Category: Events (page 10)

AN EXHIBITION OF PRINTS AND WORKS ON PAPER BY JENNY SANZARO-NISHIMURA

Jenny Banner

Jelly Beans-E  EXHIBITION

AN EXHIBITION OF PRINTS AND WORKS ON PAPER BY JENNY SANZARO-NISHIMURA
(exhibited concurrently with SELECTIONS FROM THE COLLECTION OF ARM AND ROLLER PRESS)
February 28 - April 8, 2016
The Art Gallery at the University of Hawai‘i at Mānoa

EVENTS
free and open to the public

Sunday, February 28 / The Art Gallery
2:00–2:30 p.m. Gallery walk-through with Jenny Sanzaro-Nishimura
2:30–3:00 p.m. Gallery walk-through with Charles Cohan, co-curator, Selections from the Collection of Arm and Roller Press
3:00-5:00 p.m. Reception

This exhibition of works by Jenny Sanzaro-Nishimura is a tribute to the people and cultures of Asia and the Pacific Islands. It also includes works from a collaboration with Glennys Briggs titled Genocidal Tendencies.

 

These works reflect my long held infatuation with other cultures, especially Asia and the Pacific Islands—the art, the food, the languages and their beliefs. From early in my printmaking practice I began incorporating symbols, characters and artifacts from Asia and Egypt into my works and I continue to use them to this day. Living on the largest Island in the Pacific and visiting a number of the Pacific Islands over the years has also brought the influence of ‘island life’ into my work.

 

Jenny Sanzaro-Nishimura has been a printmaker for over twenty years. She lectures in Printmedia at Queensland College of Art, Griffith University, where she received a Doctoral degree. Her passion for printmaking began prior to her undergraduate degree and has never waned. She loves the technical processes involved and sees printmaking as medium that can reach a very broad audience and be taken into almost any other art discipline. Jennifer Sanzaro-Nishimura was president of Impress Print Studios in Brisbane.

Image: Asian connection I, 2015
digital print
Courtesy of the artist.

Gallery hours: Mon. – Fri. 10:00 a.m. – 4:00 p.m.; Sun. 12:00 – 4:00 p.m. Closed:Saturdays; Prince Kūhiō Day & Good Friday, Mar. 25; Easter, Mar. 27.
By appointment: Spring Break, Mar. 21–24.
Free admission. Donations are appreciated.
Parking fees may apply.

FRAGMENTS & EMPIRE: CAMBODIAN ART FROM THE ANGKOR PERIOD

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Jelly Beans-M  MUSEUM

FRAGMENTS & EMPIRE: CAMBODIAN ART FROM THE ANGKOR PERIOD
March 6 – May 6, 2016
John Young Museum of Art

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

Sunday, March 6, 2016
1:00 p.m. – 4:00 p.m. Opening reception
1:30 p.m. – 2:00 p.m. Gallery walk-through with Kristin Remington, curator,
Fragments & Empire

Friday, March 11, 2016
11:00 a.m. – 12:30 p.m. Lecture: A Heritage of Ruins: The Ancient Sites of Southeast Asia and Their Conservation, by Dr. William R. Chapman, Director of the Graduate Program in Historic Preservation and Professor

Tuesday, April 5, 2016
1:30 p.m. – 3:00 p.m. Film Screening & Discussion: Phnom Penh, Rescue Archaeology: The Body and the Lens in the City
Discussion to follow by Erin Gleeson, curator and co-founding Artistic Director of SA SA BASSAC in Phnom Penh, Cambodia, Jaimey Hamilton Faris, and Paul Lavy

Sunday, April 10, 2016
1:00 p.m. – 2:30 p.m. Panel Discussion: John Young, Artist as Collector, with Roger Bellinger, Co-Founder of the John Young Foundation and Victor Kobayashi, Professor Emeritus and Founding Dean of Outreach College, UHM

Fragments & Empire examines Cambodian (or Khmer) art of the Angkor Empire, which dominated much of mainland Southeast Asia from the ninth through the fifteenth centuries. It includes examples of sandstone architectural fragments, ceremonial bronzes, and stoneware vessels associated with the styles of the imperial capital as well as their transmission into peripheral regions in modern-day northeastern Thailand.

This exhibition highlights and brings together for the first time the collection of Cambodian art from the John Young Museum of Art (JYMA) and a significant portion of John Young’s collection from the Honolulu Museum of Art (HMA). It offers an opportunity to study the historical works as a comprehensive collection. Twenty-four artworks from the JYMA and eleven digital images from the HMA are featured. The digital images will be viewable on electronic tablets.

This exhibition is curated by Kristin Remington as part of her MA thesis in South and Southeast Asian art history.

SPONSORS

John Young Museum of Art, University of Hawai‘i at Mānoa, Honolulu Museum of Art, Department of Art + Art History, UHM Museum Studies Graduate Certificate Program, UHM Center for Southeast Asian Studies, UHM Student Activity and Program Fee Board

Gallery hours:
Mon. – Fri. 1:00 p.m. – 4:00 p.m. or by appointment
Closed: Sat. – Sun.; Spring Break, Mar. 21–24; Prince Kūhiō Day & Good Friday, Mar. 25.
Free admission. Donations are appreciated. Parking fees may apply.

Image:
Architectural relief, Angkor, 11th-13th century, sandstone
Collection of the John Young Museum of Art
Photographer: Brandon Ng. Courtesy University of Hawai‘i Art Galleries

NEW NEW YORK: ABSTRACT PAINTING IN THE 21ST CENTURY

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Jelly Beans-E  EXHIBITION

NEW NEW YORK: ABSTRACT PAINTING IN THE 21ST CENTURY
October 4 - December 4, 2015
The Art Gallery at the University of Hawai‘i at Mānoa

Resurgence of Abstract Art Examined at UH Manoa Exhibit

Welcome to the Sentient World: The New Abstraction by Noe Tanigawa, Hawai'i Public Radio

An Examination of Abstract Art_Honolulu Star Advertiser111515.pdf

EVENTS
free and open to the public

Sunday, October 4 / The Art Gallery
2-3 pm, Gallery walk-through with curators Debra Drexler + Liam Davis and Intersections Visiting Artist Barbara Takenaga
3-5 pm, Reception

Monday, October 5 / ART Auditorium
6-7:30 pm, Panel discussion with NEW NEW YORK curators Liam Davis and Debra Drexler and artists Paul Behnke, Amanda Church, and Lucas Moran

Tuesday, October 6 / ART Auditorium
6-7:30 pm, An Overview of Works by Barbara Takenaga
Public lecture by Barbara Takenaga, Intersections Visiting Artist

Sunday, November 1 / The Art Gallery
2-3 pm, Gallery walk-through with curator Debra Drexler

Wednesday, November 18 / ART Auditorium
6:00-6:30 pm, Light reception
6:30-8:00 pm, Revolution in (Re)Form: More Thoughts on Abstract Painting Today
Public lecture by author and NEW NEW YORK essayist Marco Antonini
Antonini’s eponymous essay is a departure point for this lecture

This exhibition examines the phenomenon and reasons for the resurgence of abstraction.  Works by approximately 30 New York artists are featured. Internationally recognized artists include Elise Adibi, John Allmaier, Timothy Atticus, Paul Behnke, Amanda Church, Vince Contarino, Paul Corio, Peggy Cyphers, Theresa Daddezio, Lisa Corinne Davis, Rob de Oude, Jon Elliott, Robert Otto Epstein, Franklin Evans, Rico Gatson, Enrico Gomez, Clare Grill, Shirley Kaneda, Julie Mehretu,  Lucas Moran, George Negroponte, Odili Donald Odita, Gary Petersen, Jenna Ransom, Jered Sprecher, Barbara Takenaga, Julie Torres, Terry Winters, Robert Yasuda, and John Zinsser.

A renaissance of abstraction has recently surfaced cross New York. The sine qua non of modern art, abstraction fell out of favor in the late twentieth century with the emergence of postmodernism and its concepts of paradox, pastiche and deconstruction. But at the beginning of the twenty-first century, abstraction has arisen from the ashes of its professed death with a power and potency rivaling its inception. This phenomenon and the reasons for its resurgence are considered in NEW NEW YORK: Abstract Painting in the 21st Century.

The exhibition takes its title from the New York School, a movement by artists that established abstract expressionism in New York City in the 1940s. It surveys a cross-section of nearly thirty established, mid-career, and emerging artists currently living and producing abstract paintings in this same historical city. While attentive to each artist’s distinctive, unique and individualized contributions, the exhibition examines the meanings they make collectively as well.

Reflecting a range of current approaches to abstraction, the artists carry over lessons from twentieth century pluralism that they utilize to reinterpret, reanimate, quote, remix, mash-up, and morph a variety of genres, historical movements, and traditions of mark making. Furthermore the plethora of historical references is often coupled with a feverish inquiry into the new, particularly the investigation into the emergent vocabulary of post-internet art, a genre that reproduces and alters the organizing principles and systems of online visual culture. Many artists featured in the exhibit such as Julie Mehretu and Terry Winters are world renowned for their innovative painting practice. NEW NEW YORK demonstrates a thirty-two thousand year-old medium’s participation in the urgent dialogue of survival in a world deluged with information and rapidly changing technologies.

EXHIBITION CATALOGUE
Includes color images of 29 artworks in the exhibition and an essay by Marco Antonini. Designed by Jerica Harada. To PURCHASE the catalogue.

ESSAYIST
Marco Antonini executive director and curator at NURTUREart Non Profit, Inc., wrote an essay, Revolution in (Re)Form: More Thoughts on Abstract Painting Today, for the exhibition catalogue. An author and independent curator, Antonini has conducted interviews and written essays for the books Golden Age: Perspectives on Abstract Painting Today, 2014, NURTUREart Press, and Experimental Photography: A Handbook of Techniques, 2015, Thames and Hudson. His essays, reviews, and interviews have been published in exhibition catalogues, Flash Art International, CURA, Pulse Berlin Journal, and ARTPULSE.

CURATORS OF THE EXHIBITION
Debra Drexler is an artist and a professor of drawing and painting at the University of Hawai‘i at Mānoa. Drexler maintains studios in both New York and O‘ahu, and her work is informed by her unique bi-coastal experience. Her work translates the inner experience into outer form through a vigorous athletic painterly process. Drexler has had twenty-eight solo exhibits and over one hundred group exhibitions at galleries and museums in New York, Hawai‘i, Australia, Berlin and across the states. Recent solo exhibits include: White Box’s Annex; Blue Mountain Gallery; HP Garcia Gallery and Java Studios Gallery in New York; and Honolulu Museum and Maui Arts and Cultural Center in Hawai‘i. Drexler has an upcoming 2015 solo exhibition at Van Der Plas Gallery, New York City, where she had a three-person exhibition in 2014. In addition, Drexler has exhibited in group shows in New York including The Drawing Center, Denise Bibro Gallery, Exit Art, Art Finance Partners, and Stephan Stoyanov Gallery, and Sideshow Gallery. Reviews include Artweek, New York Arts Magazine, and New Art Examiner. Drexler has curated exhibits in Hawai’i and New York City.

Liam Davis is an artist and curator living in Brooklyn, New York. He has been the curator at Artifact, a project space on Manhattan’s Lower East Side since 2012. Davis received a BFA from The Massachusetts College of Art and Design and an MFA from the University of Hawai‘i at Mānoa. Davis has taught at the Parsons School of Design (a division of The New School for Social Research) and has been a visiting lecturer at Wellesley College and the School of the Museum of Fine Arts, Boston. From 2011–2012 he held the position of Curator and Media Director at The Muse Center of Photography and the Moving Image. His curatorial projects there include New York Temporary: The City Through Photography Film and Video, 2011 (with HP Garcia) and Stephen Hilger, Hotel California, 2012. From 2011–2014 he has organized an annual exhibition of prints by Brooklyn-based artists in conjunction with Bushwick Open Studios (BOS). His recent curatorial projects at Artifact include Sarah Walker, Drift, 2013, Close Quarters, 2013, Jenna Ransom, Lazy Eyes, 2014, and Lucas Moran, Re Verse, 2014.

Image:
Franklin Evans
futuredpast, 2015
acrylic on canvas
24 x 24 inches
Courtesy the artist and Ameringer McEnery Yohe.

Gallery hours:
Mon.-Fri. 10:00 a.m. - 4:00 p.m.
Sun. 12:00-4:00 p.m.
Closed: Saturdays; Veterans Day, Nov. 11; Thanksgiving Day, Nov. 26; non-instructional day, Nov. 27.
Free admission. Donations are appreciated. Parking fees may apply.