—candies, pastries, and sugary treats—as subject I am exploring the stickiness of certain psychological spaces that are internalized from familial experiences. The substances I use are often heavy, sweet, sugar-based confections. They are artificial and/or “instant” ingredients, widely used in processed foods as well as within the household setting for baked goods. They express both excess and absence, as these particular substances are the epitome of “junk foods,” high in additives and artificial sweeteners, but providing no value to the human body, oftentimes even causing it palpable harm. This material serves as a stand in for an inescapable, smothering stickiness of the psychological and emotional spaces I am exploring.

more on Kelly Ciurej

couplewithgum600x600

Images:
Kelly Ciurej
Fat Tuesday, 2016
archival inkjet print

Kelly Ciurej
American Club, 1994, 2016
archival inkjet print


HANNAH DAY

figureandtreesimg_5244_600x600

Jelly Beans-E  EXHIBITION

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

papercutelementsinprgs_hannahday600x600

Images:
Hannah Day
(work in progress)

Hannah Day
Paper cut elements (work in progress)


JAN DICKEY

painting5_600x600

Jelly Beans-E  EXHIBITION

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.

painting15_600x600

more on Jan Dickey

Images:
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

Jelly Beans-E  EXHIBITION

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

ARTIST CONVERSATIONS + DUAL OPENING:
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 | hamilton.faris@hawaii.edu

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



EXHIBITIONS + EVENTS

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    ART Building / 2535 McCarthy Mall
    Honolulu, Hawai'i 96822

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    closed holidays

JOHN YOUNG MUSEUM OF ART

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    2500 Dole Street
    Honolulu, Hawai'i 96822

Email:  gallery@hawaii.edu
Phone: 808.956.6888

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