New mural is a big deal

Miss Marvelous and I experience the new "Hawaiʻi Loa Kū Like Kākou" mural created this month by Native Hawaiian artists at the Hawaii Convention Center. This photo shows only a small section of the painting with the tip of an 'auamo (stick used on one's shoulders to carry things) that represents the concept of balance for the world. The entire ʻauamo image including the opposite end extends the width of the mural. The artwork will be officially presented to the public today, October 19, 5:30 - 7 p.m., street-level entrance. For a related article, please see my October 8 post. — Photo by Peter Krape

Hawaiʻi Loa Kū Like Kākou mural

Native Hawaiian fine artists Harinani Orme, Meleanna Meyer, and Kahi Ching work on the "Hawaiʻi Loa Kū Like Kākou" mural at the Hawaii Convention Center.

A mural painting in progress at the Hawaii Convention Center in Honolulu is something for the whole community to see and appreciate. Hurry on down.

I watched the artists at work yesterday, intrigued with the program, the content, and the painting technique.

The mural is being created in response to the upcoming APEC (Asia-Pacific Economic Cooperation) summit conference here Nov. 7-10. The title “Hawaiʻi Loa Kū Like Kākou” means “All Hawaiʻi Stands Together.”

At this time five Native Hawaiian artists and kumu (teachers) — Kahi Ching, Solomon Enos, Al Lagunero, Meleanna Meyer, and Harinani Orme — and four alaka‘i (apprentice leaders) are working collectively on it following the ideas and insight from 22 haumana (students) of public, private, charter, and Hawaiian immersion schools and others. Many hands and hearts are touching this work. The mural consists of many layers of inspiration, thought, and paint.

Shad Kaluhiwa, who has a disability, holds his paintbrush with this teeth.

As the artists added the warm colors yesterday, and as I sat and continued to look at the painting, I kept seeing different things. The form of an ʻauamo (pole used to carry and balance burdens across the shoulders) was being visually turned. I noticed it curved, like the curvature of Earth, for then I saw the profile of continents and islands.

From there, Earth images, sky images, plant images, people images, spheres, fish, line and dot. Intertwined and intriguing. Beguiling in a charming way.

I mused, “I see.”

WHEN YOU GO: The mural painting is on the ground level underneath the escalators and next to the waterfall, through Oct. 11. It will be installed (I don’t know the exact location) Oct. 17-19, according to a printed fact sheet. Parking at the convention center costs $5 flat rate.

Copyright 2011 Rebekah Luke

Disney imagineers run with Native Hawaiian art and culture

Congratulations to the “imagineers” of Aulani, the new Disney resort and spa in Leeward Oahu, for its Hawaiian theme, for doing the proper research, and for making art by Native Hawaiians so prominent in their design for this project. I took a ride out there today with my girlfriends, and we were impressed and grateful for what we saw. First off, we’re greeted by a lo‘i kalo (taro garden).

There was an obvious collaboration among local artists that has resulted in the largest showcase of contemporary Native Hawaiian art. This accomplishment is huge. From BIG architectural elements to the smallest details in interior decoration, we were pleasantly surprised at the thought and creativity incorporated into the design. Kudos, also, of course, to the artists!

I won’t tell you everything, and I’m not posting a lot of photos. I would rather you experience this venue yourself. Disney has managed to marry a family theme park with serious art and tasteful design. School’s out this week, and many Island families are “stay-cationing.” They’re really enjoying themselves. And it looks like Aulani becomes more magical at night with the Disney lighting effects.

Our Native Hawaiian artist friend Harinani Orme designed this architectural panel and two others of different images for the exterior. This is what I mean by BIG!

The ocean is right there, but there is so much to do within the hotel complex that you don’t notice it. It’s not the main attraction. Instead, guests can play with a sting ray, snorkel in a man-made reef pool, float around on a big inner tube, or frolic on the top of a man-made waterfall. I heard there’s a Menehune Adventure Trail that’s pretty cool to explore. Neat regular swimming pools, too.

There weren't too many people on the beach or in the ocean, but it was a pretty view.

When we got hungry for lunch we selected the ‘AMA‘AMA restaurant for its table service. We were aware the daily newspaper did not give the eateries at the Aulani a very good review last week. The food critic thought the menu was unimaginative and the food so-so. But I lucked out. I ordered the “plate lunch” that was a chef special of the day, and here’s what I got!

This "plate lunch" appeared on a tray like a Japanese kaiseki meal. Fresh locally grown field greens, including slices of watermelon radish, poke (raw fish), pork tonkatsu with curry sauce, and perfectly steamed white rice. $16.

My favorite place was Aunty’s Beach House, that is essentially a child care service. Aunty’s side is for ages 3 to 5 and was classic early childhood education curricula that I’m familiar with, and very well executed.

Uncle’s side includes the “garage” for older children and provides activities, computer games, movies, etc. of interest to them. When we were there, Aunty and Uncle had just left. I could hear through a key hole something about washing the dog!

In Aunty's living room, "cast member" Kawena (in green shirt) talks story with my friends Pi‘i, Gene, and Moeata. Our tour was delightful.

Copyright 2011 Rebekah Luke

Lanikai on display at Pauahi Tower

I've never had my art displayed in a glass case before. Love it!

Contributions by artists

Much of what I learned about the business of art I learned from my time with the Arts of Paradise, a fine art gallery at the International Market Place in Waikiki, that kindly represented me for several years.

Artists Susan Rogers-Aregger, Susan Brooks, and Connie Hennings-Chilton were the co-owners who sought two- and three-dimensional work by local artists and priced them realistically for the buying public. I thank them so very much.

When I co-founded Hale Kuai Cooperative with Ka Lahui Hawaii and we opened a storefront, I applied many of the management skills they taught me to running our store that sold Native-Hawaiian-made products.

During the early Arts of Paradise days, we had frequent requests to donate our work. The gallery encouraged artists to share the explanation reprinted below with whoever asked for a donation.

While cleaning the studio today, I found it on Arts of Paradise letterhead, but I recall that it was originally shared by the artist Ramsay. The information makes sense to me, and it is useful even today.

CONTRIBUTIONS BY ARTISTS

The artist is often asked to donate art to worthy causes as a “tax-deductible contribution,” as a “form of advertising,” as a “goodwill gesture,” and as “the means to increased community exposure.”

However, many artists and most solicitors are unaware that the IRS views contributions made by artists differently than those made by any other contributor. Artists are not able to deduct the appraised or fair market value of their work. Artists must enter the cost of materials as a business expense rather than a charitable contribution.

At a benefit art sale or auction, payment for contributed merchandise is made in the name of the charity. The purchaser makes a tax-deductible contribution and receives a work of art; the organization gains needed operating funds; the artist has one less asset, an added business expense, no charitable deduction, no income from the sale, a devalued reputation because the work sold at less than market value and has “increased exposure” to a  group of  potential patrons now conditioned to acquire art through donation rather than direct purchase.

This situation is particularly difficult for artists living in an insular community like Hawaii, where patrons are few and the cost of living is high.

Organizations who wish continued support from artists should adopt the following guidelines:

Artists submitting work to charitable organizations should provide the suggested retail price and receive fifty percent of that price upon sale; unsold work should be returned to the artist.

The names of contributing artists should be listed in promotional material and printed programs.

Artists should receive thank-you letters with their checks specifying the amount of their contribution, the actual amount of the art brought at auction, and the name of the purchaser.

This arrangement will enable artists to provide work of importance to organizations and the community, while uplifting the image of art in Hawaii.

Copyright 2011 Rebekah Luke

Native artists at the Bishop Museum

The enjoyment for today consisted of going to the Bishop Museum to show my oil paintings alongside other Native Hawaiian artists at the art mart that is part of the MAMo (Maoli Arts Month) Festival in Hawaii. It happens every May.

The Museum booked DH, who is a volunteer docent, to guide a group from a philosopher’s conference on a 1-1/2 hour tour of Hawaiian Hall, making it doubly worthwhile for the two of us.

Ten minutes before show time, we arrived to find our spot next to my artist friend Momi Greene who came from Hawaii island with her decorated ipu (native gourd containers).

Me and my friend Momi Greene. Momi grows a native Hawaiian gourd and decorates them with carving and natural dyes she makes herself in the style that was done traditionally on the island of Niihau.

Years of art fence and craft fair experience paid off as we arrived ten minutes before show time, i.e. late. I saw some dark clouds as we drove over the mountain, and yes, we set up in the rain.

The paintings were fine; oil doesn’t like water. I just shake and blot them dry. DH staked the easels into the ground, and I attached extra ties, a good thing because gusty trade winds blew down from the valley throughout the day.

My brother-in-law Jon, in town from Oregon, came by to meet Momi in person because until today they had only been Facebook friends.

DH and Jon with the Bishop Museum's main building in the background

I loved the continuous live Hawaiian entertainment all day long.

Hula dancers wear long yellow plumeria lei

DH and I made some purchases:

I bought—with cash from trading my no-longer-wanted gold and silver items—some things from other artists, including a nifty re-designed T-shirt. I always try to buy from other artists where I am selling. The designer, using scissors, cuts away parts of the original garment, slits holes in the knit, weaves in contrasting colors or ties the fabric in creative ways to make a one-of-a-kind top that is truly styling and all the rage at the Native Hawaiian art mart. I plan to post a photo of me modeling it soon!

Yesterday in a gust of wind one of Momi’s ipu broke. It looked like it could be glued, but she said she’ll stitch it back together, making the stitching part of the design and giving the ipu new life and a story. When I relayed that to DH, he immediately told Momi of our plans to take a trip to her island and that he wanted to buy the ipu after she stitched it. That piece would be really special and would she kapu (reserve) it for him, we’d pick it up next month.

She said, “Okay, do you want to see it first?” DH can be impulsive at times, but he’s a good buyer and appreciates fine Native Hawaiian-made artwork.

What I realized and appreciated the most at the end of the day was how much the art by Native Hawaiians has improved, including the marketing of it. If you are in Honolulu next May, please plan on attending some of the activities of Maoli Arts Month.

Copyright 2011 Rebekah Luke

Japanese food art

For special occasions, a fine meal may be in order. One of those times was last evening to celebrate my wedding anniversary with DH (darling husband). The fine meal was the kaiseki prix fixe menu at the Japanese restaurant Miyako in The New Otani Kaimana Beach Hotel at Sans Souci Beach at the foot of Diamond Head.

Sashimi. Everything on the plate in this beautiful presentation is edible.

The artistry in the presentation of all seven courses served one at a time over two hours was a treat—a reminder to incorporate good design in everything we do —as were the flavors from the food. It reminded us of TV’s Iron Chef. The difference was that we ate everything and sipped sake to softly played music while enjoying the view of Waikiki and the spectacular sunset.

Anniversary couple

Copyright 2010 Rebekah Luke