Arts & Power

In a place where the arts and culture scene is as important as preserving the very environment which continually inspires and shapes it, Hawaii has been more successful than most when it comes to achieving modernity without burying one’s history. Can someone or something be considered contemporary and pay homage to tradition or former influences at the same time? We think so. And we’re not alone. From avid supporters of the local film industry, to a space created solely for creatives, to those yearning to have downtown Honolulu’s art scene stand on its own two feet, here are the people and places that are making their mark on our artistic landscape and continuing to forge ahead—without leaving the past behind.

Terminal Bliss
Interisland Terminal shows what happens when young art enthusiasts come together with innovative ideas. The nonprofit group formed in 2009, after local museums began slashing their community programming. The five founding members, Wei Fang, Sarah Honda, Anderson Le, Sean Shodahl and Ben Trevino (all 40 and under), initially planned a one-off film program, but things quickly escalated to a more formal organization as their ambitions to showcase contemporary art, film and design were lit.

Interisland Terminal has since helmed several exhibits and programs, including a rock ’n’ roll cinema event, a statewide architecture competition and last year’s Reed Space HNL, a pop-up art bookstore at the Waikiki Parc Hotel. Still the group wanted an actual permanent space, so thus emerged R&D, a 1,200-square-foot storefront space in Kakaako that serves as a meeting and incubator space for artists, writers, filmmakers, architects, designers and others.

Along with providing a comfortable seating area and workspaces, there’s a coffee bar run by Morning Glass’ Eric Rose, and a bookstore with art, architecture, design and culinary titles. “We’re hoping it becomes a home base for the creative community, a place where people feel comfortable having meetings or to collaborate,” explains co-founder Ben Trevino. “I think there’s a lot of value to just getting people together.” interislandterminal.org

Deep Inker
Nestled on the fourth floor of Chinatown’s old Blaisdell Hotel is Working Class Tattoo, where Steven Lam works quietly in his studio—a space full of attitude and character, just like his tats. The 33-year-old moved home earlier this year, after spending several years designing tattoos at San Francisco’s renowned Goldfield’s studio. He came back to be near family, settling back into the “local thing” and opening a solo business. Lam entered the realm of tattoo arts after seeing the film Rising Sun and being blown away by the yakuza characters, tatted in dramatic neck-to-leg designs. He describes his style as “semirealistic, really detailed, but simply shaded.” One of his favorite pieces was created for a friend, after she told him about a jellyfish at the Monterey Bay Aquarium. He traveled there, then crafted an intricate rendition that spiraled down her arm. One thing he won’t do: Hawaiian tribal tattoos. “People already understand it and do it well. I stay away out of respect.” workingclasshonolulu.‌com

Future Perfect
Earlier this year, Fendi selected Eli Baxter and Aaron Padilla to mark the beginning of a gorgeous collaboration between the Italian fashion house and Hawaii artists. Thanks to the luxe label’s global initiative, Fatto a Mano for the Future, artists from around the world can participate in a live design series and work side-by-side with a bona fide Fendi craftsman to create, well, whatever comes to mind for each individual. The only rule: Use the scraps that Fendi provides.

Not a bad stipulation considering the avant-garde creations Baxter produced for the Ala Moana Center boutique. The sculptor’s Kubrick-esque rubber installations contained pops of color from Fendi’s leather and had curious passersby making abrupt halts to check out the unusual array of sculptures within the store.

In contrast, emerging artist Padilla merged his penchant for wood with more subdued shades of Fendi’s Selleria leather for his in-store installations in Waikiki. Though initially a stranger to working with leather, Padilla married the two materials seamlessly—strips of multi-colored leather were placed on curved pieces of wood without a raw edge in sight. Padilla likens Fendi’s bags and accessories to a well-executed work of art—both require superior craftsmanship. No pressure future artists, but, you’ll have some big shoes to fill for Fatto 2012.

Best in Show

Sarah Honda was formerly the development director for the Hawaii International Film Festival (HIFF). The 37-year-old Punahou grad helped launch school and community programs as education coordinator. Here, she chronicles experience with HIFF.

The Path
“While in New York, I worked in the music industry. I actually didn’t have any nonprofit experience, but when I came home in 2005, I contacted the festival just to volunteer, and my timing was good.”

The Challenges
“HIFF was competing with Blockbuster and Netflix, so they had to provide a greater experience—Q&As with filmmakers, seminars and other added elements.”

The Changes
“Online social media has really grown. Luckily, HIFF got on Twitter early, and now they have more than 9,000 followers and 6,000 on Facebook. It’s been a powerful way to share their message.”

The Local Edge
“[Before my departure from HIFF], we had wanted to grow our community programs and inspire local filmmakers to make films and show their films at HIFF.

Mr. Independent
As a leading member of Hawaii’s cultural cognoscenti, Rich Richardson is steering the ARTS at Marks Garage toward financial independence while continuing the organization’s decade-long commitment to the visual and performing arts within Chinatown and the Honolulu Arts District. “[Hawaii Academy of Performing Arts] was tired of struggling to take care of Marks in light of funding cuts across the board,” explains Richardson, the organization’s creative director, and a one-time gallery owner and art professor, who also helped establish First Friday Honolulu, a program that we all know continues to thrive today. “Now we have the right and responsibility for our own success.”

To that end, Richardson is leading a push to steer Marks away from foundation grants and government funding, and into a new era of fiscal freedom. His brainchild, the 1001 Friends program, is a key component. A $10-a-month, tax deductible, auto-pay contribution will help support Marks’ dozen major exhibits and some 150 programs throughout the year. hawaiiartsalliance.org

Dance Evolution

For more than two decades, Cheryl Flaharty has mesmerized Hawaii audiences with visually stunning contemporary dance performances, enhanced by elaborate costumes, aerial acrobatics and even live rock music. As founder and artistic director of IONA dance troupe, Flaharty creates choreography rooted in Japanese butoh, a highly theatrical dance style she learned while in New York. Like her 30 dancers, Flaharty grew up in the islands; yet only half of the troupe has technical dance training. The others are just exquisite movers who break-dance, do tai chi or yoga. “We also do meditation as part of our training, and that connects us with the universe and expands our aura,” she says. “That’s where crazy, wild and wonderful ideas come from.” ionadance.com

X Men (and Women) Unite!
Talk about making a scene. Come February, the Biennial of Hawaii Artists X will present works by the upper echelon of Hawaii’s thriving contemporary-art community for its landmark anniversary show. Biennial X also marks the inaugural venture of the newly merged Honolulu Academy of Arts and The Contemporary Museum.
Biennial X will highlight six island artists, including Mary Babcock (Oahu), Solomon Enos (Oahu) and Sally Lundburg (Big Island). Additionally, to celebrate the Biennial reaching double digits this year, the museum will hold its very first Biennial Survey, featuring works from 57 past participants.

Gallery-goers will have their eyes teased by Babcock’s stunning, multimedia installations that revolve around all manner of textiles. Babcock will share the Biennial X spotlight with fellow Enos, an illustrator, animator, sculptor and art director who works in everything from stone to digital media. Also working in mixed media, Lundburg engages the senses with her current series, Epiphytes and Invasives, which includes video, along with wood panels and koa logs adorned with archival portraits from her family and the Hamakua community. Biennial X opens Feb. 23 and runs through July 22 at Spalding House; the Biennial Survey, meanwhile, goes from Feb. 9 through April 22 at the Honolulu Academy of Arts. honoluluacademy.org

Art House
Ranches usually don’t make it to the top of royal itineraries. But when Emperor Akihito and Empress Michiko of Japan passed through Hawaii in 2008, they made the Parker Ranch Historic Homes one of their top destinations. Luckily for the public, the ranch has graciously reopened Puuopelu and Mana Hale’s doors after a two-year closing. Set in the verdant hills of Kamuela, the homes showcase the distinctive art collection that Richard Smart, the late Parker Ranch owner, acquired during his world travels—from originals by Degas and Pissarro, to one of the largest collections of Qing Dynasty Peking Yellow Glass outside of the Forbidden City. parkerranch.com

Easy Being Green
Beyond the parrot posing, the head-to-toe-in-silver street performers and the ever-present flyer passers, there’s a gem of an art shop called Greenroom Hawaii, where surf and beach culture reign supreme. The cozy boutique sells limited-edition T-shirts, tote bags and most importantly, art from both local artists and also those residing on the mainland and in Japan. Though its doors just opened a mere year and a half ago (its original sister shop in Japan opened back in 2005), its roster of contemporary surf-inspired artists is impressive. From North Shore fave Heather Brown to Cali-bred Andy Davis, the artists themselves have made more than one cameo at the shop—it’s no wonder Greenroom patrons are always coming back for more. Curious about the next exhibit? Drop in for Aloha 2, featuring Japanese artists Yusuke Hanai and Hi-Dutch (Takahiro Hida) on Dec. 23. greenroomhawaii.com

Island Son
When Kuhao Zane brushed shoulders with Russell Simmons during a recent trip to New York, he felt a bit starstruck. (He decided not to introduce himself, he unabashedly admits.) But mega-mogul encounters aside, the up-and-coming graphics guru has already proven he can hold his own. Already with a Hoku for album design under his belt, the Keaukaha native is entrusted with the responsibility of applying his father Sig Zane’s patterns to textiles and other mediums. “It’s fulfilling to be working with something so handcrafted,” explains the inspired son. Always excited to bring the coveted line to new audiences, Zane is busy with the label’s collaboration with KICKS/HI and VANS on limited-edition shoes inspired by the Hawaiian concepts of mauka and makai. The bridging of urban and island is a natural progression for the Hilo High grad, who grew up part of the respected Halau O Kekuhi and later studied in Los Angeles. Though Zane draws creative inspiration from city life—frequent trips to Oahu are a necessity—he considers life with family and hula in Hilo as priceless. “When you’re around the energy of that environment, it refreshes the energy of your soul,” shares the designer. sigzane.com

BAMP It Up!
What do you do when you’re a music snob and wish that your favorite band would hurry up and make it to Hawaii already? You bring them in yourself. At least that’s what the cutting-edge crew at BAMP Project decided to do when they started. The party of three consists of Aubry Boutin, Matty Hazelgrove and Philip Pendleton, and the group has brought in musical acts from R & B crooner John Legend to progressive rockers 30 Seconds to Mars. And their calendar of events just keeps on growing… so much so that they’re about to open their very own venue, The Republik, on Kapiolani Avenue (above V Lounge) come February. With their own performance place secured, the trio hopes to guarantee that the spectrum of musical talent that passes through the islands will continue to flourish. Boutin says, “The dream was really to bring in a good selection of bands—not just established folks looking to do a reunion tour, but give newer and up-and-coming acts the opportunity to perform in Hawaii. After all, there are certainly enough people here longing to check out a great concert, mainstream or otherwise.” bampproject.com

Then & Now
The merger of the Honolulu Academy of Arts with The Contemporary Museum heralds a colorful new chapter for these iconic institutions. Each boasts a vibrant,
storied past; their respective timelines attest to that fact.

Honolulu Academy of Arts

1922 Founded by Anna Rice Cooke

1956 The Robert Allerton Art Research Library opens.

1977 Major expansion includes a contemporary gallery, administrative offices and a theater.

1989 Addition of an art center for studio classes and enhanced educational programming

2001 The new two-story Henry R. Luce Pavilion Complex includes the Pavilion Café, Academy Shop and Henry R. Luce Wing. Also: Academy enters a partnership with the Doris Duke Foundation for Islamic Art

2011 The museums legally become one in July.

The Contemporary Museum

1988 Grand opening of TCM

1996 First Hawaiian Center (FHC) opens in downtown Honolulu with a first-floor art gallery

2005 The Cooke-Johnson historic home, which sits adjacent to the museum, is donated to TCM.

2010 TCM board approaches the Honolulu Academy of Arts board about gifting TCM’s assets and collection to the Academy.

2011 The museums legally become one in July

February 2012 The merged museums will reopen for the Contemporary Biennial.

The Producer
Jason Lau launched TalkStory Productions six years ago, primarily as a way to explore tax credits and tap the creative side of his brain. But the independent film company has since become a full-fledged industry player, with a roster that includes last year’s The Tempest. Lau’s current project is his biggest yet—a remake of Arabian Nights, slated for release in 2013. Although the opening scene will be filmed in Hawaii, it’ll be shot mostly in China, allowing Lau—a former private equity manager—to connect with the Asian capital markets. Yet, even amid this high-profile activity, Lau wistfully touts TalkStory’s The Short List, a series of short films with an all-local cast and crew that débuted at last October’s HIFF. Says Lau, “The big projects allow us to do the small projects we love.” talk-story.com

In the Board Room
“Making surfboards originally stemmed out of curiosity,” explains the multi-talented Ron Meeks, who began to surf and shape boards during his teens on the Texas coastline. A few initial orders eventually grew into a career in the surf industry, leading to a stint in Hawaii in the early ’90s. But in the midst of a surf scene then dominated by vivid fluorescents, Meeks developed an interest in painting that plunged straight into black and white abstraction. Back in Dallas, over the following decade, Meeks would tackle massive canvases that dominated his field of vision. “I tried to purge everything in my paintings so there would be no ties to anything concrete,” the self-taught artist reflects. Hawaii, though, was never out of the picture. In 2010, Meeks returned to the islands and set up his surfboard studio, quickly garnering a roster of local surfers including Dave Wassel, Kawai Lindo and Tom Dosland. meekssurfboards.com