Exhibitions: Concept, Planning and Design 9781442276789

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E

E X H I B I T I O N S

C O N C E P T,

P L A N N I N G

b y

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T O M

A N D

D E S I G N

K L O B E

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For my wife Delmarie and the many students and volunteers who made these exhibitions possible

© 2012 Tom Klobe All rights reserved. Except for brief quotations used for purposes of review or scholarly citation, no part of this book may be reproduced in any form by any means without written permission from the publisher. Printed in the United States of America Published by The AAM Press Washington, DC Library of Congress Cataloging-in-Publication Data Klobe, Tom. Exhibitions : concept, planning and design / Tom Klobe p. cm. Includes bibliographical references and index. ISBN 978–1–933253–69–5 1. Museum exhibits—Handbooks, manuals, etc. I. Title. AM151.K56 2012 069’.5—dc23 2012003166 Cover (front): Greek and Russian Icons from the Charles Pankow Collection (Pages 122–125) Cover (back): Contemporary East European Ceramics (Pages 176–177)

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C O N T E N T S

F O R E W O R D V I I A C K N O W L E D G E M E N T S

C H A P T E R

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I N T R O D U C T I O N

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E L E M E N T S O F D E S I G N

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S PA C E 4 L I N E 8 F O R M 1 0 VA LU E 1 2 C O LO R 1 4 T E X T U R E 1 8 T I M E / M OT I O N 1 9 C H A P T E R

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P R I N C I P L E S O F D E S I G N 2 1 U N I T Y 2 1 R E P E T I T I O N 2 3 M O V E M E N T 2 4 T R A N S I T I O N 2 5 O P P O S I T I O N 2 6 E M P H A S I S 2 8 B A L A N C E 2 9 VA R I AT I O N 3 0 S I M P L I C I T Y 3 1

C H A P T E R

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S U R V E Y I N G N E E D S A N D R E S O U R C E S

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I M M E D I AT E N E E D S 3 4 S E C U R I T Y / C O N S E R VAT I O N 3 4 V I S I TO R S ’ N E E D S 3 5 S A F E T Y A N D H E A LT H

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LO N G -T E R M N E E D S 3 5 A D A P TA B I L I T Y

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R E S O U R C E AVA I L A B I L I T Y 3 8 E X H I B I T MA I N T E N A N C E

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B U D G E T S A N D C O S T S 3 9 H U MA N R E S O U R C E S 4 0 T I M E 4 0 A R C H I T E C T U R E A S R E S O U R C E 4 1 C H A P T E R

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C O N C E P T 4 3 E X P LO R AT I O N / D I S C O V E R Y 4 5 A N I N Q U I R E R ’ S S TA N C E

C H A P T E R

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I N T E R P R E TAT I O N 4 9 L E A R N I N G S T Y L E S 5 1 L A B E L S 5 2 W R I T I N G 5 4 T Y P E S O F L A B E L S 5 5 T Y P O G R A P H I C D E S I G N 5 8

C H A P T E R

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L I G H T I N G 6 1 N AT U R A L L I G H T 6 2 A R T I F I C I A L L I G H T 6 3 T R A C K L I G H T I N G 6 4 A E S T H E T I C S 6 4 C O N S E R VAT I O N 6 5 MA I N T E N A N C E 6 6

C H A P T E R

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C O L L A B O R AT I V E P L A N N I N G A N D L E A D E R S H I P

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C O L L A B O R AT I O N

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L E A D E R S H I P 6 8 T E A M W O R K 6 9

C H A P T E R

C H A P T E R

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M E E T I N G S

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M A N A G E M E N T A N D R E C O R D K E E P I N G

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P U B L I C R E L AT I O N S A N D P U B L I C I T Y

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P U B L I C I T Y

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C O L L A B O R AT I O N S

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F U N D I N G A N D G R A N T W R I T I N G

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C O R P O R AT E S P O N S O R S H I P 8 0 A P P LY I N G TO F O U N D AT I O N S 8 2 A P P L I C AT I O N S TO G O V E R N M E N T A G E N C I E S C A S E

S T U D I E S

83

8 5 T H E A R T O F K O R E A 8 6 A K A R I B Y N O G U C H I 9 0 P R A N A S D O M S A I T I S 9 4 T H E F I R S T W E S T E R N S TAT E S B I E N N I A L E X H I B I T I O N

96

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A L E G A C Y O F T E A C H I N G 9 8 F I L A M E N T S O F T H E I MA G I N AT I O N

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K O A F U R N I T U R E O F H AWA I I

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A R T I FA C T S O F T H E P O MA R E FA M I LY

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I N T E R N AT I O N A L S H O E B O X S C U L P T U R E E X H I B I T I O N S

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E G Y P T I A N A N T I Q U I T I E S

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SELEC TIONS II: EUROPEAN AND AMERICAN ART IN H AWA I I C O L L E C T I O N S

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G R E E K A N D R U S S I A N I C O N S

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F I R S T I M P R E S S I O N S : J A PA N E S E P R I N T S O F F O R E I G N E R S

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T H E A R T O F M I C R O N E S I A

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G L A S S : A N OT H E R V I E W

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W O V E N PA S S A G E : T H E S I L K R O U T E

1 36

S N U F F B OT T L E S : A M I N I AT U R E A R T O F C H I N A

1 38

T H E A R T O F P O L I S H P O S T E R S

140

T H E A R T O F A S I A N C O S T U M E

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FA C I N G T H E G O D S : R I T UA L M A S K S O F T H E H I M A L AYA S

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S Y M B O L A N D S U R R O G AT E : T H E P I C T U R E W I T H I N

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T H E P R E S E N C E O F A B S E N C E

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J E A N C H A R LOT : A R E T R O S P E C T I V E

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T H E I MA G E A N D T H E W O R D

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P E R S P E C T I V E S O F C O N C E P T UA L I S M

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T R E A S U R E S O F H AWA I I A N H I S TO R Y

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B A S K E T S : R E D E F I N I N G V O LU M E A N D M E A N I N G

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O N H E AV E N LY W I N G S : B I R D S A N D A S P I R AT I O N S

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C O N T E M P O R A R Y E A S T E U R O P E A N C E R A M I C S

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C I T I E S O F S H A D O W A N D L I G H T

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E A S T- W E S T C E R A M I C S C O L L A B O R AT I O N S

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N A K E D T R U T H S

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A J O U R N E Y T H R O U G H C H I N E S E H E L L

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C R O S S I N G ‘ 9 7 : F R A N C E / H AWA I I

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H U C LU Q U I E N S ’ H AWA I ‘ I : P R I N T S 19 1 8 – 19 5 0

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P R I VAT E PA S S I O N S

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A T R A N S I E N T W O R L D

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J O S É G UA D A LU P E P O S A D A : M Y M E X I C O

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T H É ÂT R E D E L A M O D E

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A T R A D I T I O N O F E XC E L L E N C E

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PAT T E R N A N D P U R P O S E : J A PA N E S E F I S H E R M E N ’ S C O AT S F R O M AWA J I I S L A N D

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C R O S S I N G S 2 0 0 3 : K O R E A / H AWA I ‘ I

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E C H O E S O F A N I S L A N D C U LT U R E

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L A B O R & L E I S U R E

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MAKING CONNEC TIONS: TREASURES FROM THE U N I V E R S I T Y O F H AWA I ‘ I L I B R A R Y

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PA I N T I N G W I T H T H R E A D : T H E A R T O F J A PA N E S E E M B R O I D E R Y

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R E C O N S T R U C T I N G M E M O R I E S

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WRITING WITH THREAD: TRADITIONAL TEXTILES OF S O U T H W E S T C H I N E S E M I N O R I T I E S

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K Ē I A WA I O L A : T H I S L I V I N G WAT E R

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O K A G E S A M A D E : I A M W H AT I A M B E C A U S E O F Y O U

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A P P E N D I X

258

B I B L I O G R A P H Y

262

I N D E X

264

C R E D I T S

266

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F O R E W O R D

This book celebrates the creative life of a remarkable artist and years of careful thought about the field of exhibition planning and design and its practice. The carefully documented exhibitions recounted in the case studies illustrate highlights from Tom Klobe’s career and elucidate the concepts discussed in the preceding chapters. His consistently high level of accomplishment as an artist-designer has brought distinction to the field of exhibition design. Here is an artist who creates works of stunning beauty, discerning perception, and deep relevance. His sharp eye for simplicity of design is coupled with a concern for communication with the audience. The meaning he imparts in an exhibition through conceptual interpretation and the visual relationships of the objects is profound. His work often shows us new ways to see, and new ways to think. An understanding of the elements and principles of art can guide the success of an exhibition. However, like the eminence of a painting or sculpture, it depends on the presence of one essential factor—the degree to which the practitioner is an artist. Tom Klobe knows the rules in art and in life. But he often disregards them and depends solely upon his greatest assets, the desire to “march to his own drum” and a sure aesthetic instinct. He is a born artist. Tom, however, is more than a great exhibition designer. He is an outstanding teacher who influenced the lives of generations of students. His teaching played a role in his students’ lives in ways in which much more was offered than lessons in design. Good teachers broaden students’ vision so the lessons encompass all of life. They provide a way of seeing the world in a new light. Students become excited and they gain the potential to access and interpret their own creative abilities and build on them.

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Tom set high standards and his goal was to help students achieve these standards and even rise above them—to go to the next level. He encouraged us to develop in our own way, and he has been invariably proud of what his students achieve. He was always on our side and he made us feel worthy of his support. Many of his students have become teachers at every level of the educational realm. As teachers we, in turn, have tried to carry on the ability to ignite that spark of hope that Tom inspired. He, however, credits his mentor and professor at the University of Hawai‘i, Kenneth Kingrey, for instilling within students a broad design and general education philosophy that would allow each student to develop in individual ways. I had the good fortune of meeting Professor Kingrey on several of his visits to California and I immediately comprehended the caliber of this man. I could see where Tom, as a teacher, was following in his footsteps and Tom was guiding us to do the same with our future students. So the legacy continues. Tom’s impact on the museum field has been significant. Former students are employed in almost every major museum in Hawai‘i. Others have worked or are working in museums across the country and in Europe including the Peggy Guggenheim in Venice, the Metropolitan in New York, the Whitney, Cooper Hewitt, New York Public Library, San Francisco MOMA, San Antonio Museum of Art, the J. Paul Getty, the Smithsonian, and one cares for the White House collection. As a student in the first classes he taught after graduate school it is my privilege to have been asked to write this foreword. He forged my academic career in ways that I have carried into my experiences in education, the entertainment industry at Epcot Center, and in museums. He touched my life in the most meaningful and profound manner. His fervor for excellence and the creative process has never left me. I have carried his influence with me for all these years, and have tried to convey it to all whom I have taught, counseled, and mentored along the way. I am grateful to him for his gift to me that led me on an exciting and fulfilling career. I and many of his former students, in each of our own ways, have committed our lives to carrying on the legacy and transmitting it to continuing generations.

Van A. Romans President, Fort Worth Museum of Science and History

Board Member, American Association of Museums



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A

A C K N O W L E D G E M E N T S

I learned patience and a sense of perfectionism from my parents. They instilled in me a deep respect for the dignity of work. Professionally, the greatest influence on my life was Professor Kenneth Kingrey. His ability to impart upon his students a sensitivity to design and his insistence on the broad aspects of our education were of utmost importance in shaping my career. I was very fortunate to have had him as a teacher as it allowed me to grow ever since. Philosophically, the most important influence on my life is the people of the village of Alang in Iran. From 1964 to 1966 I was a community development worker in the Peace Corps. I learned from the people in the village the importance of the little things in life and that every moment must be cherished. In a sense the Peace Corps experience became a model for my life. I left Alang realizing that people are of primary importance. I keep this in mind in everything I do. It is the people I work with, those in the classroom, and those I do not know who come to see an exhibition who must be considered first. The exhibition must be presented with respect to the workers and viewers as well as the objects. Installing an exhibition is an affirmation of faith—faith in that when so many work together on something that goes beyond any one of us we are expressing thanks for the opportunity of being here. Years of planning and designing exhibitions have not diminished the craving for exploration, the challenge of trying the impossible, the willingness to take risks, and the belief that setbacks may be opportunities in disguise. Each exhibition is like a Peace Corps tour of duty—a project that allows me to learn about the world, myself, and others. Each has allowed me to experience again the exultation of discovery that I first experienced as a Peace Corps Volunteer.

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To the thousands who have worked with me on exhibitions and projects I express my extreme gratitude. None of the exhibitions recounted in this book, along with many more, would have been possible without the enthusiastic support of countless volunteers and students who helped to make each a success. I thank all of you for encouraging me to write this book. Wayne Kawamoto and Richard Bigus are thanked for their patience in showing me how to use the computer and getting me started on InDesign and Photoshop. At The AAM Press, thanks are due editor John Strand for his helpful edits, interest, and support. It is my wife, Delmarie, who deserves the most credit as she steadfastly saw me though all the years of exhibitions and has worked beside me on the preparation of this book. To her I am forever grateful.

Tom Klobe



Professor/Director Emeritus



University of Hawai‘i Art Gallery



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I N T R O D U C T I O N

The way objects are shown in a museum plays a major role in how visitors respond to them. Good exhibition design promotes thought and feeling through the creation of an emotionally charged space—an environment that engulfs visitors, pulls them forward, and draws them into the story and its meaning. It intensifies the way viewers react to the material being featured, visually enticing them well before they have time to read the didactic messages. Good design makes viewers aware of the objects and the exhibition concept, not the way they are exhibited. Objects are allowed to speak for themselves without the clutter of distractions caused by over-elaboration or inappropriate display techniques. The exhibition designer is an artist whose art, at its perfection, goes unnoticed. Designers have to clearly understand the concept of what is to be displayed and then explore ways in which the ideas can be communicated most effectively. Exhibit design is best when the viewer is unaware of how the material is being shown. Presentation must not overshadow the objects. Everything should look like it belongs the way it is. Even small adjustments make a big difference. The design must be so natural that it enhances the objects and does not compete. No distractions lead the eye and mind away from what is presented. Designers must not lose sight of what they are doing. The intent of an exhibit must be clear. What is most important—the object or the presentation? In exhibitions that are primarily didactic, those that have few original artifacts, the message and presentation become the objective. They are of first importance. However, most often, when works of art or original material are showcased, those working on the exhibition should keep in mind that the objects and their meaning within a conceptual context take precedence.

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The foregoing points out the necessity

When objects are assembled and seen together they either strengthen or weaken each other. Since exhibit design specifically

of strong and broad design education.

involves the bringing of things together, the aim is to achieve a whole

The trained and seasoned designer

that is greater than the sum of its parts. Then an overall atmosphere

is able to assess spatial and shape

is attained that is higher, more significant, than any of the parts. But

relationships based on conceptual and

it is one in which each of the components maintains its identity—its

visual considerations. Good design

importance. Nevertheless, exercise caution so that one work does not

training coupled with a broad liberal arts

sacrifice the quality of others. Simplicity and restraint, pacing and flow,

education is important to understanding

and careful attention to the utilization of space are keys to making

how the placement of objects and

works of art appear to belong naturally together, of providing the

the structuring of meaning affect the

viewer with a sense of unity and visual continuity.

psychological attitudes of people within

Good exhibition design might be compared to an Oriental garden—

an environment. Today, rigid professionalism that fosters

where there is a constant sense of discovery—where new vistas reveal themselves at every turn, all along the path of the exhibition.

exclusion characterizes most scholarship

Movement is irregular; the experience is interactive. Like the Oriental

and education. It creates automatons that

garden, an exhibition evokes intimacy with what is seen. Not everything

are only able to think, write, and converse

is revealed at once. Each, the garden and the exhibition, is meant to

in terms of their specific field. Students

be experienced section by section as one moves along. The designer

need diverse training that encourages

and, subsequently, the visitor visualize by degrees; while the whole

them to engage the world. Multiple

area is accessible, only parts are revealed in succession. This experience

interests, practical work experiences, travel,

is in contrast to the straight and formal paths of a Western garden,

reading, and mentors that encourage the

conceived and developed for viewing from above, from one point of

pursuit of comprehensive knowledge

view—the palace balcony.

are essential to the field of exhibition

The role of the exhibition designer must not be considered cosmetic.

development. Staying current and fresh

Museums must see the designer as an integral part of a team—a team

is vital to the profession. Maintaining a

of communicators—that works to present the museum’s collection in

constant awareness of visual stimuli is the

a meaningful manner. As part of this team, designers work as equals

most positive way of fostering creativity

with curators, editors, conservators, and administrators to create a

and the ability to stay on the edge. Never

conceptual context for the exhibition. “The designer is often the [one]

cease looking at and experiencing other

person on the team who is able to conceptually understand, organize,

exhibitions. But ideas also come from the

and integrate both the physical and intellectual content of an exhibit at

retail, interior design, architecture, fashion,

all phases of the exhibit’s development, design, and production.”

theater and performance art worlds. Look

1

Often, in small museums, the designer is given extensive responsibilities for all phases of an exhibition. In these instances the

at and read magazines to see what is happening in other fields.

designer develops the concept, conducts the research, selects the

Fundamental to a designer’s education,

objects, writes the labels, and installs the exhibit. In addition to being

however, is a firmly grounded knowledge

broadly trained this person must possess keen visual observation and

of the compositional aspects of art that

acute aesthetic appreciation to survive and excel in a situation such

are inherent in the creation of any art form.

as this. Besides being a sensitive designer, this individual has to think conceptually, be a technician, researcher, writer, editor, and leader. 1 Hughes, ”Growing up NAME,” 6–7.

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C H A P T E R

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E L E M E N T S

O F

D E S I G N

Despite the myriad considerations necessary for the presentation of an exhibition, design remains an aspect that strongly influences visitors’ responses. Design often dictates visitors’ initial reactions and the totality of the exhibition experience is influenced by the sensitivity to design that is exercised throughout the exhibition. Good design places emphasis on the message and the works in the exhibition. It reduces “museum fatigue” by eliminating distractions that subliminally attract a visitor’s attention, directing thought away from the intended meaning. People often do not know why they fail to be impressed with objects in an exhibition. Frequently this is a visceral reaction triggered by visual stimuli. The basis for this response constitutes an insensitivity to design on the part of those who planned and installed the exhibition.

A strong understanding of design is essential to the development of outstanding exhibitions.

Students analyzed an exhibition of decorative Rimpa paintings from the Edo Period in Japan. The exhibition failed to foster or encourage the students’ interest in Japanese painting and none expressed a desire to return. Careful observation and discussion revealed that the pacing and flow of the exhibition lacked variation. Works were lined up along the walls and the intervals between were filled with furniture or plants. Spaces were repetitious and there was no attempt to establish a mood relative to the context of the exhibition through the use of color, texture, or light. Often the methods of hanging and display diverted the viewer’s attention from the work. Additionally, vignettes of Oriental gardens comprised of Styrofoam lanterns and artificial flowers contributed to a discount store atmosphere in the exhibition space. Ultimately the students were surprised to learn that many of the paintings were of sufficient importance to be national treasures of Japan.

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This example points out the consequences of insensitivity to design.

to be found to fulfill that requirement.

Presentation often influences how people perceive the significance of

Working abstractly helps to assure that the

things. Had greater care been exercised in the display of the works of art,

final outcome is well designed. For the purpose of planning an

it is likely that they would have commanded the admiration of which they were worthy.

exhibition the designer has certain tangible elements that have concrete

An understanding of the elements and principles of art and an ability

reality—that is, these elements can be

to apply this understanding are essential qualities for those who

seen, sometimes even felt. In essence, they

develop exhibitions. Good design training and a consciousness of the

can be experienced. They are real. These

importance of the fundamentals of art cannot be ignored. The designer,

elements are space, line, form, value, color,

to be effective, applies these basic fundamentals intuitively. Training in

texture, and time/motion.

the elements and principles of art should be so firmly grounded that sensitive design decisions become spontaneous and natural. It is important for the designer to conceive of the creation of an

In an exhibition, or any work of art, the elements work in conjunction with each other. No element can be isolated or

exhibition as the formulation of a work of art. When the designer plans

employed independently of the others.

and thinks of the exhibition as a group of objects which exemplify

Nor can the elements be considered

the elements and principles of art, organization will be easier and the

separately from the principles of art. In

results more successful.

any work of art, and an exhibition should

While the message to be conveyed may dictate a narrative, it

be thought of as a work of art, there is a

is necessary for the designer to conceptualize abstractly—to let

synthesis of elements and principles that

knowledge of the elements and principles of art also determine the

comes together for a total expression. The

nature, flow, and sequence of the exhibition. Even when it is essential

designer manipulates the elements until

to maintain the narrative aspect of an exhibition, the designer must

the dynamic energy of their relationships

structure the installation with an understanding of the kind of shapes,

is brought into harmony.

colors, or spaces that may be necessary at a particular point in the exhibition. Then a specific object or manner of presentation needs

S P A C E Space, especially in exhibition design, is the most important of the

a need to change that space from what it

elements. Good exhibition design is contingent upon giving first

has “always been.” Nor is there an attempt

priority to careful development of the space. This is where the designer

to adapt or adjust the space to the works

needs to start. Consideration of all the other elements is secondary to

or the concept of the exhibition being

effective articulation of space.

presented. Space is forgotten. It is then

Space is often couched in negative terms. We speak of “negative

truly the negative element. By contrast, we must think of space

space” in a composition. Space is the element most often forgotten and the failure of many exhibitions can be attributed to a disregard

as positive. Space has size and shape

for spatial considerations, both three- and two-dimensional. Often

as definite as the forms or planes that

designers accept the space of an exhibition area without a thought for

determine its limits. Space must be

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defined by the objects on display, the

that bold, vibrant colors advance, whereas, muted colors recede, that

ability of visitors to view the works

soft textures draw the eye in to them and hard shiny surfaces repel,

effectively, and by efficient movement

that sharpness of outline brings shapes forward while fuzzy outlines

of people through the exhibition. Space

blend into the background, and that contrasts of any kind cause

must be articulated to create pacing and

things to advance, the designer can structure the visitor’s response to

flow that include elements of surprise and

space. Therefore, while the development of effective physical spaces

anticipation.

is important, an understanding of the potential to be gained through

Humans respond to space. Space,

spatial illusions is a necessary part of exhibition design.

probably more than any other element,

Plan drawings or a model are essential to planning the installation.

affects behavior. However we may be less

A model is especially important in the formation of space relative to

aware of our responses to space than we

expressing the concept or feeling of the exhibition but it helps in

are of our reaction to many of the other

determining visitor flow and the visual arrangement of objects. A good

elements of art. Because space is generally

model can save hours of time trying to accommodate works later.

unseen—what is not there or negative—

Some designers are able to visualize well in two-dimensional

probably most people fail to recognize

drawings. Others find that the reality of a three-dimensional model

their interaction with this element.

provides maximum potential for organizing the space relative to

Space can be developed to convey an

specific exhibit material. Within the educational context of a university

intended mood and thereby heighten

museum or gallery, a model seems to be more universally understood.

a visitor’s response to an exhibition. The

Students often quickly conceive spatial relationships in a model as

feelings evoked by a space must be

opposed to drawings.

appropriate to its purpose and context.

Drawings or a model need to be developed with consideration

To provide stimulating environments that

given to planning a space for every object that is to be on display. Most

serve specific objectives, it is essential that

models should be thought of as a working drawing. It is for the use of

spaces communicate different feelings.

the designer and installer and thus should be developed only to the degree that facilitates planning. The advantage of computer-based programs lies primarily in

Compare the confining and repressive qualities of the Pranas Domsaitis exhibition

the two-dimensional organization of a wall or case or in the three-

(pages 94–95) to the spirited and uplifting

dimensional visualization of spaces within an exhibition. Nevertheless,

yet refined nature of Akari by Noguchi

only a carefully developed model can adequately explain the emotive

(pages 12, 90–93). Both exhibitions utilized

aspects of space and begin to capture the sensation of movement

the element of color in similar hue, value,

through the finished exhibition.

and intensity, yet despite the fact that MAKING A MODEL

the work presented was vastly different in mood, the character of each exhibition was definitely determined by the nature of the

Develop a model in a scale that is large enough to work on and visualize

space created for each.

comfortably but is, at the same time, portable. Generally a scale of 1/2" to 1' is sufficient. A model can be made of cardboard or Gatorboard and

The effects of illusionary space must be

should indicate locations of floor and wall electrical outlets and all utility

as carefully calculated as actual space. By

and architectural features. Ideally the floor of the model includes a reflected

taking into consideration a knowledge

ceiling plan that shows existing lighting fixtures and tracks so wall panels

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and cases can be placed in areas of adequate light. If the model is intended for continuous and changing use, cover it with two coats of shellac. This will allow taping wall panels and objects to the model floor and walls so they can be easily removed without destroying the model surfaces when planning for the next exhibition. Two-dimensional items should be cut to scale from paper and three-dimensional objects can be made of clay, paper, foam, or materials that adequately and efficiently represent the object. A model of this type is to be used primarily to determine space planning and traffic flow. For this purpose it is not necessary to develop the model as if it were a miniature view of the exhibition with every object looking like a reduced-scale color-copy of the original. Models that are detailed renditions of the final exhibition are of primary value in presentations to obtain funding or administrative approval to

Model for The Art of Korea

proceed. A fine model, especially of a permanent installation, can often

(Pages 7, 11, 36, 86–89)

“sell” the idea to prospective sponsors. Thus, in these instances, the time spent in the development of a detailed model can be well worth the effort.

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The Art of Korea (Pages 11, 36, 86–89)

Physical space establishes mood and determines the movement through an exhibition. Involving time, it is fourdimensional. In a large exhibition it is the starting point of design. Space, however, needs to be considered in its three-dimensional and two-dimensional roles as well. In both, the proportion of space to shape is important. Too much background space can make

The placement of artifacts in The Art of Korea (pages 11, 36, 86–89)

a small object seem insignificant; a larger,

shows effective planning of negative space. Groupings had variety in the

more dramatic object loses power if

size, volume, and dimensionality of the objects. The four objects in the

squeezed into a crowded area.

illustration above had continuity in color and value but contrast in size and

Sensitive attention to three-

volume. One chest was large; another, similar in shape, was small. Each,

dimensional space is critical to the

nevertheless, had distinctive tactile qualities. Texture was an important

placement of objects in groupings and in

comparative part of their relationship in the exhibit. The linear and planar

cases. The space of a grouping or of the

qualities of the table, with its color and grain complementing the small

interior of a case must be considered as a

chest, contrasted with the larger volumetric shapes. A rectangular, two-

composition. The entire area needs to be

dimensional shape on the wall served to contrast the volumes in the

organized—the objects and the negative

grouping. All four objects were chosen for their visual relationship to each

spaces around them must be arranged in

other. They were composed to accent their unique characteristics and the

depth as well as height and width. Exercise

negative spaces surrounding them were carefully considered. Even the large

care so all objects have variation in height

chest was not placed directly against the wall so that it could more readily

and that they have an interesting and

be perceived as an art object in space rather than a piece of furniture.

varied disposition in depth. Group objects with enough space between them to

Generally sculpture is intended to be viewed in the round; so present

allow them to breathe but close enough

it in the open. As much as possible, avoid putting it in a glass case.

to create tensions. Provide distance

When it must be encased, assure that the dimensions of the box are big

between the back of an object and the

enough to allow sufficient space around the sculpture, but not so large

wall behind it. Often works in museum

that the object is lost in the space.

displays are lined up with equal spaces

The two-dimensional composition of a wall is comparable to that

between them, with small objects in front,

of a painting or the layout of a piece of graphic design. As much

then medium in the middle, and large in

care must be given to composing the size and shape of the space

the back.

between objects as is given to their selection. Avoid monotonous and

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unrelenting repetition of intervals. Well-developed areas of blank space between groupings let the viewer absorb what has been seen. The shapes of top and bottom spaces throughout the exhibition should have variation, yet continuity. Space is a positive element. In all its aspects it needs to be carefully conceived and planned. The designer is challenged to organize space to convey meaning and visual cohesiveness throughout the exhibition.

L I N E Line has energy. It implies motion and direction and is the most

Most works of art have a linear

dynamic of the elements. It has the ability to lead the eye on although

orientation. Dominant elements within

the line itself has ended.

them point in a specific direction—often

Line, depending on its nature and direction, alters the proportion

either left or right. This may constitute

of an object or a space and expresses different feelings. Horizontal

the direction of a dominant line or simply

lines make a space or object appear wider and most often suggest

the glance within a portrait. In a work of

informality, repose, and quietness. Vertical lines are more assertive and

art the artist must be careful that linear

cause an object or room to seem higher, implying greater formality and

movement is counterbalanced so the

dignity. Diagonal lines are visually dynamic, while curved lines express a

viewer’s eyes are retained within the

feeling that is more gentle and flowing.

object and not so strongly directed out of

Line may be actual. Then it has direction, or it may enclose space to create contours and shapes. But line also may only be sensed from related points in space. This is felt or implied line. Within a composition, disconnected but related

it that the viewer’s attention never returns. Likewise, in the placement of objects in an exhibition, the designer must be aware of directional movements in the works.

elements may cause the viewer’s eyes to move from one point to

Like the individual work of art, the wall

another along an imagined or felt line. Felt lines, though less obvious

or display area is a composition as well.

than actual lines, are just as real and important to the visual flow of a

Care must be given to the placement of

composition.

objects so that linear movements lead

Felt lines help to tie a composition together and when employed

from one to another and the viewer’s

in exhibition design serve to provide a powerful unifying device that

attention is retained in the area in which

welds dissimilar units together. The use of felt lines in the development

it is intended. A strong directional

of groupings is especially important. Using felt lines, often in non-

movement pointing to the edge of a wall

obvious ways such as lining up the edge of a frame of one picture with

or a corner will lead the eye away from the

the inside edge of a matte or a linear element in another work, will build

compositional grouping instead of back

a structure into the arrangement of a group of objects. Nevertheless,

and forth among the works within it.

too much or too obvious “lining up” can become boring and serve to destroy the composition of an exhibition. The designer must work for a balance between linear organization and sensitive employment of the other elements to make the exhibition seem ordered but natural.

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Selections II: European and American Art in Hawaii Collections (Pages 22, 120–121)

The glance of the subject in a 19 th century

level of the head relates to the average eye level of visitors. Works with

English portrait in Selections II: European

glass or glazed and shiny surfaces will reflect the glare of lights into the

and American Art in Hawaii Collections

eyes of shorter viewers when these works are hung too high. Exhibition

(pages 22, 120–121) directed attention

designers must remember that it is much easier for a tall person to

through the window to the exterior of the

bend down than it is for a short person to sprout wings and hover to

gallery. To counterbalance and redirect

see something properly.

this movement a small abstract watercolor by Stanton Macdonald-Wright was hung

When students visited an exhibition of prints by Morandi, most experienced

lower and near the desk to draw the

great difficulty seeing the works because the prints were hung too high.

viewer’s attention down and back into the

As they approached the small prints to observe the details of Morandi’s

compositional framework of the grouping.

markings and technique, a reflection of the light fixtures on the glass obscured the works. While this was not a problem for tall visitors, had

The most usual presentation of works of

the works been hung lower, the distracting reflections could have been

art is on a common centerline, generally

eliminated as well for shorter people.

about 56" from the floor to the center of the framed picture. This also meets ADA

Picture height also establishes mood. Works that are hung low tend to

standards for disabled visitors. Occasionally

seem more intimate and approachable; whereas, a higher presentation

another approach may be employed in

establishes a feeling of being aloof or remote. Therefore, those who

hanging works in an exhibition. This may

install an exhibition should be aware of the conceptual context of the

involve presenting them so they line up

works being displayed so they can be presented accordingly.

on a top or bottom line or, another option,

Line is an important organizing element, a strong device to bind

a “salon” approach where pictures cover an

together a variety of units. Much of the visual continuity of an exhibition

entire wall.

depends on the skill with which linear movements are established.

Designers need to consider the general

Poorly organized linear structure conveys uncertainty or lack of

height of the anticipated audience when

sensitivity; self-conscious or mannered use of line signifies affectation;

establishing height. For example, objects

superfluous lines, especially if they contradict the basic linear plan,

in exhibitions designed primarily for

create confusion. Conversely, a well-organized linear structure reveals

children need to be hung lower. Figurative

the designer’s intentions with clarity and conviction.

sculpture is usually most effective if the

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F O R M Form constitutes the way something manifests itself in space. Threedimensional form is distinguished by volume; on the two-dimensional surface it is often referred to as shape. We respond to form in relation to space. Space gives form size and physical presence. Excessive space around a large object can make it appear small. Conversely, too little space surrounding an object will make it appear larger, maybe crammed, possibly causing difficulties in viewing it. The designer needs to consider carefully the size and shape of objects when planning an exhibition so that appropriate spaces can be selected or constructed for the works being presented. Thought

Progress, Part I by Luis Jimenez

must be given to the mood expressed by the object or the feeling that

The First Western States Biennial

needs to be conveyed. Should the object appear to confront, or does it

Exhibition

need to be seen more leisurely, at a distance?

(Pages 96–97)

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Sometimes in planning the layout of an exhibition a specific object is not large enough to command the space around it. Alone it is lost in space. Thus it may be necessary to assemble several works in proximity so that the aggregate of the things brought together determines the shape. Then the way in which the various units are arranged establishes form. While each object has its own intrinsic form, the whole has form too, and that is determined by how these units are disposed in relationship to each other. A basic principle of Gestalt psychology of perception postulates that objects are first seen as a unified whole before they are perceived as The Art of Korea

parts. Thus, we initially organize the components into what we perceive

(Pages 6, 7, 36, 86–89)

as a more comprehensible, ordered whole before we see single units that comprise the whole. Likewise, Gestalt theory maintains that human perception has the capacity to absorb only a limited number of unrelated units. While it may be desirable to group objects to create a larger form or shape in a certain part of an exhibition, care has to be exercised in

The placement of two large Luis Jimenez

the selection of the items that are brought together. The capacity to

sculptures in The First Western States

establish coherence is dependent on the visual similarities, differences,

Biennial Exhibition (left and pages 96–97)

and relative positions of the units. The purpose of the exhibition must

exemplifies these considerations. A large

be clear so that the juxtapositions established by bringing these objects

sculpture of piled up animal and human

together will communicate the intended message. Some exhibits may

forms near the gallery entrance confronted

be enhanced through a comparative presentation of similar works.

viewers and demanded attention and

Other times the individuality of objects needs to be emphasized by the

interaction at the moment of entry into

interaction of contrasting units.

the exhibition. Viewers could not avoid the sculpture and thus psychologically became

The presentation of ceramics in The Art of Korea (above) emphasized

part of the build-up of forms. In essence this

continuity and similarity of style and technique even though some of the

sculpture set a tone for the exhibition—

individual forms were unique. The grouping of objects in On Heavenly

where visitors constantly addressed large-

Wings: Birds and Aspirations (illustration, page 175) emphasized

scale works. Jimenez’s other work was open

contrasts of media and cultural orientations within a conceptual context.

and expansive. It required distant views from

Here diversity of form in a grouping was important to convey the intended

various angles; thus, it was placed to take

message of the ubiquitous and universal aspirations for flight.

advantage of visitor movement and vision The ability of forms or their groupings to establish mood by their

throughout the gallery.

interaction with space is a powerful tool for the designer. By utilizing form to contract or expand space the designer subtly influences visitor response to an exhibition environment and to the works within it.

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V A L U E Value, the darkness or lightness of things, sometimes is referred to as tone. An object’s value results from a combination of two factors. One is its inherent value or its darkness or lightness, excluding the effects of light; the other is the incidental value created by light or illumination. Illumination reveals inherent value in an incidental way depending on the amount of light available. In dim light even light values appear darker and the variations of dark values may hardly be discernible. Likewise in strong light a range of dark values will have clarity and they can appear lighter than they actually are. In planning an exhibition the selection of value in both its inherent and incidental qualities is secondary in importance only to the development of space. Even more than color, value has an impact on the nature, feeling, and mood of an exhibition. The designer has to be

Akari by Noguchi

clear about the exhibition concept so that appropriate background

(Pages 90–93)

values and the quality of lighting can be selected to enhance the conceptual meaning of the exhibition.

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The visual and emotional effects of value are

physically more often need to consider changing background colors

evident in the exhibition Akari by Noguchi

and values so visitors feel they are entering a new and vital space for

(left and pages 90–93). The determination of

each exhibition.

space and value was of greater consequence

Close values create quietness and make viewing easier. Awkward or

in this exhibition than was the selection

repetitive shapes can be disguised by the selection of a background

of color or the consideration of any of the

of closely related value. Subtlety of value relationships can create an

other elements of art. Value in the Noguchi

atmosphere of unparalleled harmony and suggest a sense of richness

exhibition allowed the platforms to recede

and quality never possible in a high-contrast environment. Jun`ichirō Tanizaki in his book In Praise of Shadows comments on the

into the background, to blend in value

subtlety of value that is integral to the Japanese aesthetic.

with the floor, and thereby give emphasis to the exhibition elements—Noguchi’s light sculptures. The exhibition “became”

We value a scroll above all for the way it blends with the walls of

Noguchi’s “Akari.” Light remained with and

the alcove. . . . Even the greatest masterpiece will lose its worth as a

within his work. The dark value surfaces of

scroll if it fails to blend with the alcove, while a work of no particular

the platforms absorbed the illumination

distinction may blend beautifully with the room and set off to

of the Akari rather than reflected it. Thus

unexpected advantage both itself and its surroundings. 1

viewers were only aware of the magic of the Value changes its appearance by the proximity of other values. Objects

sculptures themselves. Imagine the platforms and architectural

can be made to seem lighter or darker depending on the value of

elements white. First, the inherent value of

the adjoining background color. White and lighter value backgrounds

the sculpture and the setting would have

reflect light into adjacent colors and soften them, but the contrast

been the same, making their differentiation

obscures the subtlety of darker tones within a work of art. Details in dark

nonexistent. Second, the reflections of

bronzes, for example, can be lost when placed against light walls. Dark

incidental light on the light valued surfaces

values in the setting make adjacent colors appear richer.

would have been equal to the illumination of the sculptures, thereby rendering the ability

Selection of a deep burgundy wall color caused the rich, somber colors of

to perceive Noguchi’s work very difficult.

Pranas Domsaitis’ paintings (pages 94–95) to glow with religious intensity reminiscent of the mystical light of Medieval stained glass windows. White

Contrasts of value create drama and

walls, as requested by the artist’s widow, would have diminished the

function to focus attention, emphasizing

expressive and evocative quality of the work.

that which is most important. However, an environment with many details of

Value affects our perceptions of the size and distance of objects. A light

opposing value will appear chaotic and

shape will appear larger than a dark shape of the same size and will

lack unity. Juxtaposition of value or color

tend to advance when placed against a dark background. But when

can be used to alter the appearance of an

placed against a light wall, the lighter shape will tend to melt into the

exhibition space. Strong value contrasts

background and the darker one will become more conspicuous by the

make a space seem smaller. A square

juxtaposition. It will tend to come forward as the lighter one recedes. Besides setting emphasis and developing mood, value is an

room can seem less square by using a different value on one wall. Designers who

important agent to the establishment of visual order in an exhibition.

work in spaces that cannot be altered

The designer arranges objects based on their tonal similarities and 1 Tanizaki, 19.

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contrasts as much as on other compositional qualities such as shape, linear movement, color, and texture. In fact, if the values are unbalanced the other elements will fail to achieve compositional equilibrium as well. Value is a vital element in establishing thematic emphasis and compositional order in an exhibition. Sensitive value considerations have the ability to focus the viewer’s attention on that which is most important.

C O L O R In contrast to the element of space where our reactions are often

analogous colors. The farther apart

subliminal, humans are aware of their emotional responses to color.

two hues are on the color wheel the

Color most often elicits definite emotions that affect our thoughts and

more divergent they are in character.

moods. Our response to color is determined by cultural and personal

Hues opposite each other are called

conditioning; we like certain colors and their combinations and we

complementary colors.

reject others. Generally light, bright, and warm colors make us feel happy; whereas,

The characteristic value distinguishes a color’s darkness or lightness. Each hue in

cool, dark colors elicit a more somber mood. But the range of emotive

its purest form has a specific value. Yellow

responses may be vast, as cool, dark colors may also suggest a quality of

is the lightest; violet the darkest. But each

dignity or serenity.

hue can have a range of values from light

All colors have three physical characteristics: hue, value, and intensity.

to dark depending on the amount of black

Hue is the attribute by which one color is distinguished from another. It

or white, or a combination of both (gray),

is the color; red as opposed to blue.

is added to it.

Red, yellow, and blue are the primary colors. They cannot be

In planning an exhibition the selection

created by mixing other colors. When any two primaries are mixed in

of background colors and their values can

approximately equal amounts a secondary color is created, such as

be an important element in establishing

orange from red and yellow, green from yellow and blue, and violet

continuity or in providing variety. If a range

from red and blue. When three primaries or a primary and secondary

of colors or values is to be used care must

color are mixed an intermediate color results, and the potential range of

be given to providing enough contrast

possible colors is infinite.

to at least one of these characteristics so

To understand color, hues are generally arranged around a color

that the intended variation is perceivable.

wheel with the three primary colors spaced at equal intervals on the

Without sufficient contrast of hue or value,

circle. The three secondary colors are placed equally between them

changes from section to section or even

and between each primary and secondary color are the intermediate

from wall to wall will go unnoticed.

colors. When the mix of primary and secondary colors is equal the intermediate colors are called tertiary colors. Colors that are close to each other on the color wheel bear hue relationships, are more harmonious—they have one color in common—and are termed

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The contrast of hue—lavender, pink, aqua, blue, and yellow—in the walls of The 2nd International Shoebox Sculpture Exhibition (below and pages 41, 111, 114, 115) created an atmosphere of excitement; but extreme care was given to the selection of the five colors so that all values were equal; thereby, establishing harmony within diversity. The colored walls provided a background that not only divided the vast exhibition space but served as a counterpoint to the white platforms that supported the sculptures and traversed the exhibition area. This exhibition is a good example of the need for attention to the sensitive development of value relationships among Spectrum: New Directions in Color

colors. Often concern for value goes unheeded because of the stimulating

Photography

effects of color.

This is evidenced in the exhibition Spectrum:

Intensity, sometimes called saturation or chroma, is the characteristic

New Directions in Color Photography.

of color that signifies the strength of a hue, its purity, or its brightness

Although care was given to the selection

or dullness. It is measured by the degree a pigment color resembles

of colors that had diversity within an

its spectrum intensity, that is, the pureness of the color as would be

analogous color range, the contrast of both

achieved by a beam of light passing through a prism. A high intensity

hue and value was insufficient to distinguish

hue would be closest to this spectrum color. In low intensity colors

a difference from room to room. A greater

the brightness is neutralized or dulled and the resulting color tone is

range of value was necessary to give variety

muted or grayed. This neutralization is achieved in four possible ways.

to the restricted color palette.

Three of these are accomplished by adding black, white, or gray to the color. This, of course, changes the value, but a change of value also

Although different hues may create

changes the brightness or intensity of color. The fourth way of changing

variety and contrast, similarity of value

the intensity of color is by adding some of the complementary hue,

will provide continuity and pull together diverse elements in an exhibition.

The 2nd International Shoebox Sculpture Exhibition (Pages 41, 111, 114, 115)

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the color directly opposite on the color wheel. This, at the same

and intense colors—achieve a more

time, changes the value. Hues neutralized by mixing complements

intimate atmosphere. In a long narrow

have a quality and liveliness of character not possible when they are

space, advancing colors on an end wall

neutralized with the gray pigments.

will tend to decrease the sensation of

Backgrounds of low intensity colors with their rich, muted tones are

length. Distance and area also affect our

easier on the eyes and less demanding than highly saturated colors.

perception of color. Colors that are near

They provide an atmosphere that gives greater emphasis to the objects

seem darker and more brilliant, and thus

presented. Bright colors should be used with reservation, to provide

more demanding, than the same colors at

emphasis, as the excessive use of highly intense color can create an

a greater distance.

environment that is disturbing. Nevertheless strong color can create a

It is important to keep in mind that,

dramatic counterpoint or, as in the entrance, can establish an exciting

aside from conceptual reasons that

introduction and suggest the theme of an exhibition.

prescribe a specific color, color is not

Color can increase or decrease the apparent size of an exhibition

important in and of itself. The result of

area and, just as value, can change its proportions. Receding,

bringing various colors together is the

generally, cool colors, along with white and light tones, create an

significant thing. Our eyes perceive color

illusion of space. Advancing colors—predominantly warm, dark,

in relation to all that is around it.

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The nature of a color changes radically

Simultaneous contrast is evident even if the colors have close hue

when it is placed next to another.

relationships. A blue green object will appear blue against a green

Contrasts are emphasized, whether

background; but, it will seem green in a blue setting. Likewise, a grayed

they are hue, value, or intensity. This is

green will look brighter against a gray background, and grayer against

known as simultaneous contrast. The

bright green. When a warm color is seen in association with a cool

effect is most obvious when the colors

color, the warm one is warmer and the cool color is cooler. The designer

are complementary; each will appear

needs to consider carefully color characteristics and relationships when

more intense as a result of their proximity.

selecting colors. Just as value is important to the establishment of

Physiologically, whenever a color is

mood, color temperature sets a tone for an exhibition and may even be

seen, our eyes attempt to neutralize it

more important to visitor response than specificity of hue. The quality

by inducing its complement. When the

of warmth or coolness suggested by color can cause an exhibition to

complement is already present each color

appear inviting or remote and unwelcoming. Generally warm tones

appears to attain a vibrancy not possible

draw us in, but the inviting nature of a cool color can be maintained if

in another color arrangement.

care is given to the selection of a cool color that is warm in tone, i.e., a warm blue as opposed to a cool blue. The quantity and quality of light, both natural and artificial, are necessary considerations in the selection of colors for an exhibition.

The use of the effect of simultaneous

While artificial light can be adjusted and controlled, the number, size,

contrast that considers the juxtaposition

and location of windows, the time of day, and the seasons determine

of complementary colors is dramatically

natural light. Light from the north is cool. East light is warmer, but cooler

exemplified in the exhibition Koa Furniture

than the warm afternoon light of the south and west. When determining colors it is imperative to select them in the area

of Hawaii (pages 44, 104–107). Here a rich forest green served as a background color

and in the lighting conditions that they will be used. If the exhibition

causing the warm orange tones of the

space has windows, observe the colors at different times of the day

natural wood furniture to glow under the

because natural light varies as the day progresses. Because texture changes the way light is reflected, it affects the

incandescent lights. The furniture achieved visual emphasis from the cool, dark, and

perception of color. Smooth and shiny surfaces reflect light. Thus colors

simple setting in which it was placed.

appear lighter and more brilliant than those of a textured surface.

Initially, to suggest the royal connotations of

Wood tones of floors, paneling and casework must be considered

some of the furniture, a deep red background

when selecting colors. Colors of intense chroma are more compatible

was considered. Imagine the furniture in a

with deep wood tones that appear to absorb color. Light colors tend to

setting of close hue relationships.

correspond more appropriately with light colored woods. Color can convey a wide range of expressive moods. But color can also have its own aesthetic appeal—we respond to certain colors and color combinations simply for what they are. Color often produces the

Koa Furniture of Hawaii

first and most lasting impression on those who enter an exhibition, thus

(Pages 44, 104–107)

the sensitive selection and combination of hues, values and intensities are of paramount importance. The designer’s responsibility is to understand the purpose and theme of the exhibition and analyze how color should determine the nature of the visitor’s experience.

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T E X T U R E Texture is the element of art that is revealed through two senses: vision

color, from case to case, drew attention to

and touch. We experience texture with our eyes, but an association

those changes and sapped emphasis from

with things we have previously touched determines the nature of our

the rare and important artifacts.

perception. Exhibition designers deal with two types of textures: actual and simulated. Actual are those textures inherent to material—they can

The second consideration, the texture of

really be sensed through touch. In the museum setting, however, other

that which is being displayed, has to do

than hands-on exhibits, visitors’ sensory tactile perceptions are most

with textural correlations between objects.

often limited to visual awareness. Simulated textures are those usually

Besides establishing visual continuity of

associated with two-dimensional works of art in which the textures

line, shape, value, and color, care must

within the picture plane are rendered to copy the surface character of

be exercised in the determination of

an object or form.

tactile relationships.

Texture has two important considerations in exhibition design. One is texture within the setting or the environment and the other is the

Textural contrasts and continuity were

texture, actual or simulated, of that which is being displayed. Of the first,

evident in a section of The 1st International

texture within the setting, designers must be careful to use restraint.

Shoebox Sculpture Exhibition (left).

Economy has strength. It allows that which is presented to stand out.

Here four objects were presented in which

Too many variations of textures in the setting create a situation in which

care was given to value, color, shape, and

attention is diverted to the background rather than to the objects.

texture relationships so that interest would be retained by their variety; still, visual

Misuse of textures occurred in an exhibition of Pacific artifacts in which

similarities created continuity. Texture was

the floor of each display case was covered with a different material that

an important consideration in the placement

included white sand, black sand, crushed coral rock, crushed pumice, cork,

of these sculptures as it was in each area

wood chips, and red velvet. The change of texture, along with value and

of the exhibition. It must also be noted that contrasts and similarities of materials, techniques, ideas, and their manifestation in individual works of artists from different parts of the world are among the motivational concepts of the International Shoebox Sculpture Exhibitions.

The 1st International Shoebox Sculpture Exhibition (Page 112)

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Concern for the tactile relationships among two-dimensional objects that are perceived only visually is equally important and should govern the grouping of objects so they do not compete with each other; yet their arrangement should not lead to boring monotony. The challenge to the designer is always to attain the perfect balance between variety and unity.

T I M E / M O T I O N Physical space is sequential. It is observed

Care must be exercised in the positioning of dramatic objects. Their

in increments. Forms occlude; they appear,

placement at the beginning of an exhibition is like starting a symphony

disappear, and reappear. Anticipation

with a crescendo. Build up to the dramatic event so there is a sense

occurs; one is led on.

of anticipation.

Physical space always involves the element of time/motion. As the

On Heavenly Wings: Birds and Aspirations (pages 56, 170–175) had

viewer proceeds through an exhibition

a series of thematic interludes with dramatic points in each but visitors

continuing and changing vistas reveal

sensed the finale when the entire space became charged with flying forms.

themselves. Attention to the development of effective and dramatic sight lines—what

Surprises are essential to eliciting and maintaining visitor interest.

the visitor sees at various points in the

Much as in the “Oriental garden,” you want people, who think they have

exhibition—especially at the entrances to sections shows the mark of a sensitive designer. The sequence of experiences must be orchestrated so that passage through the exhibition has variety yet continuity. The viewer should be encouraged to linger in certain areas and pick up momentum in others.

On Heavenly Wings: Birds and Aspirations (Pages 56, 170–175)

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gained an understanding of what is happening in the exhibition, to

ENDNOTE

turn the corner and be surprised.

The information in this and the subsequent chapter

Careful pacing of an exhibition or the entire museum experience

has been an integral part of the process of working

helps to reduce visitor fatigue, both physically and mentally. Viewing

on exhibitions over many years, including the

art or any exhibition requires the concentrated use of one’s eyes and

language of communicating with students in courses

mind. The designer needs to consider movement through an exhibition

in beginning design and exhibition design. Reading

in terms of the visitor’s ability to deal comfortably with a succession of

how other teachers give verbal form to these

experiences. Calculated places along the viewing route should permit

ideas helps to expand the potential of meaningful

visual and mental rest.

communication with students. Over the years the

Thought must be given to the capacity to move through an

range of word choices and methods of explaining

exhibition with ease. Dead ends and potential bottlenecks that impede

have not changed from the firm foundation

visitor flow must be avoided.

imparted by the late Kenneth Kingrey in a beginning

In planning an exhibition, designers need to give consideration

course in two-dimensional design. Nearly fifty years

to accommodating different personality preferences. Those who like

of publications by a multitude of authors have not

things organized and who need to follow a plan from beginning to

altered the basic message. This alone attests to its

end appreciate a specific route that eliminates the nagging sensation

importance and timelessness. There are certain

of being lost or of missing something. However, others will value

authors, however, whose works on the elements and

the opportunity to circumvent direction by wandering freely, being

principles of art form a basis for relevant language

inspired by random objects and ideas of interest.

to the field of exhibition design. Because of the commonality of ideas few citations are made within

A Journey Through Chinese Hell (pages 186–189) and Egyptian

these chapters; however, the following publications

Antiquities (pages 116–119) are examples of exhibitions that follow a

are credited for contributions to an understanding of

specified route. The International Shoebox Sculpture Exhibitions (pages

the fundamentals of the visual arts.

110–115) permit freedom of movement. Goldstein, Nathan. Design and Composition.

Conscious attention to the application of the elements of design is

Kepes, Gyorgy. Language of Vision.

one of the most effective methods of assuring that an exhibition will

Ocvirk, Otto G., Robert O. Bone, Robert E. Stinson, and Philip R. Wigg. Art Fundamentals: Theory and Practice.

have the vitality to sustain a visitor’s interest. It will enhance the visitor’s ability to focus, for when the elements are considered with sensitivity,

Peterson, Caroline E. and Kenneth Kingrey. The Art of Flower Arrangement in Hawaii.

attention is directed to what is on display and not to careless and inconsequential details.

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C H A P T E R

2

P

P R I N C I P L E S

O F

D E S I G N

While the elements of art are tangible and concrete, the principles are intangible, only sensed. They involve the feelings elicited by the organization of the elements and result from a human inclination to search for order. Faced with chaos, human beings try to structure unrelated elements and give them meaningful form. In the process, when ideas and human feelings are also expressed, art arises. The principles according to which the elements of art are organized include: unity, repetition, movement, transition, opposition, emphasis, balance, variation, and simplicity. All the principles will not always be present in a work of art or the design of an exhibition, but most often we find that many of these principles work together with the elements to create a sensation within the observer. If thought is given to the explanations of the elements it becomes evident that the descriptions of each utilize a multitude of terms that

The principles of art provide the basis upon which human beings respond to that which they perceive and experience.

constitute the principles. The fact that the principles are necessary to describe and explain the elements emphasizes their interdependence.

U N I T Y Unity, sometimes referred to as harmony or continuity, constitutes the organization of all the parts of a composition into a consistent and orderly whole. It is the aspect of a work of art that provides evidence of everything belonging, the continuity of an idea or expression and the integration of all its components. It is a result of the many kinds of visual bonds or relationships that tie elements together. Consciousness of the principle of unity is of paramount importance to the presentation of an exhibition. Unity will help to keep the

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attention of the viewer focused on the objective or purpose of that which is being presented. When there is unity we sense an overriding harmony that even encompasses contrasting elements. No matter how diverse exhibit units are, when an exhibition is successful, differences are reconciled and there is a sense of oneness. Everything seems to bear some association with the rest of the exhibition. In a unified presentation it becomes difficult to add, delete, or change anything. All of an exhibit’s components produce an enveloping structure in which every part is dependent on every other part. The alteration of any segment runs the risk of destroying continuity, so important to the attainment of unity. Thus, any changes, no matter how slight, often necessitate major adjustments. Subject or thematic (conceptual) unity is not sufficient to hold

Selections II: European and American Art

together an exhibition or even a portion of an exhibit. Without a careful

in Hawaii Collections

integration of the visual elements even the most obvious conceptual

(Pages 9, 120–121)

relationships will not succeed.

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The underlying principle of integrating all the parts of an exhibition is to develop similarities and connections. Most of all designers must look at the relationships between things. In a good exhibition viewers will find endless interactions. They will constantly discover new relationships, new connections. Some will be obvious; others more subtle. In the end all the relationships are based on similarities.

R E P E T I T I O N The reiteration of optical units creates repetition and provides continuance and flow. In two-dimensional space repetition can lead the viewer’s eye in a path established by the artist. Likewise in an exhibition the repetition of elements helps to guide the viewer harmoniously through space. Continuity results as rhythmical order and relationships establish progressions that repeat and recall each other so that the finished design is a satisfying whole. Despite the focus of Selections II: European

By its insistence, repetition demands attention, but unvaried

and American Art in Hawaii Collections

repetition has a danger of becoming monotonous. The exhibition

(pages 9, 120–121) the diversity of the

designer, just as an artist or a musical composer, must conceive of a

objects necessitated careful organization of

way of giving variety to the cadence of common elements. This can

the visual and formal elements. The entrance

be developed through attention to spacing or to subtle changes in

(left) established the tenor of the exhibition

the nature of any of the other elements. Then repetition becomes

by juxtaposing three different kinds of objects

more than the simple recurrence of units. When subtle rhythms are

from three distinct periods: a Newport,

established an unobtrusive harmony envelops the work.

Rhode Island highboy, ca. 1740-60, a Konrad Cramer painting, 1935, and a contemporary

Attention to repetition is especially important when exhibitions contain

sculpture by Deborah Butterfield. The

objects with considerable uniformity of size and shape. The exhibitions

three objects also contrasted each other

A Legacy of Teaching (pages 98–101), Treasures of Hawaiian History

in size, shape, dimensionality, and texture.

(pages 25, 164–167), Frédéric Bruly Bouabré (page 193), and Huc

Nevertheless unity was established through

Luquiens’ Hawai‘i (pages 198–199) readily exemplify the importance

color, value, and material. The similarity of

of careful consideration of the principle of repetition. In each of these

color and the representation of furniture and

exhibitions continuity with variety characterized the presentation of many

rectangular shapes in the painting joined

repetitious units. Rhythms were established but spaces and groupings were

it to the highboy while the use of wood

varied to provide interest.

and the linearity of the legs connected the highboy and the irregularly shaped and textured horse. The search to establish visual correlations and contrasts throughout the exhibition provided unity within diversity.

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M O V E M E N T In contrast to the element of motion that involves actual motion, that is, displacement in space over time, the principle of movement only implies motion. It is a movement that we sense, that leads us visually. Ultimately, in exhibition design, this visual movement leads us physically through the space. The repetition of elements and/or directional forces within a composition denotes changes of position and suggests movement. Change may be a progression established by the sequence of the recurring or reinterpreted visual elements—color, form, texture, value; but line, either actual or implied, because of its directional implications has the most dynamic potential to suggest movement. Line and the sequential placement of the other elements cause the eye to follow

Cities of Shadow and Light

paths established by the designer. They pull the observer on through

(Pages 178–181)

the separate elements to an ultimate comprehension of the entire visual statement.

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In an exhibition, just as in an individual work of art, placement of objects that

T R A N S I T I O N

leads the viewer on must be such that it is integrated into the overall unity of

When movement or the change between different units within a

the exhibition. It is the establishment of

composition is abrupt, a transition often needs to be employed to bind

locations of interest and their integration

the dissimilar elements together. Transition serves as a bridge between

into the total composition that creates

opposing forces and helps to establish unity. It is an integrating factor

movement. No matter how complex

that fuses a variety of unrelated parts into an ordered and cohesive

the path, the observer should be able to

whole.

follow it and sense continuity between the

In an exhibition, transitions help to lead us from one area to another, one mood to another. Intermediate hues can make passage from a

various elements.

certain color range to a contrasting color seem natural and harmonious. Calculated changes of scale among objects

Similarly, medium values act as a transition between dark and light areas

and of wall colors and their values in Cities

and extremes of texture can be reconciled with the careful selection of

of Shadow and Light (pages 178–181)

intermediate textures.

enticed viewers through the exhibition. Visitors traversed a variety of moods and

In Treasures of Hawaiian History (pages 164–167) color and architectural

experiences much as they would in moving

elements served as transitions that emphasized important historical events

through a city. Likewise scale differential and

or signaled thematic changes in the exhibition. The visual proximity of

strong linear groupings counterbalanced by

these transitions allowed the visitor to perceive the relative size of individual

other approaches to presentation contributed

sections of an exhibition that, in totality, comprised hundreds of historical

to the development of discrete centers of

documents and artifacts. Consequently passage through the exhibition

interest as visitors proceeded through The

seemed less daunting and encouraged thoughtful observation of the

Image and the Word (pages 30, 158–161).

objects on display.

In an exhibition each object must maintain its individuality, with its own inherent movement within itself; but each also has the dynamic tendency to go beyond itself, to lead us on to other parts of the exhibition. The movement, then, is from object to group, from group to group, resulting in a progressive organization of the parts into a dynamic synthesis of the whole. Treasures of Hawaiian History (Pages 164–167)

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The juxtaposition of specific works plays a significant role in establishing the character of an exhibition. Bold, dramatic effects, emphasized by sudden and abrupt transitions, can provide vital counterpoints within an exhibition. The decision to use a certain element to achieve a transition or not contributes to the total dimension of an exhibition and affects its ultimate character.

O P P O S I T I O N The opposition of different forms, lines, or colors in a work of art

Kepes explains,

intensifies each element’s properties and produces a more dynamic expressiveness. As in a work of art contrast is necessary to create a vital,

when representational units within the

interesting, and exciting exhibition. Opposition, contrast, or tension can

same picture [or within an exhibition]

be defined as an aesthetic conflict between opposing forces. It is an

contain statements which seem

expression of differences, where a relationship is established between

counter to the accepted logic of events,

extremes. Gyorgy Kepes, in his classic work Language of Vision, states,

the spectator’s attention is forced to 1

“every image is based upon dynamic dualism, the unity of opposites.”

seek out the possible relationships

In these definitions there is a suggestion of connections between the

until a central idea is found which

contradictory parts and thus the implication of unity through contrast.

weaves the meaningful signs together

This is the essence of contrast, where unity is achieved through the

in a meaningful whole. . . . [The]

juxtaposition of opposites. Each part of the combination needs the

strains, stresses, and tensions [created

other to reach a state of resolution or completion.

need to be] resolved into a meaning

Thus unity can be found even where we would expect it to be

configuration. . . . Whereas the

absent, in contrast. Designers use opposing forces to give exhibitions

relationship of plastic qualities [the

vitality. They juxtapose light and shadow, large and small, bright and

visual elements] emerges through the

dull, soft and hard, horizontals and verticals, organic and geometric,

dynamic organization of the spectator

rough and smooth.

into a spatial whole, in the case of organization of meaningful signs the

Fourteen-foot high hand-painted murals reproducing several prints

unifying whole has the dimensions of

functioned as counterpoints in First Impressions: Japanese Prints of

human attitudes, feeling and thought. 2

Foreigners (pages 126–129). The placement of the murals at intervals within the exhibition established positions of contrast that alleviated the monotony of the many uniformly sized prints. Contrast or opposition, however, is not limited to the formal properties of an exhibition. Contradiction is the basis for the dynamic organization of the associative qualities of images as well. Associative differences establish the meaning of an exhibition.

1 Kepes, 31. 2 Kepes, 202.

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Kēia Wai Ola: This Living Water

The assemblage of objects of diverse origins and purposes formed the

(Pages 248–251)

leitmotif of Kēia Wai Ola: This Living Water (pages 248–251). Contrasts of materials, colors, sizes, and textures constituted the visual basis of the exhibition; however, a clear conceptual message of how objects and their stories defined the people of the island of Maui remained the reason for the exhibition. Despite the obvious contrasts, subtle aspects of color, pattern, value, and texture contributed to the establishment of cohesive perceptual relationships between the objects. The more contradictions introduced into an exhibition the greater the potential for variety and, subsequently, the possibilities of creating interest. However, the designer, as the artist, always runs the risk of creating chaos, of not being able to reconcile the diversity of elements and ideas into a greater harmony. In the end not only the designer but the viewer must feel that the opposites, those contrasting elements, are reconciled into an overall unity.

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E M P H A S I S The creation of visual emphasis within an exhibition is essential to alleviating museum fatigue. Undifferentiated sameness contributes to monotony and ultimately to an inability to consider anything. As a consequence an exhibition falls short of effective communication. After formulating the motivational idea of an exhibition, curators and designers need to designate through the manner of presentation those objects or parts of an exhibition to which attention must be given. Begin by placing key pieces and work others around them. Emphasis is achieved by grouping objects or through contrasts of value or color. In turn other elements are subordinated, gaining importance by being

The Art of Asian Costume

visually quiet. Neglect of the principle of emphasis sets everything on

(Pages 142–147)

a plane of equal prominence; a confusing visual image is presented in which the viewer is given no direction.

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B A L A N C E Brilliant color along with dramatic

Balance or the ordered arrangement of opposing forces is one of

presentation highlighted part of each

the most important conditions of unity. It grows from the innate and

geographical section of the exhibition The

dynamic human process of seeking equilibrium out of chaos. For the

Art of Asian Costume (pages 142–147).

designer, it means developing a final form that achieves a state of visual

Meanwhile subtlety, usually of colors, values,

balance. It is that aspect of an exhibition where everything shown,

and textures, characterized subordinate

every form, line, color, value, and texture is arranged in such a way to

areas. Likewise, striking passages became

create a sense that all the components possess an overall stability.

focal points throughout On Heavenly

There are two types of balance: symmetric and asymmetric.

Wings: Birds and Aspirations (pages 19,

Symmetric or axial balance occurs when similar parts are placed on

56, 170–175). Nevertheless, the climactic end

opposite sides of a central axis. Symmetric balance is easy to achieve. It

of the exhibition became readily evident as

imparts a feeling of stability, formality, and dignity. But it also runs the

winged beings filled the space of the final

risk of being static, obvious, and boring. Asymmetric balance suggests an informal atmosphere. Dissimilar

section of the gallery.

elements are brought to play against each other. Here opposing forces Sometimes an object will present itself

come together in visual balance through a felt equilibrium. In this

as an anomaly within an exhibition. It

manner a vital, dynamic, and expressive visual organization occurs.

fails to integrate with other things. Often

Asymmetric balance can be achieved by a multitude of means: by

the problem can be solved by isolating

divergent colors or textures and by contrasting form against space, a

the object—giving it emphasis—thereby

strong color with a muted one, or a large shape with a group of smaller

diminishing opportunities for comparison.

ones. There are no rules. The range of possibilities is infinite, and the

The designer must assure that each

challenge is great. The designer must feel or sense the opposing forces

part of the exhibition has the necessary

and their tensions and structure them to attain a balance consistent to

degree of importance and these parts

the total concept.

must integrate into the overall balance and movement of the entire presentation.

Two exhibitions that utilized the gallery as a singular entity used the

Different methods can be used to achieve

principles of balance in divergent ways. The remarkable similarity of scale

this. One area may derive importance

of the six works by each of the individual artists in Baskets: Redefining

because of a change of size, color, or

Volume and Meaning (pages 168–169), combined with the contrast of size

value. Another might rely on busyness.

between works by the various artists, suggested a symmetrical, somewhat

The challenge is to maintain harmony by

restrained, layout of the platform supports. Meanwhile, in the exhibition

making each emphasis connect visually

Akari by Noguchi (pages 12, 90–93) an asymmetric arrangement evoked

with other portions of the exhibit so that it

a casual, almost enchanted atmosphere. In addition to the irregular

remains an integrated part of the whole.

placement of the platforms the Akari were positioned to formulate a balance of size, shape, and illumination from any point within the gallery. The placement of the sculptures within the installations of The International Shoebox Sculpture Exhibitions is based on finding a balance between the diversity of visual elements in each of the sculptures.

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The sense of an enveloping unity within an exhibition’s installation owes much to the organization of the many kinds of relationships and directed movements that go into achieving balance. When the main function of an object or a part of an exhibition’s design is to add weight where it is needed to counterbalance other objects or movements, that part is necessary to achieving unity within the exhibition. Nevertheless that element must appear related to the other components of the exhibition or it will serve as a distracting anomaly in the context of the rest of the exhibition.

V A R I A T I O N “Balance needs variation to be interesting, but variation needs

by unequal negative spaces between

balance to be coherent.”3 Nathan Goldstein’s commentary on the

prints and through changes in the size

interdependence of balance and variation succinctly summarizes

and nature of groupings, allowed this

the necessary considerations for designers. The dilemma is always

presentation of many small and repetitious

to achieve a balance between variation and continuity. Too many

objects to maintain a freshness and vitality

variations and contrasts can lead to chaos and confusion; too many

throughout.

similarities to boredom. Ultimately the goal is to integrate every separate unit into the whole.

In The Image and the Word (pages 158–161) the repetitiveness of many small objects within cases was relieved by the

Continuity and rhythm were established in the arrangement of the prints

arrangement of individual pieces and

in the exhibition Huc Luquiens’ Hawai‘i (pages 198–199). Individual prints

groupings on the walls. Variation in the types

and groups were hung on a uniform central line. Variation, characterized

of objects—in their scale, medium, and place and time of origin—gave this exhibition a universality of theme and provided a context for increased interest.

The Image and the Word (Pages 158–161)

3 Goldstein, Design and Composition, 9.

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S I M P L I C I T Y The imaginative designer works to

While the application of all the principles of art is important to

achieve variety in unity through the

the presentation of an exhibition the consideration of simplicity is

development or expansion of various

paramount to projecting attention to that which the exhibition is

aspects of the exhibition’s basic concept.

about—the objects and the intended message. The designer and the

By the repetition of an idea, theme,

curator should keep in mind that each aspect of the exhibition must

or presentation method, each time in

be indispensable to the exhibition’s overall value, that it contains no

a slightly new and different way, the

elements that are not essential, but that all that are necessary are there.

designer brings variety yet continuity to

The success of an exhibition depends upon the reciprocal relationship

an exhibition. The more ways the manner

of its elements; each needs, or responds to, every other element.

of presentation is stated and expanded

Simplicity entails finding the most economical yet dynamic way of

within the limitations of the basic idea and

presenting what is at the heart of the subject. It requires a conscious

scope of the exhibition design the more

and constant referencing and sensitive analysis of the exhibition’s

interesting the exhibition will be. However,

central message.

the extraneous, superficial, and irrelevant

In planning an exhibition the designer searches for patterns and

must be eliminated or the result will be

relationships among the parts of the exhibition in an effort to organize

merely a collection of elements, choppy

and simplify their presentation. Part of the simplification process

and confusing, much as a yard sale display.

corresponds to meaning so that the exhibition’s message will be communicated with directness and ease. However, an important part of

The installation of Cities of Shadow and

the organizing and simplifying relates to the exhibition’s compositional

Light (pages 24, 178–181) interpreted the

order. The designer finds and establishes relationships based on space,

exhibition’s architectural theme. The city-like

line, form, value, color, and texture so the entire presentation comes

environment, composed of walls of different

together in a visually logical and lucid way.

heights and colors, provided conceptual continuity. This variety in presentation

The interaction of concept and composition was dramatically exemplified

and color integrated gradual changes of

in the exhibition Greek and Russian Icons from the Charles Pankow

mood and contrasts of size and techniques

Collection (pages 122–125). Attention to the development of a space for

of individual works and kept this large

each icon resulted in a plan that echoed that of a Byzantine church and

exhibition from becoming monotonous. The

gave emphasis to the icons themselves.

attention of visitors was maintained as each moved along paths that, in turn, suggested

Economy of expression is vital to any communication. Clutter is

a grand promenade, wide boulevards, dark,

confusing and taxes the cognitive abilities of viewers. Unimportant

narrow alleys, and winding city streets.

and intrusive details dull meaning. Simplicity summarizes and amplifies meaning. It dictates that all parts not be too complicated, not too important, and therefore, not disordered. All the parts of a composition or an exhibition need to be brought into agreement. Simplification is often the best approach to achieving this. Nevertheless, simplicity should not be an end in itself or it will lead to boring generalizations.

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Simplicity necessitates understanding. It is the outcome of sensitive perceptual inquiry. All distracting and fussy details in the installations of The 1st and 3rd International Shoebox Sculpture Exhibitions (pages 18, 110, 112, 115) were eliminated. Thus the viewer’s attention was focused on the sculptures. Kenneth Kingrey4 incessantly and passionately reminded his students, “When in doubt, leave it out. Simplify! Simplify! Simplify!” It is good advice. Most of all it fosters a questioning approach to design; one of self-evaluation where the need for each and every element, every decision, is questioned and evaluated in relation to the total statement. Foremost to a discussion of the elements and principles of art as they relate to exhibitions is the fact that designers must search for effective visual and conceptual associations between the objects and ideas presented. The designer’s goal is to establish correlations that bridge a diverse array of material and information. Similarities and connections must be developed that effortlessly guide the viewer toward a sense of satisfaction and comprehension. Ultimately, a firm grounding in design that has as its basis conscious/ intuitive knowledge of the elements and principles of art lies at the core of the exhibition design profession. The creativity and quality of a designer’s work can only be measured by the sensitivity of the application of the formal aspects of art.

4 Kenneth Kingrey was a respected professor of design and mentor at the University of Hawai‘i from 1950 to 1979.

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C H A P T E R

S

3

S U R V E Y I N G

N E E D S

A N D

R E S O U R C E S While creativity and sensitivity to the elements and principles of art are essential to exhibition design, no exhibition can be truly effective without a thoughtful analysis of the requirements of the material that is being presented and of the resources available. Unless attention is given to these more pragmatic aspects of exhibit planning almost any exhibition will fall short of its potential. Besides being an aesthetic endeavor, designing is a problem-solving process. Fundamental to a determination of the nature of the exhibition installation is an understanding and evaluation of the requirements of all the objects or components of an exhibition. This demands an examination of the immediate needs of the proposed exhibition including the care and security of the objects. Nevertheless, wise planning will also look at the museum’s long-term requisites and the potential continued life of the installation properties. Once this analysis

Good exhibition design is contingent upon a thoughtful analysis of needs and resources.

is made with respect to the availability of resources that integrate budget, time, and human potential, the approach to the installation of an exhibition often becomes self-evident. This thorough survey of needs and resources is an important element of the preparation for any exhibition whether the museum is large or small. However, a focused examination of these aspects of exhibition planning is an even greater imperative for small museums with tight budgets and for art organizations that depend largely on volunteer support. Then the needs and potential resources of the institution or the organization must be very carefully evaluated so wise decisions can be made.

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I M M E D I A T E

N E E D S

A primary consideration in organizing an exhibition is to know precisely

determination of the amount of wall

the nature of all the objects that are to be presented and to develop

space or the type of other display furniture

the space and design accordingly. Certainly, this is not always possible.

essential to an exhibition.

In some instances, such as juried exhibitions of contemporary art,

To develop the exhibition space so

designers can only rely on a “best guess” utilization of exhibit furniture,

that appropriate attention is given to

i.e. walls and sculpture stands, based on previous experience, or they

each object and to the pacing of the

simply utilize existing walls and do whatever possible to arrange the

exhibition, the designer must know and

work in an aesthetic and meaningful manner. However, when the

understand all the exhibit material and

number, size, and nature of each of the items that will be on display are

become familiar with the requirements

known in advance it becomes possible for the designer to determine

of displaying it. For example, some

with care and accuracy the general character of the exhibit space. This

pieces may require viewing from a

includes floor area, wall space, and the number of sculpture stands

distance. Others close up. Some may

or display cases that will be necessary to accommodate the works in

necessitate specialized supports or

the exhibition. Then, in an exhibition space that allows for flexibility

display requirements. This includes the

of presentation, an appropriate space can be developed for each

use of materials that respect the care and

object—a space that gives sufficient emphasis to every component

conservation of the objects.

within the context of the entire exhibition. Conversely, the size or configuration of an existing exhibit space may determine the number and nature of objects selected for an exhibition. When the objects are known, the construction of a scale model, discussed in chapter 1, becomes especially important. A scale model greatly assists in the

S E C U R I T Y / C O N S E R V A T I O N

1

Security of collections is of major importance in the presentation

divergent responses of various materials

of exhibitions. This entails not only security against theft but care to

to environmental conditions poses a

safeguard primary objects from being touched by visitors. Rare, fragile,

challenge to designers. Then especially

or small items should be placed in vitrines or alternate approaches to

the advice of conservators helps in

display must be developed to assure their security. The value of objects

formulating wise design solutions that

may determine their placement within view of security guard stations

maximize the preservation of objects.

or with attention to the location of gallery security screening devices.

Ideally a conservator will be part of the

Likewise, environmental factors such as light and fluctuations

design team.

in temperature and humidity can cause damage. Designers must be conversant with conservation concerns that include material and finish selection, case construction, lighting design, and display mounts. In exhibitions of works with different physical properties the 1 For a most comprehensive work on exhibitions and conservation concerns, see Raphael, Exhibit Conservation Guidelines.

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V I S I T O R S ’

N E E D S

Anticipating the audience is an important

are not only essential to the aesthetic enrichment of an exhibition;

“immediate needs” consideration. Another

they permit easy visual access to the work on display and serve to

integral part of the design process

orient visitors. The ability to view large works should not be hampered

involves development of the space and

by the placement of other objects or cases in front of them. Small

placement of objects to allow for visitor

works need to be exhibited at heights that are easily visible to the

flow, for wheelchair access, and to permit

prospective audience. Thus, anticipate the ages and relative heights

comfortable and logical movement for

of children when planning exhibitions oriented to them. The inclusion

individuals and groups.

of benches and areas that allow viewers to rest or contemplate what

Concern for visitor expectations

they are experiencing is important in large exhibitions and museums.

and comfort is crucial to museum and

Conveniently located restrooms and water fountains with clear and

exhibition design. Effective sight lines

appropriately placed signage reinforce visitor comfort and satisfaction.

S A F E T Y

A N D

Safety and health concerns within the

H E A L T H Analyze designs and finished units for possible hazards such as sharp

museum extend beyond the staff to

or protruding edges and corners. Carefully examine plans and the final

the visitors. Exhibition planners must

products of hands-on, multisensory, and interactive exhibit elements. If

thoughtfully consider, plan for, and

possible, create a prototype of the exhibits, checking for pinch points

monitor safety. To protect the institution

on mechanical devices or risks that might occur as a consequence of

and the visitor, all exhibits should be

malfunction. Consider chemical or other hazards posed by touchable

scrutinized in relation to safety issues. The

specimens and warn visitors accordingly. Follow standard building

museum and the staff may be liable for

codes, electrical codes, and other safety guidelines. Staff awareness and

injury to a visitor especially if negligence

training are essential.2

is evident that staff carelessness, poor engineering, poor maintenance, or other unsafe practices exist.

L O N G - T E R M

N E E D S

Wise planning anticipates future needs

constructing an installation specific to only one exhibition. Often, even

of the museum. Judicious planning for

in permanent installations, objects have to be rotated for conservation

any exhibition elicits thought to how the

reasons. Consequently it is prudent to examine how installation

exhibit furniture that is to be developed

elements might be adjusted or adapted for use in subsequent

might be utilized in the future. Most

presentations.

museums do not have the luxury of 2 For an outline of safety concerns, see Ralph, “Visitor Safety in Exhibit Design and Production,” 34–36.

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A D A P T A B I L I T Y Attention to the potential continued life of the exhibit components aids

it may be more efficient to dismantle the

in the development of future exhibitions. The designer should think

exhibit components than save them for

about whether the design or the materials used in exhibit furniture

future utilization.

will permit reuse. What is the anticipated long-term durability of the

Portability is also a prime consideration.

materials that are to be used in construction? Would other materials

Designers need to think about who will be

allow continued and more efficient use of the components made for

moving the exhibition furniture. Are they

a specific exhibition? Will the manner of fabrication allow the exhibit

staff or volunteers? What is a reasonable

furniture to be used in other configurations and types of presentations?

number of people that can be expected

These are critical questions to ask so that the installation can be

to be available and will they be able to

fabricated accordingly.

handle the installation components?

It is also imperative to give thought to the availability of sufficient storage space and to its location. There is little point in constructing exhibit furniture that cannot be stored when not in use. Likewise, the viability of making exhibit furniture if storage space is not conveniently

The Art of Korea

accessed or if equipment for moving it is not readily available requires

(Pages 6, 7, 11, 86–89)

serious deliberation. Evaluation must be given to what constitutes a practical period of time for storing elements between use. Sometimes

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The Art of Korea (pages 6, 7, 11, 86–89)

flexibility for presentation of a broad range of temporary exhibits was of

serves as an example of the analysis of

paramount importance. If the installation for The Art of Korea could fulfill

the needs of objects. Hundreds of pieces of

the immediate needs but at the same time solve the anticipated long-term

jewelry of extreme value and part of the

needs of the gallery a major advantage would be gained. Thus, a system

national patrimony of Korea were to be

was created that would allow for the presentation of large-scale works of

presented along with full-scale reproductions

contemporary art but that could also be repositioned to create cases for

of a 19 th century sarang-bang and an-bang

small works that required security. A modular wall system composed of

(men’s and women’s quarters) and objects,

14-foot high panels in two sizes, two feet and four feet wide, was developed.

largely ceramics and furniture, part of the

They were constructed of 1/2" plywood that covered both sides of a 2"

Korean heritage in Hawai‘i. The jewelry

x 3" frame. A major factor in the selection of materials was durability

required secure casework that allowed

and portability. Portability was especially important since storage is not

viewing at close range; whereas the sarang-

immediately adjacent to the gallery. Thus walls could not be moved into

bang and an-bang, since their backs were

storage in a vertical position; they would have to be lowered and moved to

unfinished, needed to be placed against

storage horizontally. Because the storage area was small, the walls would

walls so they could be viewed only from the

need to be stacked vertically to allow efficient use of space. This would

front. The ceramics demanded casework,

necessitate having sufficient help that would have considerable strength.

while the furniture and other works from

At that time the gallery only had a director with no additional office help

Hawai‘i collections required a lesser degree

and only two part-time student assistants to work on the installation

of security but necessitated protection from

of exhibitions. Much of the work of the installation of exhibitions was

light. These along with other determinants

dependent on the availability and scheduling of volunteers.

constituted the immediate needs.

Initially a track system of Unistrut channels fixed to the ceiling was

The University of Hawai‘i Art Gallery is

proposed to provide support for the walls. When the cost of installation

a large, roughly octagonal, space of 4,200

of the Unistrut proved prohibitive ($8,000) an alternate course of action

square feet with sill to ceiling windows

needed thoughtful deliberation. Fortunately, to provide for hanging

extending from two feet to a height of 14

sculpture, swiveling eyebolts on an eight-foot grid were anchored into

feet that nearly surround the space. The

the concrete roof when the gallery was built. Likewise 12' x 2" hollow steel

gallery had no display cases and its wall

bars remained from a previous exhibition. Holes, drilled in the ends, allow

system was composed of Unistrut channels

one end of the bars to be fastened with lag screws to the top of the walls;

that supported 6' x 8' panels approximately

the other is slid through a two-inch u-bracket hung from a ceiling eyebolt.

one foot off the floor. For support the panels needed to be arranged in right angle configurations. With a ceiling height of 14' 6" much of the exhibition space was unused and the possibility of light control was nonexistent. In essence, the Art Gallery possessed no exhibition furniture that would accommodate The Art of Korea. In analyzing the long-term needs of the gallery the development of exhibition components that would allow almost infinite

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Upon assuring the wall is vertically level a small block of wood is placed

track was eliminated and the invented

between the bar and the eyebolt. To stabilize the wall the u-bracket is

method of securing walls has provided

tightened. (U-brackets and lag screws were purchased for approximately

infinite flexibility in their positioning, as they

$75. This entailed a savings of $7,925 over the Unistrut track!) Eighteen-

do not have to conform to a track. Walls

inch long plywood strips are nailed on the top of the walls to secure

can be anchored in place at any location

multiple walls together. The thinking-out-of-the-box occasioned by the

and angle in the gallery. ( This system has

disappointment of not being able to afford a grid of Unistrut track on the

proved so effective that many architects

ceiling proved to be one of the greatest advantages in the installation of all

have utilized it in other exhibition spaces

subsequent exhibitions at the University of Hawai‘i Art Gallery. An unsightly

throughout Hawai‘i.)

R E S O U R C E

A V A I L A B I L I T Y

Upon an evaluation of the requirements of a specific exhibition and a

Kahului area and in the West Maui location

determination of the long-term needs of the museum or organization

of Lahaina—would serve as storage. Various

that include the potential adaptability of exhibition furniture, thought

solutions were proposed, but portability

must be given to the availability of resources. Designers must

remained the primary objective. Thus, the use

explore what materials and services are obtainable that will meet the

of lightweight hollow-core doors along with

determined needs. What materials will contribute to the most efficient

their attainability and low cost proved to be

preparation and reuse of the exhibition furniture? There is little point

a most effective exhibition system that was

in constructing display elements that cannot be reused, especially if

used throughout the island until permanent

budgets are small.

exhibition spaces were developed on Maui.

The determination to use sailing cable and its accessibility allowed the utilization and suspension of the gallery walls as platforms for the exhibition Akari by Noguchi (pages 12, 90–93). The cable was kept and reused for the support of suspended walls in A Transient World (pages 204–205), or hanging sculpture in subsequent exhibitions. The planning process involved in the first Art Maui in 1979 constitutes

Art Maui Cameron Center, Wailuku

a prime example of an efficient and effective survey of needs and resources and the method of exploring resource availability. A breakout session during an exhibition design workshop carefully established the community’s immediate and long-term requirements relative to the presentation of exhibitions on Maui. Paramount among those needs was the necessity of walls. As no permanent exhibition space existed, all walls and sculpture stands needed to be of a size and weight that allowed for easy portability by women and/or a minimum of community volunteers. All exhibition furniture had to fit within station wagons and, to support their use by community groups throughout the island, private garages in at least two diverse geographic locations—preferably in the Wailuku/

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E X H I B I T

M A I N T E N A N C E

Maintenance considerations are integral

break. In turn, the visitor’s experience is diminished and lasting

to the selection of materials and the

negative impressions of the institution are formulated. Exhibitors must

techniques of construction. The choice

analyze the time and support capabilities of staff before interactive

of paint and other finishes depends on

and electronic exhibits are developed and installed. Large science

anticipated visitor interaction and the

museums may have staff dedicated to daily checking, upkeep, and

duration of an exhibition. Regular cleaning

repair of interactive exhibits. Small museums, with limited personnel

of case and wall surfaces, along with the

who must function in many capacities, are wise to restrict the number

maintenance of proper lighting, must be

and technical development of interactive exhibits to that which the

scheduled and supported. Unencumbered

available staff can care for efficiently and with regularity. Likewise,

access by staff to display case interiors

selection and construction should consider readily accessible

for cleaning and the rotation of objects

replacement parts. Recurring problems with an exhibit component

is an essential aspect of construction

may require removal from display. However, if the exhibit enhances the

deliberations.

visitor experience and wear occurs because visitors use it a lot, redesign

Interactive exhibits increase visitor

may be a worthy consideration. Then, successful exhibit maintenance,

engagement. However, often they

evaluation, and development are merged.

quickly show soil and wear; and they

B U D G E T S

A N D

C O S T S

Costs and budgets always influence

An outstanding example of resource selection based on budgetary demands

resource selection. A clear view of the

was an art exhibition at the Queen’s Medical Library in Honolulu. No walls

total budget for an exhibition helps the

or exhibition furniture were provided. With an allocated budget of $150

designer make conscious determinations

it was impossible to purchase or rent a display system. An analysis of

regarding the best expenditure of funds.

resources determined that hospitals have lots of beds, beds have mattresses,

It may be beneficial to spend more on

and mattresses come in boxes. The boxes could stand on end and be

certain materials because of their long-

arranged in L-configurations with the adjacent corners taped together. A

term value and subsequently use less

volunteer would install a board inside the top end of each box from which

expensive materials for another part

screws could serve as the support for a line of monofilament attached to

of the installation. The evaluation of

the art work. The idea was valid but it was soon discovered that hospitals

resource availability might also suggest

do not buy mattresses in boxes. Undaunted, the organizer went to mattress

that certain exhibit elements or materials

shops and asked them to save their boxes. In addition to installing the

may be obtained in other ways, such as

board inside, the volunteer turned the boxes inside out so that no printing

borrowing—museums often are willing

would show. Other boxes were used for sculpture stands. Labels were

to lend sculpture stands or display cases

printed on butcher paper. The resulting exhibition was highly effective and

to other organizations—or they might be

visually coherent. Following the exhibition the boxes were folded flat and

secured through donations of materials.

efficiently stored until the subsequent exhibition.

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H U M A N

R E S O U R C E S

Of all assets, the most important is the human resource. Almost no

in which things are to be presented so

exhibition, particularly large ones, can be assembled without many

all clearly comprehend the objectives.

people working together. Besides staff, for many institutions and

This avoids an installation that appears

organizations this includes the all-important potential of willing and

disjointed, without visual continuity and

enthusiastic volunteers. In planning any project careful thought must

coherence.

be given to what can be accomplished with the potential human resources. Then, plan ambitiously! Think big! Volunteers, in addition to staff, need something besides monetary gain to drive them on. People like to be a part of things that are well done, of things that are bigger than what any one person can do. The sense of pride of having been part of something spectacular is often the greatest reward that people receive. For many, the more ambitious and challenging the project, the more rewarding it becomes. Structuring an environment, however, in which the staff wants to go the extra mile and volunteers want to participate is of utmost importance and takes skills of leadership (see chapter 7 on Collaborative Planning and Leadership). For those involved, the challenge and potential for growth must be great enough to make them want to be part of the process. Often, for volunteers, sincere expressions of appreciation and encouragement become sufficient reward. It is also important to understand well the interests and skills of staff and volunteers so that appropriate tasks can be assigned. A consideration of how much can be expected from each individual is essential to determine the complexity of an installation. Staff and volunteers need to understand the conceptual context of the exhibition and the character of the installation. Discuss the manner

T I M E The realization of what prudently can be accomplished in the time allotted for planning and installation is of utmost importance. This, along with an awareness of the availability of human resources, will

The 2nd International Shoebox

decide the nature of an installation. Certain expectations can be

Sculpture Exhibition

achieved if two weeks are allotted for specific installations; whereas,

(Pages 15, 111, 114, 115)

the approach to an installation would change if only a weekend or, conversely, if longer periods were available.

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A R C H I T E C T U R E

A S

R E S O U R C E

The architectural characteristics of the

optimum potential for effective traffic flow. (Galleries with rectangular

exhibition space play a fundamental role

configurations present greater challenges to the movement of people

in the development of an installation.

throughout the space.) The octagonal plan permits wall placement at

As a means of achieving the principle of

angles, all the while maintaining visual and psychological continuity with

continuity, so necessary to maintaining

the building. The large windows (sill to ceiling) and the option provided

the viewer’s attention to the objects and

of covering them with portable walls when dictated by the needs of an

ideas being presented, designers must

exhibition, allow incredible diversity of design. Exhibition programming,

carefully survey the existing architecture

as much as possible, utilizes the dramatic change of space to advantage.

and purposely relate the installation

Thus, visitors repeatedly sense, through the contrast of presentation, the

design to it.

changing and vital nature of the university’s exhibition program.

Fortunately the University of Hawai‘i Art

invariably dictate traffic flow and installation design. Occasionally the

Gallery was designed with simplicity in mind.

posts are incorporated into the design of the environment—The 2nd

Few distracting architectural details exist.

International Shoebox Sculpture Exhibition (pages 15, 111, 114, 115) and

The exhibition space is octagonal in plan—

Treasures of Hawaiian History (pages 25, 164–167). Other times the posts are

quite possibly an ideal shape for versatile

enclosed in exhibit structure or simply left exposed.

The unfortunate existence of four central posts that support the roof

exhibition development and one that allows

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A further disturbing design feature is the placement of a two-foot strip of black vinyl tile around the perimeter of the teak parquet floor. Repeatedly it is a distracting element when walls project inward from the exterior perimeter. In one instance, Writing with Thread (pages 242–247), a student painted trompe l’oeil parquet on a single small section that remained visible after the platforms were installed. These features emphasize the importance of keeping all aspects of the architecture as simple and versatile as possible. Only then do designers have the ability to present the work in a manner that truly enhances and emphasizes its meaning. Too often contemporary museum architecture is meant to serve as civic icons and to glorify the architect. The container takes precedence over the contents. The sculptural approach to buildings, so common today, renders inefficient the presentation of the museum’s collections. Besides greater construction costs that leave fewer dollars for the story contained within the building, the dominating architectural structure imposes unwarranted restrictions and additional and continuing presentation costs. Frequently box-like spaces that accommodate the scale of the objects and the people who come to view them are constructed within the imposing architecture. Good architectural development must show greater concern for museums as efficiently functioning institutions that meet their roles as collectors, preservers, presenters, and interpreters within their communities. The collection itself should become the determining factor in the design of the museum or gallery. The building serves merely as a frame—a neutral container—and the collection is the star of the show. In an ideal situation curators and exhibition designers work closely with the architects in the planning of exhibition galleries to form a harmonious and coherent relationship between the building and its contents. With a firm understanding of the elements and principles of art and a careful analysis and application of needs and resources an exhibition designer is well on the way to creative and exciting exhibitions.

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C H A P T E R

4

C

C O N C E P T

Museum objects are like words, they make sense only when they are organized to convey a message. Thus, comprehension of the exhibition concept is imperative to begin the design process. The quest for an outstanding and meaningful exhibition is realized when good design, a needs and resources analysis, and conceptual development come together with thought and understanding. Then the nature of the installation becomes obvious. The presentation reveals a quality of convincing continuity and simplicity regardless of the diversity and number of pieces in the exhibition. This occurs precisely because the cohesive interaction of these three aspects of exhibit planning serves to determine what needs to be included and how the exhibition should be organized. The environment that surrounds objects and works of art influences the ways in which we see them. It confers meaning. The background

An integrated concept is the framework that allows comprehension of the meaning embedded in bringing things together.

or setting of an exhibition can suggest a synergy compatible with the works or it can create a tension that either heightens the impact or conversely serves to cancel the conceptual integrity and meaning. For example, changing a space’s proportions, color, value, or lighting affects the way people feel in the space. The issue becomes, is the presentation consistent with the conceptual context of the exhibition? The intricacies of context inevitably influence human perception and give significance to the objects. Thus, good design depends on an articulation and understanding of the exhibition’s concept. Also, a strong, well-planned interpretive framework that gives viewers the opportunity to construct meaning that extends beyond pure aesthetics is integral to a good exhibition. Ideally the manner in which objects are displayed should communicate their visual power and their significance in the society that made and used them. Above that, the presentation

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and interpretation should enable the viewer to perceive the expressive potential of objects and the ideas they embody in new ways that address personal and societal concerns. The installation design should assist in conveying this information and the overall purpose of the exhibition to visitors. Just as care is given to how exhibitions are intended to be understood, regard for how they may be misinterpreted must be anticipated. One of the conceptual considerations of the Koa Furniture of Hawaii (pages 16, 104–107) exhibition was the concern for presenting the furniture with the esteem that people of Hawai‘i have for koa. This dictated the nature of the installation and color selection, and precluded, for example, an initially

Koa Furniture of Hawaii

considered experimental presentation in a slick scaffold environment that

(Pages 16, 104–107)

would have communicated vastly different information to visitors about the significance of koa furniture to Hawai‘i’s people.

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To begin, a well formulated conceptual

that is included. Working deductively from the whole to the parts—

framework for the exhibition is essential.

by first defining the most global objectives of the exhibition and

Often, it is termed the big idea—a theme

progressively establishing the manner in which those goals will be

that allows visitors to comprehend a

realized through the objects—gives coherence to the parts and the

particular subject. It enables visitors to

whole. Conceptual structure and familiarity with the objects most

feel there is a certain order—a beginning,

often convey a thematic feeling—a mood—that suggests the general

middle, and end—that guides their

character of the installation.

experience. The big idea establishes the meaning and intention of the exhibition and provides the rationale for everything

E X P L O R A T I O N / D I S C O V E R Y Exhibit development is a complex,

space, accessibility, and costs are closely allied to communication.

nuanced process that integrates

They, like the educator, take on the role of audience advocacy. Their

scholarship with goals of audience

visual and spatial literacy, coupled with verbal fluency and an ability

engagement. It usually starts with the

to synthesize information, determines how visitors will experience an

curator, but sometimes an exhibit team

exhibition.

includes education specialists, the

The team approach where curators, educators, and designers

designer, and others who work together

work together has certain advantages in bringing multiple skills and

to define the concept and refine meaning.

approaches of thinking to exhibition planning. Usually this results in

Curators approach an exhibition from

a wider range of ideas, a better comprehension of others’ jobs, and

the perspective of content. Their familiarity

an empathetic working relationship. Nevertheless, depending on the

with and knowledge of the subject

makeup of the team and its ability to work together, the team process

and the material to be included in the

can hinder innovation and efficiency. The team approach demands

exhibition are important to establishment

a democratic interaction where all members of the team feel free to

of the big idea and to the scholarly

advocate for their areas of concern without fear of alienating others.

veracity of the interpretation.

Optimally, when the journey entails exploration and discovery

Educators are the team members most

an unanticipated conclusion is reached. Through this method the

often involved in the multifaceted aspects

curator and those working on the exhibition, and, subsequently, the

of museum interpretation and, thus, are

viewers, will gain new insights and make discoveries that are more

more likely to bring considerations of

engaging and certainly more interesting to experience. Connections

the audience into the planning of an

will be articulated that, at first, could not be imagined. In the end,

exhibition. They generally are the first

the exhibition will be more than the sum of its parts. The exhibition

to ask questions about the impact of a

organizers will have gone over the edge, into the unknown, and created

particular decision on visitors.

something new—and they will have provided new insight.

Designers provide structure for the

By using this method, in the beginning the curator does not know

messages and meanings inherent in the

precisely the evolving direction of the big idea—especially what the

exhibition. Their concerns for aesthetics,

conclusions will be. This approach to exhibition organization runs

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counter to the usual rationale of making an outline. While outlines have their function, they only provide a way to organize ideas and present them in an orderly way. Order supplants and intercepts inspiration because the skeleton of the structured outline is filled in. Hence, the ability to provide creative expression for the exhibition is stifled and the exhibition itself often will be boring. The exploration/discovery method fosters creativity in the maturation process and produces an exhibition that is almost always more interesting to experience. It is active; whereas, the outline orientation to an exhibition, no matter how right it might seem, is static by contrast.

A N

I N Q U I R E R ’ S

S T A N C E

To develop the focus of an exhibition organizers need to assume an

in relation to the theme of the exhibition.

inquirer’s stance, asking themselves questions about the topic: What is

Besides delineating what will and will not

the message to be conveyed? What is the purpose? Who? What? When?

be included in the exhibition, it aids in the

Where? Also, ask how/why questions that go beyond fact into inquiry.

development of a coherent storyline that

Why is the topic relevant or interesting today? How does it fit into

uses the artifacts to tell the story instead

current scholarship on the topic? What impact do I want to make? Then

of the message being a construct about

ask: Who is the audience? What do they already know and what do they

the artifacts themselves. Importantly, the

expect to learn?

objects become the means, not the end.

An efficient strategy for creating questions from a topic is to set forth

The artifacts serve as powerful tools to

a one-sentence statement that becomes the big idea and guides the

enable the objective of the exhibition

planning.1 State the topic, formulate a research question, and provide a

to be communicated with clarity. The

rationale for the research, i.e., I am researching topic to find out research

overriding mission is to help people

question to understand rationale/significance.

leave the exhibition feeling different from when they came in. For visitors, an

The statement for On Heavenly Wings: Birds and Aspirations (pages 19,

exhibition succeeds when the research

56, 170–175) was: “I am researching birds (topic) to find out how birds have

strategy surrounding the big idea comes

influenced our lives (research question) to understand the interconnection

through—when the topic makes sense,

of our world (rationale/significance).” From that sentence a framework was

the research question matters, and the

created that showed how vastly different cultures, artists, and scholars of

rationale/significance inspires. An effective method of organizing

diverse disciplines are inspired and derive meaning from birds and flight.

thoughts is brainstorming. Talk with Articulating the premise of the exhibition in this simple and forthright

colleagues about the topic. Make a

manner serves to keep the research focused, but most importantly, it

random list of topics, subjects, and ideas

pushes beyond only presenting things. This approach forces the curator

that could be addressed in the exhibition.

or the exhibit team to analyze the significance of the available objects

Ask others to suggest resources—books

1 Beverly Serrell in Exhibit Labels, 1–8, discusses the importance of clarification of the big idea.

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and other experts. Do related reading.

Creativity manifests itself most powerfully throughout the project

Use the library, periodicals, Internet. Keep

planning, from a continuous alternation between focusing on the

collecting information, but analyze its

whole and on the parts. Through this strategy we move back and forth

potential for use. Is it relevant to your

between the definition, and possible redefinition, of the exhibition

focus? Keep searching for the most

objectives and the choice of objects with their capacity to contribute to

pertinent sources and for alternate

an understanding of the overriding concept. This procedure balances

views. Critically evaluate the data you

rationality (working deductively) with playfulness that allows the

are gathering. Does the author take a

discovery of potentialities within the subject that were not evident at

scientific or cultural approach, or some

first. Sometimes seemingly trivial ideas may surface. They should not be

other perspective? Keep adding to your

discarded immediately, as many could add richness to the conclusion.

list and, as you do, certain patterns will emerge. Cluster these ideas and fill out the

On Heavenly Wings: Birds and Aspirations (pages 19, 56, 170–175),

list in greater detail, constantly grouping

Cities of Shadow and Light (pages 24, 178–181), and Labor & Leisure

things as you go along. Many ideas will

(pages 230–231) are excellent examples of the potential results achieved

eventually be discarded. New ideas and

through this method. In each instance, through the attentive construction

modifications will occur. Some of these

of a maquette, an integrated plan that articulated the story and defined an

will help to tie things together—to serve

effective traffic flow unfolded. The model served to warn of potential areas

as transitions, but keep returning to the

of visual discord or monotony, where variation, usually brought about by

essence of the exhibition contained in

selection of objects, was necessary to maintain visitor interest. Often this

your one-sentence statement. In the

entailed a renewed search for an object appropriate to the space and to the

process, depending on the objects and

exhibition narrative and context, especially one that provided the requisite

the information discovered in the research,

change of pace to restore visitor attention.

a flexible outline transpires. The conclusion may be very different from what was originally imagined, but this is the manner of creative research.

Labor & Leisure (Pages 230–231)

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This example emphasizes the importance of balancing conceptual concerns with the visual qualities of the displayed objects. Without careful orchestration, the theoretical can dominate and, subsequently, diminish the visual interest and success of the exhibition. The written statement that expresses the big idea is used by the exhibit team and rarely serves as a label or introductory statement for visitors. However, it guides the development and interpretation and increases the potential for visitors, in their own way, to decipher the exhibition’s objectives. Often it allows them to see multiple viewpoints and to reach their own conclusions. Conceptual problems generally can be traced to the scholarship guiding the content. Although viewers are drawn to artifacts and objects, selection and interpretation must be relevant to the exhibition’s focus as visitors need to connect to the objects within a larger social context so meaning is discerned. While exhibitions demand that planners become immersed in the minutiae of their material, this immersion should not lose sight of substantive conceptual issues. A careful analytical balance must be established between the visitors’ desires to identify with concrete things or people as opposed to abstract ideas. Exhibition objectives generally fall into two categories: the concrete and specific or abstract and broad. An example of the concrete/specific would be an exhibition on how to identify birds by the colors of their plumage and their calls. On Heavenly Wings: Birds and Aspirations (pages 19, 56, 170–175) constituted an exhibition with abstract objectives, “how birds have influenced our lives to understand the interconnection of our world,” that had as its basis cultural and ecological concerns. Exhibitions that are concrete and specific are easier to develop. There is an evident logic to their organization and generally they are easy to understand. Abstract and broad exhibition objectives, however, present greater challenges for the planners in that they demand careful thought of how important, more universal, ideas are communicated to the audience in ways that are engaging. An analysis of how the material to be presented can best be understood by visitors and of how the installation design can enhance the intended visitor response is integral to a conceptual approach to planning and design. Exhibitions, after all, are addressed to the visitors. The goal is to make the art or the collection accessible to viewers. It must encourage visitors to gather, from their experience, a greater understanding of and appreciation for what they are seeing.

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C H A P T E R

5

I

I N T E R P R E T A T I O N

While the primary purposes of museums are to collect, preserve, and study objects entrusted to them, exhibitions have an additional role within the museum context. That role is communication—the development and transmission of ideas to the public. Different people have different reactions to exhibits; in fact, they have different reasons for going to exhibitions. The element of entertainment is almost always part of the motivation for going to a museum or attending an exhibition. Nevertheless, museums have the obligation of presenting exhibit material in a manner that encourages visitor access to content. Education is part of this duty. Museums need to explain the significance of objects in their keeping. Good interpretation promotes communication between the audience and the resource by providing information that enriches and adds resonance to personal experience. What the visitor brings to

Effective interpretation is based on the concept—the big idea— formulated in the one-sentence statement that guides the exhibition.

understanding is as important as what an object reveals to the visitor. Successful interpretation cultivates active looking by encouraging close observation and comparison. It kindles the imagination, fosters inquiry, and allows viewers to make their own judgments. Museums are in the experience business. It is the value of the experiences that they bring to their audience that determines their success. Create an environment that motivates and encourages exploration and discovery rather than one that conveys specific information. Effective museums, with their real and authentic collections, are more like the performing arts that are stimulating and provide a sense of engagement than they are classrooms with lesson plans designed to impart knowledge. Van Romans, former Director of Cultural Alliances for Walt Disney Imagineering, has long advocated the importance of developing a

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story, or a series of stories—a script that brings exhibitions and objects

to comprehension. The 16 th century

to life. Storytelling is the most memorable form of communication

Nuremberg bible, however, in the exhibition

and remains the most important method of engaging the community.

Making Connections: Treasures from

Stories “create worlds to the experience, and enhance understanding

the University of Hawai‘i Library (pages

for both those who already have knowledge of the subject and

232–235) served as a vehicle to discuss the

[those] who first . . .experience it. . . . The presentation of these stories

development of printing and bookbinding

can take many forms limited only by the imaginations of the people

processes and emphasized the depth of

involved in the process. . . . By working from a story, we all can increase

the university’s collection. The difference in

understanding and, thereby, increase the visitor’s appreciation. . . .”

the meaning caused by their presentations

1

Museums can entice an audience by pairing education and

and interpretation should not be viewed

entertainment through an integrated concept, relevant objects, a solid

as misrepresentation. In each instance the

base of scholarship, and a focus on story and presentation.

display and rationale contributed to the

Objects in museums tell many different stories. As individual works they communicate certain ideas or messages. This is based on what

understanding of the exhibition concept and to the richness and complexity of the object.

they are, how they look, when and where they were made, the artists and their patrons, their specific narrative; the possibilities go on. As

The role of museums as temples of

groups of objects within an exhibition, they tell an even more complex

enshrined artifacts is diminishing. Instead

story when placed in relation to each other. Then the group meaning

museums are becoming forums that

often transcends that of the individual works.

encourage discussion and analysis

More significantly, the intent and purpose of the exhibition will

by visitors. In the process of planning

determine the specific messages contained in the interpretation

potentially controversial exhibitions and

of individual objects. It is imperative to keep the big idea in focus

programs, museums must find ways to

when developing all aspects of an exhibition’s interpretation. The

acknowledge multiple interpretations, and

primary objective is to help visitors focus on that one, overriding and

involve and balance the voices of diverse

all-important message—the significance of the exhibition and how

groups. Ken Burns’ televised documentary

the artifacts contribute to it. Nevertheless, the exhibition should be

history of World War II illustrates how the

sufficiently multilayered in meaning to generate the broad involvement

voices of witnesses that ignite people’s

of diverse audiences, where understanding is elastic and variable and

imaginations can be blended effectively

might even elicit conflicting interpretations.

with the analytical voices of historians.

With this in mind, context and interpretation play a large part in

Museums currently are trying to

determining the reaction of visitors. One of the primary functions of

address with heightened sensitivity the

exhibitions in museums is to allow visitors to see objects or works of

issues of interpretation of other peoples

art in a context that establishes relevance. In isolation or in another

and cultures.2 Concerns about who

exhibition they might convey entirely different connotations.

has the authority and right to display and interpret the cultural properties of

In the exhibition Labor & Leisure (pages 47, 230–231) the placement

another have opened many museums

and the interpretation of the bible, open to passages from the creation

to the involvement of their communities

in the Book of Genesis, established for the visitor at the outset of this

in the planning and interpretation of

exhibition the integrated nature of these dual aspects of human endeavor.

exhibitions. Many, especially indigenous

For many it was that “ah-hah” moment, when things become windows

people, feel it is only they who should

1 Romans, “Competing for an Audience,” 8. 2 For an examination of the subject, see Bunch, Call The Lost Dream Back; Karp and Lavine, eds., Exhibiting Cultures; Roberts, Vogel, and Müller, Exhibition-ism; and Reidy and Riley, “Who Should Interpret Indigenous Cultures and Sacred Places?” 26–27.

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decide if and how they want their culture

As educational institutions, museums have an obligation to

to be presented. Fortunately the voices of

present sensitive issues; however, they must search for responsible

long silenced people are becoming part

ways of doing this by encouraging critical reflection without causing

of the narrative that museums provide.

pain to any cultural group. Exhibitions must advance cultural equity,

Optimally, these voices serve as a conduit

understanding, empathy, and tolerance and show the universality

to communication and understanding.

of human values. The interpretation in which the museum engages

However, when their sound is obscure,

should bring insight to all and, especially when it exposes a destructive

as it sometimes is, the ability to learn

event imposed by one group on another, it should encourage a

anything intrinsic to a culture is rendered

commitment to understanding and behavioral change.

incomprehensible and even might prompt additional misunderstanding. Furthermore, the presentation could deny access to those from within the group who came to reclaim the cultural heritage to which previously they never were exposed.

L E A R N I N G

S T Y L E S The aesthetic is the primary mode of entry for learners who respond

People learn in different ways. Thus, it becomes the responsibility of museums

to the formal and sensory qualities of an object or a work of art, i.e.,

to structure exhibitions that allow people

color, line, expression, composition, or texture. The narrative is for those who respond to the anecdotal elements of

to encounter and respond to their

a subject, i.e., the story in a painting or the sequence of events.

own manner of thinking and acquiring knowledge. Exhibitions are most effective

The logical/quantitative involves those who engage with something

when they contain the potential for a

by using deductive reasoning or numerical considerations, i.e., the

diversity of interpretations and encourage

decisions that lead to the creation of something, the causes, or the

multiple means of access and inquiry—

reasons things take the form and size they do. The foundational fosters consideration of broader concepts and

when they accommodate differences among learners by providing a variety of

philosophical issues, i.e., the ideas being presented and why they are

ways to engage a subject.

important to society, the meaning in the culture where something was made, and how it affected the people who saw or used it.

A Harvard study postulates that there

The experiential involves those who need to do something as a

are five distinct approaches to a topic— in other words, five different types of

consequence of seeing and learning about the object, i.e., making or

learners: the aesthetic, the narrative, the

manipulating something, acting out, or doing an interpretive dance.

logical/quantitative, the foundational, and

While the modes of entry signal preferential methods for perceiving

the experiential. Referred to as learning

and processing information, individuals use different kinds of access

styles, they constitute strategies that

and learning strategies at different times depending on the situation.

people use in a learning situation.

Appealing to a variety of learning styles adds depth to visitors’

3

3 While the study was oriented to schools and art museums the theory is applicable to other kinds of museums. Project MUSE, Introduction to the Entry Point Approach, 8.

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experiences. Thus, linear, structured approaches should be balanced

defined, the interpreter’s job is to simplify

with dynamic, interactive, and multi-sensory experiences along

and make interesting the important

with shared, participatory, and social activities. Docent-guided tours

information about the objects as they

readily can be adapted to visitors’ learning styles and needs, but even

relate to the context of the exhibition. No

voluntary, casual museum visitors should be able to access the topic

method, or even multiple methods, of

through their preferred mode of entry. When a variety of learning styles

interpretation can attempt to tell all. None

and experiences conveys similar messages, the exhibition in its entirety

should dwell on unimportant details.

will reinforce communication of the big idea for the greatest number of

All need to render the story in simple,

visitors. Then, even if visitors choose only the elements that appeal to

standard language. All are based on

them the intent of the exhibition should come through.

sound, factual research. Technology and the communications

Visitors differ greatly in their interests and learning styles. Thus, it is wise for museums to utilize several methods of interpretation best

revolution have expanded the potential

gained through front-end, formative, and summative evaluations. There

for interpretation within museums.

are those who prefer to share what they see and read with others.

Interactive exhibits create a fun and

They learn best by talking things through. Provide opportunities for

more accessible learning environment.

these individuals to engage others. However, plan time and space for

They, however, must go beyond pushing

those who like to reflect and contemplate what they are experiencing.

“start” buttons and viewing scripted

Offer thought-provoking comments and opposing points of view that

presentations. They, like all interpretive

engage those who appreciate inquiry, but take care not to alienate

methods, should utilize the museum’s

those who prefer to experience or affirm alone the value of the

resources and authority to engage visitors

exhibition and the ideas it conveys. Among the methods employed

in inquiry and critical thinking. When they

are labels; sensory and interactive experiences; multimedia and

are developed to be multisensory and

AV productions; taped, docent, self-guided, or living history tours;4

hands-on they engage the visitor in a

storytelling; lectures; workshops; and publications. Central to all these

participatory learning experience—one

approaches to interpretation is the importance of maintaining clarity

that is varied and that provides physical,

of the exhibition’s essential purpose. Whatever the selected modes of

intellectual, and sensory involvement.

interpretation, the interpretive planner must define the objectives. What is the purpose of the exhibition and of presenting the material? Once

L A B E L S Since most museums function on the premise that major portions of

and flow that have the potential to elicit

their audience visit the museum at their own time and pace, labels

understanding are maintained.

constitute the primary means of communicating ideas.5 Thus, attention

Visitors come to museums to see

to their development must be of paramount concern to exhibition

actual objects. Consequently, write

planners. Labels are best when they closely integrate with and, in fact,

labels that help them to see more and to

narrate the on-going message of the exhibition. When they are written

experience the resonance of the objects

as the exhibition material is selected and the maquette assembled

(see Appendix, pages 258–259). Never

they become the evolving story of the exhibition. Then continuity

lose sight of the artifacts and the aims of

4 As this book covers the visual aspects of exhibition development the discussion of methods for interpretive tours is not included. See Grinder and McCoy, The Good Guide; Ryan, Connecting with Visitors; and Tilden, Interpreting Our Heritage. 5 Beverly Serrell has written two of the best publications on exhibition labels. See: Exhibit Labels and Making Exhibit Labels.

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the exhibition. Good labels reflect and

to be researched, written, edited, and rewritten. Curators or scholars

interpret the people, times, and places of

who provide the research must be conscious of meeting deadlines

an object’s creation. They serve as vehicles

so the exhibit writers can develop effective interpretive labels. Exhibit

to educate and enlighten the audience.

designers and fabricators are “last in line” in the process. Failures to meet

They provide the historical, social, and

deadlines significantly impact their ability to maintain a schedule that

political context for the artifact by

assures quality and eliminates stress. Several of the case studies in this

considering what it denotes to individuals

book indicate the problems encountered when research material was

within the culture, the implications it has,

not provided in a timely manner.

and how it reflects that culture.

Labels most often are best when they are produced by an

Start by referencing what is evident

experienced label writer using research provided by experts. The

about an object, considering how this

non-specialist has the distinct advantage of seeing the topic closer

emphasizes the exhibition’s message, or

to the interests of the general public. However, even when a curator

the object’s message when presented in

supplies material, the interpreter needs to learn more about the subject.

an exhibition without thematic context.

Extensive reading and research reveal connections and subtleties that

Write in a manner that encourages

bring richness and meaning to the information.

viewers to make their own discoveries.

Unfortunately, often the scholastic information used in exhibitions

Interpretation is best when it invites

remains the domain of Ph.D.s who write primarily for other scholars and

the reader to explore the object and

who have difficulty synthesizing their vast specialized knowledge to a

stimulates two-way communication—

few simple sentences that communicate with the average visitor. Their

when it guides visitors but allows them to

sense of ownership of their discipline and of the halls of museums that

reach individual conclusions.

present it along with the authority they represent make it difficult for

To foster the viewers’ confidence in their

them to realize that communication with a general audience requires

ability to deal with the exhibition, both

a different manner of writing. In its ability to communicate with the

the presentation and the interpretation

public, this writing is equally a scholarly endeavor that requires the

should emit a feeling of simplicity. Just

skills of another kind of writing expert. When I suggested that the

as simplicity is important to the creation

excruciatingly long and repetitious wall texts and labels be edited and

of an art form (see chapter 2, Principles

shortened, one curator adamantly told me, “Every word is important;

of Design) it is imperative to exhibition

nothing can be cut.” Another proudly told me, “We write our labels so

writing. Good exhibit writing is free of

the museum will look good when other curators or experts come in.”

superfluous and intrusive details that

Unfortunately this simply constitutes “preaching to the choir.” The futility

only dull meaning. Many writers have

of this parochial reasoning is obvious as curators or subject scholars

understood well the value and demands

who visit museums generally are guided on courtesy visits. They have

of simplicity in writing. To hastily written

no opportunity to read labels.

letters they have added, “Please forgive this long letter. I did not have time to write a short one.”6 The statement emphasizes the fact that a short letter—like a good exhibit label—requires time and patience. Hence, exhibition planners need to allot sufficient time for good interpretive labels 6 Variously attributed to Blaise Pascal, Mark Twain, and George Bernard Shaw.

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W R I T I N G To begin, the person who writes the labels must be aware of the big

the verb “to be” in all its forms. Refrain from

idea and thoroughly understand the purpose of the exhibition so that

beginning paragraphs and sentences with

concise and intelligible solutions to label content can be developed.

“This is” or “These are.” Use people words

Then, as was done for the selection of works in the exhibition, the writer

like “you,” “we,” and “our” and, above all,

must consciously establish the intentions of each label based on what

refer to what is being seen. As much as

is evident about the artifact and its relevance to the exhibition. Label

possible, use the present tense. The style

objectives should be no more than two: Why is it needed? What is it

should be lively, friendly, and accessible.

supposed to do? Most importantly, the objectives must support the big idea. Writers need to approach their work with the visual and the verbal

Don’t be redundant. Avoid repeating the same words or phrases, but on occasion find ways to restate the

in mind. Besides pictures or a comprehension of the objects, they need

exhibition theme. Don’t assume the viewer

to understand the exhibition plan, know the big idea, and have the

will remember it.

research information available. Then they must imagine themselves as

Vary the length of sentences—5 to 25

the visitor, with limited time and no special vocabulary to understand

words. Compound sentences longer than

the material. Consider the questions about the work that would be

25 words hinder comprehension. Readers

foremost in the visitors’ minds. Their interests should determine the

become lost in the train of clauses and

content of labels. The essential point of interpretation is to provoke and

phrases.

stimulate the visitors’ abilities to think and learn. Help them develop

Variation of the length of all labels,

skills of analytical thinking—that is, analysis, synthesis, and evaluation of

in fact, can encourage reading. The

information, or “how to think” about a subject rather than “what to think.”

observation by visitors that all labels are

It is not just instruction. Establish connections that relate new material

of uniform length implies monotony and

to the familiar so that visitors will understand it. Make the information

that everything is of equal importance.

meaningful in their lives. And make it interesting.

An occasional long label may stimulate

Writing, then, needs to employ human interest and warmth so that

reading especially if what is being revealed

the reader is engaged in an active, rather than passive, manner. Try to

has dramatic impact. A longer label may

get people wrapped up in the story, just as they would a good novel.

be necessary if comprehension of the

Exhibitions are not effective communicators of large amounts of written information. People do not comprehend well what they

content cannot be achieved by a more concise narrative.

read standing up especially when surrounded by other distracting exhibit elements and people. They get tired from walking and from

A label in the exhibition Treasures of

trying to absorb information. An exhibition is not a book on the wall.

Hawaiian History (pages 25, 164–167) for

Extensive text should be reserved for an illustrated catalogue that can

fifteen vintage photographs of the 1900

be purchased and studied at home. Thus, keep introductory texts and

Honolulu Chinatown fire could not be

labels short. While no hard and fast rules apply, generally try to limit the

shortened to less than 120 words without

length of labels to 50 words or less.

sacrificing communication about the

Use informal, conversational language and an expressive voice that gets people involved. Choose active verbs and sensory words. Avoid

reasons the fire was started, how it got out of control, and its disastrous consequences.

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The process of writing is long; it involves

references to common experience. Examine ways for the label to invite

writing, rewriting, editing, proofreading,

the readers to interact by telling them what to look for or do. Explore

and further rewriting. Work should begin

possibilities to help visitors engage and converse with each other.

far enough ahead so that all wall texts and

Posing questions encourages active looking. Questions can lead

labels can undergo multiple revisions and

viewers to an understanding and appreciation of the object and its

to allow time for corrections and review

context within the exhibition. Occasionally ask questions. Ask questions

by editors and proofreaders. An effective

that can be easily answered by looking at the object. Questions that

way of working is to compose multiple

would arise from the visitor’s own interests are best. If questions are

drafts, set them aside, and return to them

cognitive and memory-based, answer the question in the first sentence

a few days or even a week later. Looking

of the next paragraph so readers don’t become frustrated searching

at what has been written from a fresh

for the response. Open-ended questions, however, invite the viewer

perspective helps to clarify what changes

to observe and form an opinion. They encourage creative and critical

may be necessary. Revision demands

thinking, lead visitors to personal discoveries, and encourage them to

being self-critical. It requires going back to

formulate multiple ideas and points of view.

the big idea and analyzing if the necessary

Quotations lend a human quality to interpretation and project a

message has been stated succinctly and

sense of authority. Nevertheless, use them sparingly or their effect will

clearly. Consider if each word is specific

be negated.

enough, or too general and vague.

Read the labels aloud. This slows the reading process and requires

Keep questioning the text. Ask others

paying attention, and often reveals awkwardness that is ignored

to provide feedback. If time permits,

when reading silently. The language should flow easily and sound like

make a prototype of the labels and ask

someone who knows the subject and appreciates it is talking to you.

readers how they perceive them. Multiple

Thus, the tone is close, not distant. There is a feeling that the interests

viewpoints enrich the overall vision and,

and needs of the reader are understood and respected.

ultimately, the visitor experience.

In the end, the interpreter needs to communicate effectively with

Use language familiar to the average

a broad audience by paying “attention to the intricacies of language

visitor and find ways of relating aspects

and meaning-making in a much larger arena than the insular world of

of one object to another. At times make

academics.”7

T Y P E S

O F

L A B E L S

The purpose, content, and organization

their own—a time consuming process that few visitors attempt or

of the exhibition should be clear to the

successfully achieve.

visitor at the outset. A concise statement

Labels that form an integrated system establish structure, provide

about the exhibition’s focus helps viewers

simplicity, and help visitors negotiate an exhibition. The system provides

effectively direct their observations

an organizational framework that aids readers in their comprehension

and provides a basis for understanding

of the big idea and results in greater viewer interest and a reduction of

what they see. Inadequate articulation

visitor fatigue.

of purpose forces viewers to access

A variety of label types is integral to every system. Title labels identify

and conceptualize the exhibition on

the exhibition and should be consistent with promotional materials 7 Rupe, “Professing the Word,” 39.

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such as announcements, brochures, and press releases. They should be

to the theme of the exhibition. However,

short, arouse interest and curiosity, and, with a possible subtitle, provide

don’t force multiple ideas into one

enough information for visitors to know what the exhibition is about.

paragraph. Assure ideas, sentences, and

Additional subtitle labels may introduce sections of an exhibition.

paragraphs follow logically from one to

Introductory labels clearly state the theme of the exhibition or its

the other. Vary the length of paragraphs;

subsections and summarize the main concepts. To assure they are read

preferably also keep them short. All labels

and that visitors rapidly get the information, introductory statements

will be more effective if they are succinct

are best when they are short—25 words or less—and use large print.

and use language comprehensible to

Section labels provide the rationale for grouping items. They help

the audience. Museum goers comprise a

viewers feel comfortable in understanding the intended cohesiveness

diverse group, so communicate in ways

of the objects in certain areas of the exhibition. They are usually

that engage as many people as possible

longer—100 to 250 words that communicate the larger context of the

and still make it meaningful. Clarity and

exhibition or its sections. These labels might also present alternative

brevity are essential. Many professional

points of view or different voices that give added texture or dimension

label-writing experts advocate aiming for a sixth-grade level of comprehension. More importantly, consider your audience and select or define words accordingly.

On Heavenly Wings: Birds and Aspirations (Pages 19, 170–175)

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Captions, placed near the objects, interpret individual artifacts by referencing specific visible characteristics of the works and emphasize their significance and meaning in relationship to the exhibition concept. Because they relate to real things they contribute to an understanding of the inclusive, sometimes more abstract, intentions of the exhibition. Beverly Serrell suggests using National Geographic magazine photograph captions as a good model for exhibit caption labels. They “start with bold lead-in phrases and use active verbs. Content starts by being directly related to the visuals, in present tense, and vocabulary has broad reading-level appeal.”8 Identification (ID) labels give basic facts: name, date, material, At the University of Hawai‘i Art Gallery,

scientific name, accession number, and donor information. They are

because exhibitions are presented in the

not interpretive; however, they are often combined with interpretive

environment of an institution of advanced

captions. The order of information will vary depending on the nature

education and school groups usually request

and context of the exhibition.

a docent-led tour, interpretive labels are generally geared to a level of comprehension

In the exhibitions Labor & Leisure (pages 47, 230–231) and On Heavenly

above the sixth grade. Nevertheless, caution

Wings: Birds and Aspirations (pages 19, 170–175, 258–259) the title of the

is exercised in the use of words specific to a

work took precedence as it helped in explaining the theme of the exhibition.

particular field of study but which might be

However, beginning the label with the name of the artist and country

obscure to another highly educated group of

of location emphasizes the international context of The International

people. Care is used in the selection of words

Shoebox Sculpture Exhibitions (pages 15, 18, 41, 110–115).

for exhibitions that anticipate new audiences especially when objects and themes outside

Care given to the size, boldness, or italicization of type in ID labels

the realm of fine art are included. Labor

further helps viewers see and absorb the available information.

& Leisure (pages 47, 230–231), with its

Generally acquisition and donor information are provided last and in

concerns for social issues, and On Heavenly

the smallest point size.

Wings: Birds and Aspirations (pages 19,

Information that acknowledges funding is often included on or near

170–175, 258–259), that included objects

the entrance wall. In some instances it may be appropriate to present it

from the biology department on campus

respectfully in its own space near the end of the exhibition. Credit panels, usually small and discreetly placed at the end of the

(left), are good examples. Likewise, the diversity of the anticipated audience was a

exhibition, that recognize the many individuals who worked on the

consideration in the development of labels

exhibition, contribute to staff and volunteer morale and help visitors

for Treasures of Hawaiian History (pages

understand the complexity of exhibition organization and presentation. Informational labels that direct or command and orientation signs

25, 164–167) and Making Connections: Treasures from the University of Hawai‘i

aid visitors in their use of the museum. They serve to assist visitors

Library (pages 232–235).

and reinforce their comfort level, making them more receptive to observation and learning. With thought and creativity, these labels can be made friendly, positive, and non-threatening. 8 Serrell, Exhibit Labels, 26.

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T Y P O G R A P H I C

D E S I G N

Organize label information through the selection of consistent

background that absorbs and hides the

typefaces, boldness, color, size, and placement so that an obvious

shadows.

hierarchy becomes evident. Although visitors may choose not to

The determination of type size is

use the intended order, the apparent structure will help them make

contingent upon the context of its use:

selected decisions of what they want to read without having a

its position, purpose, color, lighting,

persistent feeling of missing something.

and for visitors with visual impairments.

The legibility and effectiveness of labels and exhibition signage are

Be sure the size is sufficiently large to

influenced by the appropriateness of the typography and the overall

accommodate the reader’s range of visual

design of the labels. Computer technology has greatly enhanced the

acuity. Label positioning is of extreme

potential of making professional looking labels; however, good design is

importance in determining type size. If a

still dependent on understanding the principles that apply to line, form,

label is on the back wall of a case or on a

value, and texture as they relate to type. Unfortunately, often exhibition

platform, assure that the type is legible.

labels indicate that computer programs have put too powerful a tool in

Sometimes in areas of an exhibition,

the hands of amateurs. The readability of labels is of vital importance to

this may require caption labels with

maintaining visitor interest and to reducing “museum fatigue.” Thus, it is

type of a larger size so those seen from

important to have a designer who is sensitive to typography work on

a distance are readable. However, those

the design of all exhibition graphics and labels.

nearer should have type small enough

As legibility is determined by familiarity, choose a typeface that is

to fit within viewers’ retinas without

recognizable, with letters that are easy to distinguish from each other

requiring them to step back to read the

(see Appendix, pages 258–259). Since both serif and sans serif typefaces

label comfortably. Conversely, a label with

can be equally legible, their selection has to do with appropriateness to

larger type might be recommended for a

the concept of the exhibition. Museum labels that are read-on-the-run

wall-size painting. This reduces the “shuffle

are not the place to use experimental type. Generally select typefaces

effect”—moving back and forth from the

that have full lower case letters—where the x-height is not condensed

label to a position where the painting can

or extended, where the “o” is round—and that do not have extensive

be observed—and allows visitors to read

contrast between their thick and thin elements. Boldface may be used

the label more comfortably and observe

for titles and display type, but be cautious of its use for body copy.

relevant information in the work.

Display type (typefaces of elaborate or unusual design) should be

In labels that contain body copy—

reserved for exhibition titles and subtitles as generally it is too hard

paragraphs of type—assure that the

to read when set in paragraph form. Often, in titles, it is important to

selected line length will allow the reader

kern letters—adjusting the amount of space between letters—so they

to return easily from the end of one line to

appear uniformly spaced. Title signage of dimensional letters creates

the beginning of the next. The typeface,

a distinctive entrance. See The Art of Korea (page 86), Koa Furniture

size, weight, leading—the space between

of Hawai‘i (page 104), and Treasures of Hawaiian History (page

lines—and number of lines either aids

164). However, the shadows cast by dark 3-D letters can be extremely

or hinders this movement. Fifty to 65

confusing, as in the exhibition Pranas Domsaitis (page 94). This does

characters (including spaces) per line are

not occur when light colored letters are displayed against a dark

generally acceptable.

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Use leading and negative space within

contrast with the wall color—where white labels occur on dark walls—

the label to enhance readability. If labels

establishes a situation in which the labels often dominate over the work

are made a uniform size negative space

and destroy the aesthetic unity of the exhibition. A glance at exhibitions

below the copy block can serve as a

of this nature reveals an array of distracting white spots beside the

visual relief and possibly entice visitors to

works. The light labels on the dark walls can even inhibit the viewing

read. Tight cropping of labels gives them

of objects. If visitors are prone to reading long labels, because the eyes

a cramped and amateur appearance.

adjust to the lighter surfaces, the object will appear darker and details

Generally allow at least 3/4" margins all

will be obscured when they look at it. If the value of the wall is not too

around the copy.

dark, try to find paper that corresponds to the color and print black ink

Use upper and lower case letters in

on it. If the wall color is very dark print the labels in reverse type with

body copy. All capital letters are less

attention to color-match the background to the wall color. However,

legible. Exhibition graphics are most

the strong contrast of reverse type (white type against a dark surface)

effective when they are set with ragged-

assaults the brain’s capacities and promotes weariness. Nevertheless,

right margins. Avoid justification of type,

making the type a gradient of color or gray increases visual acuity and

as it will create “rivers” of negative space

reduces fatigue.

running vertically through paragraphs. Don’t hyphenate words.

For the exhibition Writing with Thread (pages 242–247) care was given

Label color and the color of type need

to computer-match the background label color to the painted platforms

sensitive consideration. Foremost, labels

and walls. Samples showed that the labels were easier to read if the type

must be legible. Glossy vinyl type and

was screened a percentage of gray—although it appeared white—rather

labels on glossy paper or covered with

than left the bright white of the paper. The stark white text on the dark red

acrylic sheeting decrease readability.

background made the type seem to vibrate. Samples also showed that the

Type color and background are critical

initial selection of type size and leading needed to be changed to permit

elements in legibility. Poor color or

better visibility when the labels were placed on the foot-high platforms.

value contrast makes reading difficult. However, an exhibition in which the labels

Writing with Thread (Pages 242–247) Label size: 11 3/4" x 17"

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Position labels so they are clearly visible—about 54" from the floor to the top of the label is an effective height for people in wheelchairs as well as the general public. Place them consistently on the same side of objects, generally to the right, or on the left if movement through the exhibition is clockwise. Nevertheless, consistent placement of labels is not imperative. If consistency requires viewers to enter a corner, place the label on the other side. If labels are placed under works, caution must be exercised so portions are not in the shadow of frames. In museums or galleries with high attendance avoid centering labels under a painting as this places the reader in the middle of the object and restricts observation by others. The most important thing to remember when designing exhibition signage and labels is to test actual-size examples within the gallery under the anticipated light conditions. Make a variety of samples that contains a range of type sizes and weights with various amounts of leading. Often a smaller type size with increased leading will prove to be easier to read. The way messages are presented—the mode of communication and its effectiveness—determines how well the information is recalled. Good labels make an exhibition’s narrative easy to grasp with as few words as possible. They require writing specific to the context of an exhibition. Foremost, the manner of telling their necessary story and the system of their presentation must consider the needs, interests, and knowledge level of those who come to visit.

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C H A P T E R

6

L

L I G H T I N G

Good lighting affects visitors’ perceptions of an exhibition. It creates atmosphere, establishes mood, and above all, determines how things are seen. Appropriate illumination gives expression to the exhibition’s meaning and concept and elicits emotional responses. It sets up important relationships between objects, ideas, and people. Light imbues objects and spaces with life by revealing their forms, textures, and colors. It allows us to see things and the environment in which they exist. The goal of good lighting is to provide not just illumination, but the right kind of light that stimulates the viewer’s imagination. Thus, designers need to explore the rich possibilities inherent in the skillful use of light. The amount and variations of light influence visitors’ responses to an exhibition and to their perceptions of space. The level of luminosity alters the appearance of color. Colors become more vibrant as illumination increases. Insufficient light

Lighting is one of the most critical elements in making the museum experience transformative.

makes colors dull, lifeless, and dreary. Good overall illumination aids comfortable orientation and movement. Pathways are delineated and the organization, emphasis, and meaning of an exhibition are enhanced through sensitive lighting. Since our eyes are attracted to brilliance, light is an effective way of placing emphasis on an object or an area of the gallery. It creates drama within an exhibition. Nevertheless, melodramatic spotlighting is to be avoided. Soft illumination, on the other hand, elicits a calming and serene mood. Likewise, diminished light disguises unwanted distractions. Modulating the quality and quantity of light provides visual interest and minimizes the onset of museum fatigue. While objects need to be seen adequately, this can be accomplished at relatively low levels of brightness. When light levels are consistently low, especially for conservation or thematic reasons, the human

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eye adjusts and makes dimly lit things visible. Once the eyes have

orients visitors. Thus, the entrance requires

adapted to low levels, light-sensitive objects can be emphasized at

higher luminance than remaining parts

only moderately higher levels of brightness. This slightly increased

of the exhibition as it creates a space

illumination will appear bright if the eye has already adapted to even

where visitors’ eyes adjust to lower light

lower levels. However, when strong contrasts of light intensity occur

levels after entering from the bright

within the visitor’s field of vision, the ability to distinguish details is

exterior. Because the human iris will

hampered considerably.

have contracted in the exterior light, the

The human visual system takes time to adapt between changes of

interior entry will appear ominously dark

light level. Initial adjustment occurs in twenty to thirty seconds, but full

upon initial entry unless more light is

adaptation takes about five minutes for young people and can take

used. Generally light-sensitive objects are

fifteen minutes or longer for older persons. Consequently, illumination

not displayed at entrances so additional

within exhibit spaces requires consideration of visitors’ movement

illumination will not present conservation

between full daylight and the low level lighting of an exhibition.

considerations. As a way of enlivening this

Light management that enhances the adaptation process through

area, if light-sensitive objects are present

a succession of progressively lower light level spaces diminishes the

in the entry, light can be directed toward

frequent complaint that exhibitions are not lit well.

the floor. Rest areas between galleries

A gallery or museum’s entry creates a lasting impression on

are generally more comfortable with

visitors. Besides presenting the proper visual stimuli that establish

increased lighting; however, avoid making

the introduction, lighting that appears welcoming and that serves

these areas too bright or the transition

as a transition from the exterior or from previous galleries greets and

process will need to begin again.

N A T U R A L

L I G H T

Natural light adds a comforting human dimension to exhibition spaces.

viewfinder, humans respond according

However, it is unpredictable and often uncontrollable. The amount and

to the brightest spot in the field of view.

quality of natural light entering a gallery depends on the placement of

Commonly termed glare, this single bright

windows, the time of day, the seasons, and weather conditions. Thus, it

light totally disables visual determination.

is hard to control. Supplementary lighting is always necessary.

Therefore, any natural light included

Generally museums avoid the intense brightness of direct

within a field of view that contains objects

sunlight within galleries. Indirect sunlight, or daylight, controlled by

lit at low conservation levels will make

architectural features, allows for the subtle, life-enhancing qualities of

them appear darker and will obscure the

natural illumination. Properly controlled daylight can be an asset to an

observation of details.

exhibition setting; however, it also limits the ability to provide emphasis

Additionally, natural light contains high

and drama through control of the environment. Because indirect

levels of harmful ultraviolet radiation that

sunlight tends to flatten dimensionality and equalize space, it also can

contribute to the deterioration of many

impede the development of creative pacing attained through variation

types of art and artifacts, especially organic

of the light levels within the galleries.

materials, dyes, and certain pigments.

Humans react to different light levels within their field of vision. However, in contrast to a light meter that averages the total area in the

Some of the damaging effects can be controlled by limiting the quantity of

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light and by the use of ultraviolet filters. However, within all temporary exhibition spaces provisions must be made to allow the possibility of complete control and exclusion of any natural illumination.

A R T I F I C I A L

L I G H T

Artificial light constitutes the most reliable

light levels through appropriate selection of lamp wattage and

source of illumination in museums. It

filters is better than dimming. It is unrealistic to expect that guards

provides the flexibility and continuity

or attendants will maintain the intended level of dimming when the

necessary to creating aesthetic and

fixtures are turned on each day. Also, the color of the beam becomes

conservation-stable environments. While

redder as lamps are dimmed. Scrims made from woven wire (metal

all types of artificial lighting systems

window screen will work) lower luminosity without affecting color.

present specific disadvantages, fluorescent

Incandescent lamps do not discharge significant amounts of

light emits large quantities of damaging

ultraviolet radiation; however, they produce heat and therefore are

ultraviolet radiation and is currently being

not recommended for use in enclosed cases unless the cases can be

used less in museum displays. While low-

ventilated adequately. In addition to the thermal heat generated at the

UV tubes are available and UF-3 sleeves

fixture, incandescent lamps emit infrared heat that warms the objects

can be used to filter ordinary tubes, the

on which they are focused. Infrared rays, however, can be reduced with

cool color rendition (the effect the light

appropriate filters. Tungsten-halogen or quartz-halogen lamps are more efficient and

has on the appearance of the colors of the object) and the diffuse, undirected,

produce a whiter glow. However, they also emit higher amounts of

and unfocused light of fluorescents flatten

ultraviolet rays that need to be reduced with glass filters. Low-voltage lamps produce less heat and a tighter beam spread

space and obscure the details of three-

that can be projected from a great distance. Thus, they are useful in

dimensional objects.

exhibition spaces with high ceilings. However, they are not as warm in

The possibilities for control of

color as standard incandescent lamps.

destructive light rays and the potential

Fiber optics is useful for illuminating display cases requiring low

for modulating space are most evident in the use of incandescent light. Because

light levels. The distinct advantage is that the source can be a single

its color spectrum is rich in red, the light

lamp located some distance from where the illumination is needed.

is generally warmer, more appealing,

This flexibility eliminates heat within the case interior and permits lamp

and tends to unify objects. It is also more

replacement and maintenance outside the vicinity of the displayed

flattering to skin tones. It has comfortable

artifacts. Also, disintegration of objects caused by continued exposure

color-rendering capabilities, comes in

to light is minimized as virtually no infrared and ultraviolet rays are

many wattages and forms, and beam

emitted from the system. Because humans are capable of making subtle comparative

spreads range from spots to floods. It transmits a beam of light that can be

distinctions, unless a specific visual effect is desired, the same manner of

aimed, focused, and dimmed. Controlling

illumination should be used in all areas that are seen simultaneously.

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T R A C K

L I G H T I N G

Track lighting systems provide for the most flexible application of

When specifying lighting for permanent

lighting. If the gallery is intended to be a temporary exhibition space,

installations in new or renovated galleries,

a four- to six-foot grid of light tracks is optimal. Intervals greater than

recessed track provides a cleaner

that limit the possibilities of fixture positioning and consequently often

appearance in finished ceilings. Careful

restrict wall and case placement. Attention needs to be given to placing

thought, however, must be given to the

a continuous track approximately one-foot from the surrounding

placement of the tracks so the lamps will

perimeter walls of the gallery.

accommodate all objects on display. The constantly changing nature of

An eight-foot light track grid was installed at the University of Hawai‘i Art

light technology demands that new

Gallery. The distance between tracks has often restricted the options for

construction or remodeling teams include

good illumination. Additionally, as the grid does not include the gallery

a consultant experienced in museum

perimeter, fixture access to allow the lighting of walls placed parallel

lighting. Special care to designate the

and within ten or eleven feet of the exterior walls is very difficult. Often

placement of thermostats, switches,

multiple fixtures are banked, one behind the next, on the perpendicular

vents, and other intrusive electrical or

track extending to the perimeter. As a consequence distracting shadows

mechanical components is imperative

from preceding fixtures are projected on the upper reaches of the walls. On

when working with architects on new

occasion, a jury-rigged portable track is installed to alleviate the problem.

buildings or those being remodeled. The

A more flexible and practical track system that accommodates changes

location of these items is often left to the

has been installed at numerous museum and gallery locations in Hawai‘i.

discretion of the installing trade even

Electrical outlet boxes are placed on top of Unistrut channels that support

though the position may appear clearly

the walls. Portable six-foot long light tracks with electrical cords that

on plans and elevations. Thus, explicit

plug into the electrical outlets are attached to the Unistrut channels. This

instructions, including specific dimensions,

provides infinite flexibility in fixture placement and also reduces light track

and inspection during installation are

installation costs. See Okage Sama De (pages 252–257) at the Japanese

necessary to assure they are not placed in

Cultural Center of Hawai‘i.

visually disturbing locations.

A E S T H E T I C S Higher levels of illumination on artifacts than on the surrounding

object with minimal attention drawn to

background will focus the attention of the visitor on the display.

the source. Carefully directed illumination

However, differences of illumination should be employed with care and

can enhance the surface finish or texture

with consideration of the objects, the theme, and pacing. Backgrounds

of something. For example, a raking light

are best lighted to be self-effacing—neither too under lit that they are

will emphasize the impasto surface of a

dark and gloomy or so bright that they dominate over the display.

painting, the woven texture of a textile

Light should be adjusted to effectively highlight the special aesthetic or material characteristics of objects. It should seem to emit from an

or fiber mat, and the subtle relief of a weathered stone slab. Caution, however,

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must be exercised to avoid the disturbing

Equal light all around flattens the sculptural qualities of the work.

shadows of the frame on a painting.

The effect of modeling the three-dimensional surface of sculpture is

It is important to light two-dimensional

achieved through the direction and angle of the light. Frontal lighting

objects evenly, usually with flood lamps.

or that directed from the angle of the visitor’s approach flattens the

Avoid “hot spots” on the pieces, arcs on the

appearance of the sculpture.

walls above works of art, and exorbitant

Lighting designers must exercise caution in the placement of fixtures

flooding or over-lighting the entire room.

to eliminate lamp glare that causes the eye to adjust to the bright

The flat, monotonously bright illumination

source, thereby restricting the ability of the eye to perceive details.

of excessive or diffused light renders

Direct views of lamps are avoided through judicious location outside

objects just as difficult to decipher as

the visitors’ path of access and by the selection of fixtures that contain

things with insufficient light. Sometimes

the lamp. Shuttering devices such as “barn doors” and shields will

paintings will lack depth or appear washed

protect people’s eyes from direct light.

out or gray. Entering a harshly, over-lit

Lamp reflections on the glass surfaces of framed paintings and cases

environment can be disconcerting and

or even the glossy finish of varnished paintings, highly polished floors,

the inordinate luminosity clearly shows

or high-gloss painted surfaces create a similar kind of glare. Careful

that “more” is not better. When lighting,

placement of the object and selection of surface finishes help to avoid

it is always wise to heed the adage “less

these types of glare; however, fixture placement should bear in mind

is more.” Besides attaining heightened

that “light is reflected from specular surfaces at an angle equal to that of

aesthetic sensibilities, less illumination

its approach or incidence.”1 Thus, keep the source of illumination within

reduces the potential of damage to

the angle of visitors’ viewing distances from the reflected surface. (A

objects and, in the age of energy

light source slightly in front of the perpendicular reflective surface will

conservation, is economically prudent.

direct reflections downward.) Also, this will eliminate the possibility of the viewer casting a shadow on the display when passing between the

The modeling effects of spot lamps more dramatically reveal the form, solidity,

light beam and the objects. Shadows from the edges of walls and cases that interfere with

and surface quality of three-dimensional objects. Sculpture must be studied to

the light on objects and surfaces confuse vision and can be very

determine the profile to emphasize and

disconcerting. Often moving the fixture eliminates or diminishes these

how shadows will enhance the form.

disturbing effects.

C O N S E R V A T I O N Along with the ability of the visitor to

expansion and contraction, cracking, and drying. Such damage can be

view comfortably what is being featured,

caused by the amount of light falling on an object, the duration of the

the conservation needs of the artifacts

exposure, and the spectral components of the light.”2 Exhibit presentation must include a systematic approach to light

must be considered when lighting an exhibition. Light has the potential to cause

management. Proper selection of lighting systems and lamps, reducing

deterioration in most substances. “Damage

illumination and heat levels, and limiting exposure time are the most

from improper lighting can take many

effective means of averting damage. Movement sensors that dim

forms—fading, embrittlement, differential

lighting when visitors are not present in the gallery provide an effective 1 Klein, Exhibits, 94. 2 Darragh and Snyder, Museum Design, 263.

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method of reducing the duration of light exposure. Lamps with

lit to thirty footcandles. These constitute

minimum ultraviolet and infrared radiation content in their spectrum

general guidelines; however, curatorial

should be used in galleries containing light-sensitive materials, or the

or conservation advice should be sought

fixtures need to be fitted with lenses that eliminate the destructive rays.

to determine the maximum light level

Cases with enclosed lamps must permit heat dissipation and provide

for a given object. Because perception is

easy access for servicing.

determined by the amount of ambient

The use of light meters that measure all frequencies of light,

light in the environment, exhibit

including visible and ultraviolet, is recommended. However, the light

lighting can be designed around these

meter commonly used by photographers can measure the quantity

requirements. Thus, if a gallery is lit at three

of visible light. It must be held parallel to the surface being checked

footcandles, objects illuminated at five to

(vertical for a painting; horizontal for a flat surface). The entire surface of

eight footcandles will appear bright. The

an object should be scanned to assure the illumination is even.

salient point in effective lighting remains,

Light levels are measured in footcandles, which is the amount of light produced by one candle at a distance of one foot. “Lux” is the term

avoid contrasts of light intensity in the same environment.

used in the metric system and is the approximate equivalent of ten footcandles. Textiles, watercolors, paper, albumen or color photographs, botanical specimens, fur, feathers, wood, leather, lacquer, and ivory are especially sensitive to light and should have maximum illumination of five footcandles. Oil, acrylic, and tempera paintings tolerate fifteen footcandles. Metal, stone, glass, ceramics, jewelry, and enamel can be

M A I N T E N A N C E Lighting maintenance that continues the illumination level as it was

The challenge for lighting designers

originally planned needs priority attention. Dirt accumulation on the

continues to be that of crafting distinctive

lamp, the fixture, and any lens can reduce brightness by as much as fifty

and meaningful solutions with all the

percent and is not energy efficient or cost effective. Burned out lamps

aesthetic, technical, and conservation

require prompt replacement with those of identical specifications and

considerations in mind. Achieving this

wattage and care must be given to the adjustment of the fixture so

goal focuses the visitor’s attention on the

the original intention of the lighting design is not compromised. An

objects and the meaning of the exhibition.

exhibition loses its impact if lamps remain burned out, if lamps are not replaced with those of similar wattage, or the direction of the focus has shifted off the object. It is advisable for the lighting designer to conduct a periodic review of illumination throughout the duration of the exhibition. Poor maintenance not only destroys the aesthetics, it can also submit objects to significant damage through incorrect lamp replacement or through ill-considered changes to the lighting scheme.

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C H A P T E R

C

7

C O L L A B O R A T I V E

P L A N N I N G

A N D

L E A D E R S H I P

People are the reason for the existence of museums, and people are the reason for what museums do. It is people that museums should keep in mind as they develop programs within their institutions. Too often museum employees become involved in the objects or the event and lose sight of the reason for which they do something. That is people— the people who come to see the museum or the exhibition and those who work on the project. People are truly most important. Museum directors must structure situations that increase the potential for the involvement and enrichment of people.

C O L L A B O R A T I O N Because people are so important to museums, the concept of

Museums exist for people, thus community involvement is integral to planning and the manner of working.

collaborations is integral to the planning and the manner of working. Individuals, departments, institutions, and communities must be brought together. Relationships must be cemented and bridges built. Museum leaders need to look for common ground with the communities they serve. Project partnerships formed with other museums and cultural organizations that support their individual missions encourage greater community interest and involvement. Crossings ’97: France/Hawaii (pages 190–197) and Crossings 2003: Korea/Hawai‘i (pages 218–225) remain excellent examples of cultural collaborations that involved many museums and organizations in Hawai‘i. Likewise the planning committee for the 11th Biennial Symposium of the Textile Society of America (page 246) was broad-based and reached out to museums, textile organizations, and galleries throughout Honolulu.

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There is strength in collaborative efforts. Institutions benefit from the cooperative planning, shared costs, and publicity that working together generates. By joining forces, leverage, visibility, and impact are attained. Partnerships build community confidence that, in turn, often bring increased corporate and government funding for the museums and cultural institutions.1

L E A D E R S H I P

2

Effective leaders of organizations are people-oriented. They search

contributions. The conductor and each

for and instill in their staff the concepts of cooperative participation.

musician realize and acknowledge their

Thus, all who work together also reach out to involve more people so

important creative role in the production

the pyramid of support is ever expanding. In essence, those on the

of the masterpiece.

team become skilled in the managerial tasks necessary for success. In the process people help people, enthusiasm grows, many become involved. Soon whole communities embrace the project, the museum, or the organization.3 Good leaders inspire and motivate. They communicate a vision and energize and electrify people and organizations. They support the processes of shared responsibility and human interaction. They seek the greater power and potential for excellence available in the commitment and abilities of the group. They respect and foster the professional integrity of those with whom they work. A signature quality of a good leader is the recognition of the expertise of associates and the desire to engage them to realize the greater good of the project. Leaders of this nature comprehend that they are most effective when they and the team become jointly responsible for success. Thus, they create an environment where the glory of success is shared and enjoyed. Dynamic leaders revel in the creativity of leading. They are stimulated by the challenge of finding new ways of accomplishing goals. They are flexible and willing to take risks, are persistent, and have an ability to convince others. They enjoy tapping subordinates’ talents, exciting them, reinforcing their self-worth, and building effective teams. Their satisfaction is evident in their response to the success and the team effort that made it possible. For them, leadership and management are

Egyptian Antiquities from the Charles

creative work. They see their role as being much like the conductor of

Pankow Collection

a symphony orchestra who recognizes and nourishes the capabilities

(Right and pages 116–119)

and talents of each musician. But as they all play the same piece, together they achieve something greater than each of their individual 1 Klobe, “Proposing Futures.” 2 For original and eloquent insights into effective leadership, see Sample, The Contrarian’s Guide to Leadership. 3 Klobe.

KlobeExhibitBook3_9.indd 78

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T E A M W O R K

4

To encourage community involvement,

the proposed project. A group of five to ten participants with varied

institutions have to foster an environment

backgrounds and experiences provides the necessary combination

where the staff works cooperatively and

of roles to stimulate success. Likewise, meetings are small enough to

collaboratively. Leaders need to find ways

be intimate. Then, even the most reticent members are encouraged

of encouraging employees and volunteers

to become involved. The group establishes the parameters for the

to strive for the best and help them realize

project and, as it proceeds, keeps those decisions in full view. This helps

that they also must involve others. Leaders

to provide a focus without limiting freethinking and creativity. The

must structure situations that motivate

objective of brainstorming sessions is to generate a broad spectrum

and challenge people. Staff and volunteers

of ideas without being judgmental. Sometimes unusual ideas can be

will only rise to the occasion if they are

refined to meet the project’s scope and consequently evolve into truly

sufficiently challenged and encouraged

creative solutions.5

so they become excited about what they

Summarizing the brainstorming session before departing provides

are doing. However, to do this, all need

the opportunity to review and clarify, amplify and embellish the ideas

to assume ownership of the project and

propounded. Next, establish tasks and committee chairs who gather

a strong sense of teamwork has to be

the information necessary to make the project happen.

nurtured. Leaders must have sufficient

Students participated in the brainstorming/planning session for Egyptian

knowledge of the interests and abilities

Antiquities from the Charles Pankow Collection (pages 116–119).

of potential team members so that an

Many expressed satisfaction in seeing how their ideas were integrated and

effective interplay between concurrence

adapted to the final installation. Also, most enthusiastically volunteered to

and diversity contributes to intriguing

work on the aspects of the project that they had suggested.

ideas and a productive working relationship. Variety of knowledge, experiences, and personal contexts bring different thought processes to a project. Divergent approaches to thinking contribute significantly to success. The challenge is to engender in individuals a sense of commitment and trust of each other—of group ownership that leads to cooperative teamwork. The most effective first step to instilling ownership and creative teamwork is to bring the participants together away from their normal routines and distractions in an open discussion/brainstorming session where the only order of business is

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4 Steven Pritzker provides an excellent discussion of creative teamwork, “Managing Creative Teams,” 15–19. 5 For a discussion of brainstorming relative to exhibit fabrication see Thompson-Klein, “Managing Your Exhibit Fabrication Project,” 50–53.

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The initial meeting of textile experts in Honolulu that made the decision

constitute customary ways of doing or

to host the 11 Biennial Symposium of the Textile Society of America,

comprehending something. They seem

see Writing with Thread (page 246), adjourned with the determination to

so natural we cannot imagine that other

make the symposium the best in TSA history. All subsequent efforts worked

possibilities exist. By breaking through

toward this objective. Monthly meetings explored innovative methods of

these impediments, different strategies

realizing this goal. As needed, subcommittees were formed that drew on

can form and result in original and

a larger base of dedicated volunteers. The shared planning process was

innovative solutions. Fostering creativity

efficient and the outcome noteworthy.

in large bureaucratic organizations—

th

especially governmental agencies—where Team motivation and shared vision of the exceptional nature of the final

a controlling and inflexible atmosphere

objectives are keys to project organization. This happens by creating an

exists can be daunting and frustrating to

environment in which people feel they are collectively working toward

truly creative individuals. If they remain

a positive outcome, where they are treated as professionals who know

in institutions of this nature, often much

what they are doing, and who feel sincerely appreciated. One further

of their creative time is spent in efforts

motivational factor is structuring a situation in which people are not

to break down or circumvent the system

just doing the work by following the rules, but where they are having

with its stifling hold on convention.

fun and constantly growing in their work—where they are stretching—

When things go awry, the problems

doing things they and the organization did not envision could be done.

should not be looked upon as a

Individual satisfaction is achieved through the sense of community, in

time for blame-allocation or finding

participating in an endeavor that is greater than the individual could

scapegoats. Rather the team sees this as

accomplish alone, and in the satisfaction of doing an outstanding job.

an opportunity to learn. It regroups and

Despite the positive aspects of the team effort, moments of

moves on.

difficulty arise. Learning to recognize and break through conceptual and organizational barriers enhances a team’s creativity. Some barriers

M E E T I N G S The frequency of meetings often defines and determines the unity

The international distribution of the

of the group. The scheduling of follow-up meetings depends on

committee for Writing with Thread (pages

the timeline for the project. A long-range project of several years

242–247) curtailed the possibility of regular

may only require meeting once a month or every six weeks. Weekly

meetings. This, no doubt, contributed to

meetings may be necessary for short-term projects or as a project nears

dysfunction and to delays in realizing

completion. Regular meetings are essential to maintain a team spirit

portions of the project. Internet and

and to encourage all to meet deadlines.

telephone contact can never equate with the immediacy and intimacy of regular face-

Periodic meetings of the steering committee for Crossings ’97: France/

to-face meetings where plans are made,

Hawaii (pages 190–197) contributed to a cooperative attitude and to

schedules are maintained, and issues are

keeping the project moving. Committee members developed a sense of

discussed together.

support for one another and responsibility to the group.

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Meetings must seem useful to all in

Maintain an atmosphere where ideas can be expressed freely.

attendance. Everyone should leave

Diversity of opinion is important to attain original and creative solutions.

feeling that collectively they have gotten

Differences tend to lead to an increase in the quality of the outcome.

somewhere they know they could not

Multiple perspectives and even dissenting voices are necessary to

have reached individually and have a

achieve creative alternatives. Leaders need to develop a method of

commitment to the decisions made by

questioning that drives deeper thinking. They need to set norms that

the group and the objectives pursued.

legitimize disagreement. “Talking about the value of disagreeing and

To achieve this, a good meeting starts

setting expectations that members will voice opinions that differ, can

with a stated purpose, an agenda, and an

go a long way to making people feel it is appropriate to raise dissenting

established duration. Preferably distribute

points of view.”6 Keep notes as the meeting progresses and summarize the discussion

the agenda before the meeting so that attendees have sufficient time to prepare.

as the meeting is about to end. This firms up the issues and gives

If a problem is revealed during the

people a chance to add things that may have been omitted. Efforts aimed at involving all staff members beyond the immediate

meeting that requires further study and discussion, schedule another meeting to

planning team are important to making everyone “literate” of the

deal with it. Keep the meeting moving by

project’s goals and messages and to eliciting “buy-in.” This may involve

sticking to the issue. Reintroduce the main

short discussions at staff meetings, seminars, suggested short readings,

topic if discussion strays.

and pre-event special tours.

M A N A G E M E N T A N D

R E C O R D

K E E P I N G

Effective management recognizes the

Department of Art and Art History. Besides annual student and faculty

mission, purpose, and goals of the

exhibitions, the Art Gallery plays a significant role in providing information

organization. The mission statement

about the visual arts in both a historical and contemporary context.

of a cultural institution defines the

When the department moved into its new building in the fall of 1976,

organization’s value within its community.

it had, for the first time, a fine and secure exhibition space. During the

Once articulated and shared by staff and

first year of operation the faculty, with considerable input and assistance

management, the institution can move

from department staff and students, worked on the development and

to meet its purpose—to decide its key

presentation of exhibitions. Through their collective wisdom, departmental

objectives that will realize its mission.

guidelines regarding the exhibition program were established. This became

Then the planning process implements

the basis for the policy formally adopted by the department and remains

programs that will achieve the goals as

the guiding principle upon which the exhibition program rests (see

defined by the mission and purpose.

Appendix, pages 260–261). A Gallery Committee, composed of five faculty members that represent

The University of Hawai‘i Art Gallery presents

the disciplines within the department and two students, reviews and

an exhibition program that is broadly

approves exhibition proposals and, as necessary, recommends amendments

representative of the disciplines within the

of gallery policy to the department for approval. 6 Bradford, “Getty Leadership Institute Workshop,” 23.

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The importance of maintaining careful and thorough documentation and record keeping cannot be overstated. Judiciously execute contracts and agreements in a timely manner. Retain copies of all correspondence. Note, date, and keep for possible future reference the contents of important telephone conversations and face-to-face discussions. Occasionally it may be advisable to follow discussions of this nature with written substantiation outlining what transpired. Documentation is the first step to avoiding future problems.

S C H E D U L I N G Effective planning necessitates a comprehensive understanding of the project’s scope, available personnel, financial resources, and the establishment of a timeline with every task listed in chronological order that extends to the event date. The schedule plots time allotted for specific tasks and the projected deadlines. As the work progresses, additional timelines may be developed for specific aspects of the project. Review progress toward deadlines at each meeting. An awareness of the availability of resources—human, financial, and time—is essential to effective exhibition management. The allimportant human resources in the form of staff and volunteers are most encouraged when they experience the enthusiasm, nurturing concern, and genuine appreciation of their leaders. In conclusion, working together brings people together. Then new ideas are generated and new courses are plotted.

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C H A P T E R

P

P U B L I C

A N D

8

R E L A T I O N S

P U B L I C I T Y Directors, curators, and all key staff that interface with the public represent the institution. They must be persons who repeatedly present themselves in a positive and optimistic way within and outside the organization. They are people whose enthusiasm for and understanding of the institution’s goals and values are readily evident in all their interactions with others. Thus, from the very beginning of their careers good and mutually trusting relationships are fostered—especially with the community, its leaders, and the media. Building the support and involvement of community leaders often is also the best method of avoiding controversy. Frequently, leaders are honored to be apprised of your concerns about public reception, and their understanding of a project’s significance and goals aids in their suggestions of how the institution might alleviate potential problems. Bringing them into the project as it is planned allows articulation of

Good public relations—with the community and the media—best promotes the image of museums and cultural organizations.

concerns and often leads to creative solutions that supplement content and promotion within the community. Building community support also allows the press to report on the positive impact an institution has on the community. The sensitive issues surrounding the work in the exhibition Reconstructing Memories (pages 74, 238–241) and especially Katsushige Nakahashi’s desire to burn his replica of a Japanese Zero on the university campus elicited a realization that the university administration needed to be apprised of and endorse the exhibition. In a meeting with executives their apprehension and concerns were voiced and together, suggestions for involving segments of the local population were developed. This included the participation of American Japanese veterans groups and the Japanese Cultural Center of Hawai‘i. Nevertheless, the gallery’s repeated

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requests to administrators for their assistance in securing the presence of the Honolulu Fire Department at the burning failed to produce results. Thus, a call to a former student who was a fireman confirmed that the fire department does attend “controlled burnings.” He suggested that we send a letter to the mayor of Honolulu explaining the exhibition and requesting his authorization of the presence of the fire department at the burning. University administrators were informed of the involvement of the American Japanese community and the mayor’s agreement. Still apprehensive, administrators expressed consternation that the mayor’s approval had been sought without their involvement, and that plans for the exhibition and burning continued. Consequently, university officials were invited to view the exhibition installation and meet the artist as the Zero was being constructed. The presence of veterans of Japanese American ancestry assisting in the Zero reconstruction and the sincerity of Nakahashi’s explanation of his Zero project convinced officials of the need for their full support.

Burning Zero by Katsushige Nakahashi

Unfortunately, although they assigned public relations staff to the project,

Reconstructing Memories

their recognition of the momentous significance of the undertaking came

(Pages 238–241)

too late to include it in the schedule of national press coverage of the 65 th

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P U B L I C I T Y anniversary of the bombing of Pearl Harbor.

of your institution, the easier it will be for the media to communicate

Publicity works both ways. Museum

that message. Then, less likely your museum or institution will be

people must realize that while their

misrepresented or come under attack.

institution needs visibility, those in the

Ensure that journalists are given all the information necessary to tell

media need to be informed so they can

the story accurately. “Make sure that the museum’s story is presented in

do their job as well. Thus, it is always

a cogent, balanced, and straightforward way.”1 In her panel presentation

good to let journalists know that you are

at The Seventh Annual Directors Forum of the American Federation of

interested in helping them. Be aware of

Arts, Jeanne Collins listed six essential factors necessary to achieve this.2

how the media work and be respectful of them. Get to know the interests of individual members of the press and the manner in which they like to be informed of projects. Provide them with clear and complete information and ask if there is anything more that they need to make

Provide well-researched, clearly written press materials, and target them appropriately for the media possibly omitting some documents to individuals you know have a depth of experience on the subject. Be aware of the differences between press releases, fact sheets, media alerts, and backgrounders. Know when each is important.

their job easier. Respond to their requests promptly. Your concern for them and their realization that you are trustworthy will do much to maintain their objectivity and support even in difficult times. A thank you letter for their coverage of your event

Build strong bridges with the media at various levels—trustees and directors with publishers and editors-in-chief; directors, curators, and communications staff with critics and writers; communications staff with assignment desks. When sensitive issues arise, a strong relationship should already be in place.

will be appreciated and encourage future interest in your activities. Be available to the press. Let them know you value them and let them get to know you. Invite editors, reporters, and writers to lunch or to special events just

Don’t refuse to deal with the media. If a controversy occurs you are not obliged to offer opinions but certainly make facts available. While some journalists are more interested in creating a sensation, most feel a responsibility to tell a story accurately and fairly.

for them. Especially in small cities the press appreciates having access to the director and to key people in the institution. Be prepared. It is not the journalist’s job to

Answer reporters’ questions briefly, but do not restrict your answers to the questions. Be sure to present important information so that the museum’s point of view is made clearly.

figure out why something is important. That is your message to communicate. Know the objectives of your institution or the exhibition and deliver them clearly and consistently. The better job you do

Provide basic media training for staff who might be called upon to serve as spokespersons on radio or television. A little training can improve communication skills in front of a camera or microphone.

of promoting the cultural significance 1 Collins, “Infatuation, Apprehension, and Misconception,” 19. 2 Collins.

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Identify spokespersons; be informed and prepared.

among the museums in your community.

The value of an effective public relations person cannot be

The program development and promotional

overstated. A communications officer who creatively finds ways of

approaches of the Hawai‘i Organizing

promoting the outstanding programs of the institution is among the

Committee for the 11th Biennial

most important staff members for any organization. Without this person

Symposium of the Textile Society of

the worthwhile efforts of the institution can be lost or less effective

America (page 246) clearly accentuated

because they remain unknown.

Hawai‘i’s unequaled, vast, and varied textile collections and traditions. From the onset,

The impact that a professional PR person has on the visibility of a project

promotion emphasized Hawai‘i’s singular

is readily evident in the contrast between Crossings ’97: France/Hawaii

position in the world—one that includes

(pages 190–197) and Crossings 2003: Korea/Hawai‘i (pages 218–225).

Asian, European, and American traditions

With Anne Marie Smoke as head of public relations for the Korean project

along with those of the Pacific. A concerted

local, national, and international attention increased significantly.

program of promotional outreach, combined

Likewise, the publicity generated for the 11 Biennial Symposium of th

the Textile Society of America (page 246) and the visibility accorded each

with collaborative planning, doubtlessly contributed to the exceptional attendance.

of the participating institutions show the consequences of planning big and having a PR person who fully understands and embraces the project. Charlie

Coordinate all press releases with those

Aldinger of Bishop Museum, later The Contemporary Museum, mounted

involved in the project. Gather and

a full-scale publicity campaign that drew unprecedented international

compose the information. Put the most

attendance at the symposium, even at a time of economic malaise.

important things at the beginning and less important details at the end. Write short,

Recognition by museum leaders that the communications staff is

simple sentences and keep paragraphs

valued and essential to the institution’s programs makes it possible

and the story brief. Be accurate; double-

for them to function well on behalf of the organization. An open

check the facts. Proofread. Include high

relationship with the director and other program heads aids PR people

quality representative photographs of

in understanding the functions of the institution and allows them

objects in the exhibition. Know when

knowledgeably to convey this to the media.

reporters and publications need to receive

Because PR people develop broad contacts throughout the

information. Meet those deadlines with

community they often become important sources of funding and pro

time to spare. A follow up call to individual

bono services for an institution. Their interaction with the director and

reporters or writers shows your respect for

development staff often fosters significant results.

them and often assures their coverage of

Publicity and marketing should be as much a part of the plans for

your activity. Fact sheets outline the pertinent

an exhibition as the gallery layout. Whatever the promotional methods used, keep in mind the objectives and the audience you want to attract.

information in a straightforward manner

Concentrate on showing how your exhibition or program is special and

and are often used by news people to list

how it differs from what others are doing.

events in cultural calendars. Be cautious of

Establishing a distinctive identity that provides unique benefits

sending this information to newspapers

within your community sets you apart from your competitors. When

slightly more than a month before the

this happens, you contribute an important service, create an effective

event. Often this results in a calendar

promotional niche, and become a friendly, non-threatening neighbor

listing in error for the month preceding

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the actual occasion.

understand the nature of the program, and weave the most important

Public service announcements (PSAs),

facts (what, when, where, who) into the beginning. Keep the public in

sent to radio and TV stations, should

mind. Avoid jargon and technical terminology. Be relaxed. Chat with the

be short—about fifty words, or twenty

reporter while the crew is setting up the equipment.

seconds of airtime. Indicate the read time

Exhibition announcements, mailers, newsletters, and brochures

at the end. Make the PSA sound informal.

generally communicate with the museum’s members. Advertising,

Break up long, complex sentences. Read

however, is an important way of reaching beyond the museum’s

it aloud to assure the word combinations

current audience and certainly increases public interest in an exhibition

work well together and that it is not too

or event. However, rarely do museums have the ability to budget

long. The pronunciation of unusual names

for marketing. Occasionally, corporate sponsors are receptive to the

should be indicated in parenthesis.

placement of advertising in newspapers, magazines, or on television.

Radio and television stations often

Catalogues document the scholarship inherent in the exhibition’s

welcome participation in interviews,

development. They constitute important reference material, become

talk shows, panel discussions, or other

the permanent life of the exhibition, and through their scholarly

programs of public interest. Go prepared,

content and quality of design validate the institution.

C O L L A B O R A T I O N S Collaborating with other museums and

Arts with Aloha, an organization of PR persons from Hawai‘i’s arts and

organizations on large projects and

culture institutions, is a grass-roots effort to promote cultural awareness

coordinating activities with community

and tourism to Hawai‘i. The PR representatives from the organizations

events gains much free publicity,

have found strength in their collaborative efforts. This has resulted in

especially in local media. However, even

considerable corporate funding and government support for their work that

international attention can be garnered

includes semi-annual visits by arts and travel writers. This collaboration,

when conscientious and creative PR

with its well-designed promotional brochure, has generated considerable

people expand their target audiences

national press coverage and visibility for Hawai‘i’s cultural attractions.

as occurred in Honolulu for the 11

th

Biennial Symposium of the Textile Society of America (page 246). Collaborations oriented toward cultural tourism expand the traditional concepts of travel to many destinations and entice an entirely new and desirable type of visitor. Arts with Aloha Brochure

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Thoughtful and considerate public relations and creative promotional thinking constitute the primary steps toward advancing a museum’s image. All forms of communication with the public must reiterate the core messages and values of the institution.

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C H A P T E R

F

9

F U N D I N G

A N D

G R A N T

W R I T I N G

Long before any funding is sought organizations and their leaders must establish credibility. They must be visible in their community and to the agencies and the heads of corporations from which they hope to obtain support. Plus, everything they do must be first rate. As a leader, become visible in your field. Attend conferences and workshops. Interact with colleagues locally and, if you intend to seek funding from sources outside your region, nationally. Expand your mailing list. Include the names of program directors and potential review panelists on your distribution list. Invite them to your events or send them your publications. The more everyone knows about your organization before your application is reviewed, the better. Funding agencies and corporations that support community organizations are always looking for opportunities for visibility. They want to be associated with institutions that have good reputations—

Credibility is the key to obtaining financial support.

that consistently produce quality programs and products. Remember that visibility advances their name and reputation as well as yours. Often the additional exposure generated through the development of traveling exhibitions enhances the potential of securing funding. If you consistently do outstanding work, your request for help and support is a compliment to the funding sources. It shows that you think highly of them and that you consider them worthy to be part of your team. Whether you are applying for grants from government agencies, private foundations, or seeking sponsorship money or services from corporations there always should be a strategic link between your project and the interests of the funding entity. Thus, do your homework. Think freely and creatively. Find associations. Talk with others who have an interest in seeing your project succeed. They will often have ideas of whom to approach and about the best way to do it.

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When museums and galleries are part of a larger system such as a

to the submission of a request, minus the

university, foundation officials and/or institution administrators must

university’s endorsement. An immediate

approve grant applications and the solicitation of funding before any

negative response was received from the

requests are made. In the best of circumstances, this can work to your

granting foundation. Ironically, university

advantage as university development officers often will be able to

development officers and executives invited

make the request for you or they will give you sound advice of how to

the foundation’s family members to an

approach a source. Usually, however, the process hampers the potential

exclusive private tour of the exhibition and

for obtaining funding, as permission will be denied if other entities

touted it as an excellent example of the

within the institution are seeking support from the source you suggest.

work of the university in the area of the

This procedure severely restricts the resources available.

foundation’s interest.

Top administrative endorsement is always essential. Without it any hope of obtaining funding from corporations, private individuals, foundations, and governmental sources is next to nil. A prime example is an instance in which university officials denied application to a foundation that supported projects in an exhibition’s subject area. The university had previously received significant funds from the foundation for programs in other departments and wished to maintain potential funding of those programs. When community leaders who knew representatives of the granting foundation encouraged us to apply, permission was sought. Reluctantly university foundation officials agreed

C O R P O R A T E

S P O N S O R S H I P

If the potential giver is a corporate sponsor or private person suggested

Additionally, Bank of Hawai‘i dedicated

by someone, this individual may be the best one to make the request

marketing dollars to the placement of

on your behalf. Or he or she will work with you in developing and

newspaper ads that promoted its support

presenting your proposal.

of the fair and the exhibition. This drew hundreds of visitors to an outstanding

An excellent example is The Art of Micronesia and the Micronesian

educational community event that advanced

Cultural Fair (pages 130–133). Discussions with former American Peace

understanding of the Micronesian people

Corps Volunteers who had served in Micronesia and individuals who had

and their culture. This was an important

worked in the area brought to light important corporate sources that would

objective in Hawai‘i where the Micronesian

want to see the exhibition and fair succeed. Through these individuals

population is marginalized and underserved.

successful contacts were made with Mobil Oil Micronesia, Bank of Hawai‘i, Continental Air Micronesia, and School of the Pacific Islands. Corporate

Corporate executives were invited and asked to speak during the program festivities.

leaders were happy to lend support to a project that already had secured funding from important governmental agencies such as the National Endowment for the Arts and Hawai‘i Committee for the Humanities.

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Micronesian Cultural Fair

When soliciting sponsorships, find the strategic link tied to the business.

(Page 133)

Help them realize that you are a valuable tool to aid them in meeting their marketing objectives. Show that their sponsorship, besides having a societal impact, will build their image through citations in press information, on the entrance wall, on exhibition announcements, and all other printed materials issued by the museum. Always, however, when soliciting sponsorships, preserve the integrity of your institution. Never allow the content of an exhibition or the mission of the institution to be compromised by sponsorship. Don’t approach corporations that are not consistent with your vision. Never cross the line, for once it is crossed, the need will occur again and again. Proposals to corporations and individuals should be short and concise—a one-page, no more than two-page, letter that starts with a simple declarative sentence that describes the project and states the requested amount. Then add the details, summarizing who,

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what, where, and when. State the goals for the project and define measurements for success. Conclude by outlining the benefits to the corporation. Attach a budget, background information on your organization, and if relevant, a list of board members. Anticipate when your proposal has reached the corporate head and follow up with a courteous telephone call. Avoid morning calls as generally business leaders are briefing themselves on the day’s work. If the secretary says the person you request to speak to is busy, ask when might be a good time to call again. A written letter of appreciation should follow the receipt of any gift or its promise. Include corporate executives and their guests among your special invitees to the opening and other events. At the conclusion of the project, send another letter of thank you that evaluates and measures the success of the program. It helps the company show that their contribution had value and justifies their involvement. Evidence of success and appreciation are vital to developing continuing relationships.

A P P L Y I N G

T O

F O U N D A T I O N S

Do your research before applying to foundations. Request guidelines and annual reports or review them on the foundation’s website. Carefully determine whether they give money to the kind of endeavor you plan. Be sure your proposal meets the foundation’s published criteria. Do not send out proposals indiscriminately to foundations. Your proposal needs to be tailored to the foundation from which you are requesting money. However, don’t contort the project to make it appear to fit the foundation’s grant categories when it really doesn’t. Present an accurate picture of your organization. Stating your strengths and weaknesses establishes credibility. Avoid hype and hyperbole. Focus on giving the funding source a precise account of what you intend to do, how it will be carried out, how it corresponds to your institution’s mission, and what it will cost. Making it easy for the foundation to understand what you plan to do makes it easier for them to fund your project. Don’t send thick proposals in slick binders with stacks of supplementary information. Send only select documents that support your proposal. Don’t deluge them with enormous packets. Finally, don’t nag them on the phone. They will get back to you.

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A P P L I C A T I O N S G O V E R N M E N T

T O A G E N C I E S

Government agencies generally have

final proposal was a fraction the size of that presented the previous year.

application forms with instructions on

This time NEA funded the project in the amount requested.

how to prepare your proposal. Read the instructions carefully and follow them

Use the application instructions to help you assemble your proposal.

without error. Make note of funding

If you have included all the items required, your application will be

restrictions and relate your project to any

complete, ready for review by the panel. Generally agency program

stated agency goals or priorities. Supply

officers review the applications soon after they are received. If there are

exactly the information they require in the

questions or the need for revisions you will be contacted. Supply any

manner that they request it. Do not supply

corrections or requested supplementary material immediately so it can

anything more than what is required.

be included in the mailing to the panelists. It is in your interests that your application is in its best form when each panelist sees it for the

Although I had taken grant writing

first time. Initial impressions become lasting ones, especially after a full

workshops before assuming the position

day’s work when panelists read applications that together constitute

of gallery director at the University of

hundreds of pages.

Hawai‘i, university officials insisted that a

Panels are generally composed of your peers in other institutions;

professional grant writer help develop my

however, members may not be familiar with you and your organization.

first proposal to the National Endowment for

Thus, it is imperative that your proposal be clear, logical, neat, and

the Arts. My arguments that the proposal, as

easy to read. If important aspects are missing, the budget is unclear or

it was being formulated, was excessive and

unrealistic, or the project is ineligible, panelists will formulate a negative

not following the guidelines were to no avail.

view of the application and your organization.

Reluctantly, I acquiesced and a packet that

Make your application narrative concise. Don’t waste the panel’s time.

in volume seemed like a minor dissertation

Describe the project, present the details, and relate the importance.

was sent to the agency along with a budget

Make the case for support of your project and your organization. Keep

that was equally excessive. We were not

sentences short and of simple construction. Employ active verbs that

funded. When I discussed our application

bring lucidity and vibrancy to sentences. Use common terminology.

with the NEA program officer he suggested

Avoid jargon and superlative adjectives. However, communicate your

that I resubmit the proposal the next year,

enthusiasm and commitment to the project. Convey that your organization can accomplish the project and its

that I review the needs of the project and the budget, and that I submit only what is

stated objectives. Indicate that you have adequate staff to undertake

requested in the manner specified.

this project along with their normal workload or that qualified consultants will be hired. Show that your organization is putting in

A few months later, the proposal was resubmitted, this time without the assistance of a grant writer. Now, the information was

sufficient funding to carry out the proposal. Your proposal should seem realistic to the reviewers and not suggest

supplied in the manner NEA requested, the

that so much will be performed by so few that the program appears

budget was realistically trimmed, and the

unworkable. A realistic and justifiable proposal will be impressive.

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Proposals that suggest inadequate staff and budget will receive a negative recommendation in peer reviews. Unfortunately, the consequent curtailment of funding further compounds the problems of ambitious projects. Budgets are subsequently trimmed or other avenues of funding need to be sought, consequently eating into the time necessary to conduct the actual project. The budget should identify all line items clearly. It must be realistic for the work proposed—adequate, but not wasteful. Budgeting should reflect anticipated inflation but not appear padded. Since most arts and humanities grants from state and federal agencies are matched with other money, the budget should show the total amount your organization is putting into the project and expects to obtain from other sources even if this exceeds the required match. Do not omit line item costs to create a one-for-one match. A fiscal officer at the University of Hawai‘i does not understand the match requirement. To maintain a balanced match she insists on omitting categories of expenses that make applications appear unrealistically conceived in terms of budget vis-à-vis personnel and time. Discussions with administrators effect no changes. State arts agency officials understand our dilemma and overlook our inadequate budgets. However, this situation, along with congressional cutbacks to the arts, no longer makes our applications to national agencies competitive in the review process. Before you submit your application, have someone who is not directly connected with your proposal read it. If they have problems or questions, be prepared to rethink and rewrite. When state agencies offer grant writing workshops or perform preliminary reviews of applications before the deadline, take advantage of them. If you have legitimate questions while developing your application call the agency. While it is important that grant officers recognize you and your concerns for doing a good job, don’t make a pest of yourself by continually asking irrelevant questions. After grants are announced, call the agency to ask about the panel’s thoughts on the strengths and weaknesses of your proposal. Use these comments to develop stronger applications in subsequent years. Continue to do exceptional work that builds a reputation with which funding sources want to be associated. Constantly explore creative methods of involving the community in your planning and activities. Interest in you and your organization will lead to increased support.

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C

C A S E

S T U D I E S

The following case studies of special exhibitions, except two—Kēia Wai Ola: This Living Water (pages 27, 248–251) at the Maui Arts & Cultural Center and Okage Sama De (pages 252–257) at the Japanese Cultural Center of Hawai‘i—were shown at the University of Hawai‘i Art Gallery from 1978 to 2008. They relate each project’s history from concept through development and installation. The studies provide an explanation and analysis of the most relevant issues encountered and considered in the presentation of each exhibition. The University of Hawai‘i Art Gallery generally presents six exhibitions annually. Two are student exhibitions and one often a faculty exhibition. Three exhibitions provide important information about historical and contemporary issues in the visual arts within a national or international context. Because Hawai‘i’s geographic location imposes a handicap for students and the public to view a diversity of exhibitions, the gallery’s role is vital to the cultural life of the university and the city of Honolulu. Since its inception in 1976 the Art Gallery has developed a national and international reputation for the quality of its exhibitions and publications, both in content and design. Five exhibitions received Print Casebooks: Best in Exhibition Design Awards and many of its publications have been recognized in regional and national competitions. The Art Gallery has organized twenty traveling exhibitions that have been presented at 188 museums in the United States, Mexico, Canada, Japan, Taiwan, Korea, Guam, and Colombia. The Gallery consists of 4,200 square feet of versatile exhibition space with an installation system of modular and movable walls that allows the utmost in flexibility of presentation. The Commons Gallery, 620 square feet, serves an important role as a showcase for thesis exhibitions, the works of visiting artists, and class work.

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January 15 – February 12, 1978

T H E

A R T

O F

K O R E A

For millennia, Korea, the Land of the Morning Calm, has served as a place of interchange between her neighbors. In the process, the people of this East Asian peninsula have absorbed diverse cultural and artistic forms and have often integrated and reinterpreted them within their own societal framework. The Art of Korea, by celebrating the 75th Anniversary of Korean Immigration to Hawai‘i, commemorated another process of interchange whereby in three-quarters of a century the Koreans brought distinct cultural elements that contributed to the unique and complex milieu of Hawai‘i. The exhibition presented the arts of Korea that spanned from prehistoric times through the 19th century. It included hundreds of small articles of personal adornment, full-scale replicas of two 19th century Yi Dynasty houses—a sarang-bang, a man’s reception room used for entertainment and study, and an-bang, reserved for the activities of women and children—with traditional wood-beam construction and tiled roofs that were assembled by craftsmen from Korea, and ceramics, paintings, sculpture, and furniture from Hawai‘i collections.

Additional illustrations: pages 6, 7, 11, 36

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This exhibition provides an appropriate case study for the analysis of needs and resources discussed in Chapter 3 along with the consideration of the conceptual development of an installation (Chapter 4). The Department of Art arranged to present this exhibition that included a rare collection of Korean jewelry, ceramics, lacquer ware, and other small objects although the gallery had no casework to secure the collections. Meanwhile, the unfinished backs of the sarang-bang and an-bang required a backdrop of floor to ceiling walls. Because windows surround the octagonal space of the gallery, it was imperative to place walls in front of some of the windows as a way of restricting direct sunlight on the artifacts. These walls would also have the advantage of providing additional presentation space. Mindful of the immediate requirements relevant to the presentation of The Art of Korea and the potential long-term needs of the exhibition program, a modular system of 14-foot high portable walls was proposed. This system would permit covering the windows, the presentation of large-scale exhibit material, and the construction of display cases based on the necessities of a specific exhibition. The installation of The Art of Korea echoed an Oriental garden and built upon the indoor-outdoor, window-wall aspect of the gallery’s construction. Visitors repeatedly moved from interior spaces to the windows where the lush bamboo gardens outside seemed integrated into the exhibition space. The interior was orchestrated in a manner that reflected an intimate movement on irregular pathways

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that is suggestive of an Asian garden. At each turn visitors experienced

only midway through the exhibition

new and spectacular views of the exhibition.

discover the buildings. This arrangement

Display cases and platforms for furniture and sculpture created a

was designed to provide an element of

barrier-free environment that led the visitor through the exhibition and

surprise, but also to place attention on the

allowed enticing glimpses of areas beyond.

objects that were truly more significant to

Without physically seeing the exhibition space, museum officials in

the exhibition.

Korea proposed that the sarang-bang and an-bang be built at the far

The total budget for all aspects of the

end of the gallery, opposite the entry, and that the display cases be

exhibition was established at $24,000

arranged to permit an unobstructed view of the buildings from the

with $16,000 provided by Korea and

front door. This arrangement presented potential problems for access to

$8,000 from sources in Hawai‘i. While

the emergency exit. Furthermore, the four existing support posts in the

large budgets do not assure a good

gallery inhibited the placement of these large buildings. Nevertheless, a

exhibition, the most difficult situation

conceptual concern dictated the final location of the houses. Realizing

arises when budgets are cut in the course

that the houses would be very dramatic elements, yet, because they

of installation. After development of the

were only reproductions of Yi Dynasty buildings and artistically less

exhibition model and construction of the

important, it seemed necessary to provide an appropriate setting

walls began, Korean officials informed

for the original works of art and artifacts—one that would give more

us that they were cutting their financial

emphasis to them. Thus, the houses were placed behind the entrance

obligation in half and were constructing

wall (see model, page 6), not only concealing two of the support

large teak cases (8' high x 8' long x 3'

posts in the gallery, but visitors would first experience the art and

deep) in Korea which they intended

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to ship to Hawai‘i and present as a gift

environment and had the advantage of being easily dismantled and the

to the gallery. This created significant

materials compactly stored. Additionally, it permitted the construction

budgetary, logistical, and design problems

of cases of varying sizes and configurations that were appropriate to

as we could not afford to construct

the presentation of a range of objects. The display of Korean jewelry,

similar teak cases for the material from

for example, facilitated viewing by being shown on inclined backdrops

Hawai‘i collections, nor would the

rather than on flat shelves.

cases fit in gallery storage following the

The Art of Korea was the first exhibition to utilize the modular wall

exhibition. (The cases were even too

system that has allowed infinite flexibility in exhibition installation. The

large to go through the door to storage.)

unified design of the exhibition, with its effective traffic flow, established

In discussions with Korean officials in

a professional image for the university’s gallery program early in its

Hawai‘i, we requested that the original

development. The consistency and care of design evident in this

agreement be honored. We continued

exhibition provided an important educational component for students

with the installation as planned continually

and volunteers who worked on the installation.

searching for ways to trim the budget,

Entrance graphics, a modified version of the typeface used on the

secure other funds, and encourage Korea

catalogue cover, were cut from wood, painted, and pin mounted about

to honor its commitment. Ultimately the

1/4" off the wall. Insufficient time, staff, and equipment (the gallery had

prefabricated houses, their furniture, and

a discarded, but repaired, typewriter) restricted labels to identification.

the teak cases arrived in Honolulu in three

Volunteers of Korean ancestry served as guards and interpreters.

sea containers. Installation, however, had

The project was carried out at a total cost of $16,040 including

advanced to a point where the teak cases

paid student help and the assistance of many student, faculty, and

were not used.

community volunteers.

The display cases constructed using the new wall system were aesthetically

Curator, catalogue author: Willa Tanabe

integrated into the exhibition

Graphics, catalogue design: Clemente Lagundimao

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October 1 – 27, 1978

A K A R I

B Y

N O G U C H I

Isamu Noguchi spoke of Akari as “floating” and this is the magical quality that makes seeing this work so exciting. It was the “floating” quality of the simple orbs of light, ranging from a faint glow to softly bright, that became the ethereal theme of the presentation. Noguchi’s Akari reflect two diverse orientations: western abstract sculpture and Japanese tradition. As such they also mirror Noguchi’s personal history. Born in 1904 in the United States to an American mother and a Japanese father, he spent the greater part of his

“Looking more fragile than they are, Akari

childhood in Japan. At age thirteen he returned to the United States

seem to float, casting their light as in

and faced the bewildering task of reacquainting himself with the

passing. They do not encumber our space as

now unfamiliar land of his birth. By the time he finished high school,

mass or as a possession . . . all may be moved

Noguchi knew that he wanted to be an artist and he was apprenticed

with the thought.”

to the sculptor Gutzon Borglum, who eventually rendered this ironic

—Isamu Noguchi

verdict: Noguchi would never be a sculptor. Noguchi’s Akari are based on traditional Japanese lanterns renewed through a sculptor’s eye.

Additional illustration: page 12

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The installation reflected Noguchi’s mastery of scale and space that is so evident in his public playgrounds, plazas, and gardens. By day and at night, when visitors wandered through the gardens surrounding the gallery and, entranced, peered through the bamboo, the exhibition became an enchanted fantasyland of floating light. Magical illumination, lightness of weight, absence of mass: these qualities formed the conceptual framework for the presentation of over 60 of Noguchi’s Akari. In the analysis of needs and resources for this exhibition the overriding issue became, how could we provide the necessary surface to support Noguchi’s light sculptures? The gallery did not possess sufficient sculpture stands. Two determinants directed the installation design process: the cost of pedestal construction was outside the exhibition budget and storage of additional pedestals following the exhibition would present major problems. Gallery storage had been built too small!

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Likewise, placing a lamp on a sculpture stand—creating a dominant vertical movement—appeared aesthetically awkward although

help costs were $1,050 making the total cost of the installation $1,400.

the Museum of Modern Art in New York had previously presented

The platforms were grouped and hung

Noguchi’s Akari in this manner. Also, pedestals would have had to be

at various heights. They and architectural

clustered around the electrical outlets on the floor thereby limiting the

elements such as posts and sills beneath

placement of the lamps in space.

the windows were painted warm brick

Utilizing existing gallery furniture seemed the only logical solution.

red, a color that in hue and value blended

We needed to make large platforms from the 14-foot gallery walls. In

with the floor, allowing these elements

the construction of the scale model it was discovered that the Akari

to disappear in the space and, at the

were generally produced in two sizes, small and large, with only very

same time, through contrast of value,

few intermediate sizes. To provide the illusion that a greater variety

give emphasis to Noguchi’s Akari. The

of height existed in the light sculptures, it was important to vary the

white ceiling of the gallery, with the

elevation of the platforms; however, any facing of the sides of the

maze of bars to support the suspended

platforms suggested a massiveness inappropriate to the floating quality

walls, provided the one element of visual

inherent in the concept of the exhibition. Likewise, massive platforms

discord. Although there was not sufficient

of varying heights occluded portions of lamps on adjacent lower levels.

time to correct the problem during the

Only the tops of some lamps would be visible as the viewer looked

installation, this distraction afforded

through the gallery. The exhibition model looked heavy and ominous. A

the incentive to later paint the ceiling

student with no understanding of physics suggested floating the walls

dark brown, in so doing, eliminating

horizontally. Brilliant! But could this be done? Could we suspend the

a distracting aspect of the exhibition

walls from the eyebolts in the ceiling? We researched cable sizes and

environment. (A high, dark ceiling

strengths at a sail maker’s shop. He recommended 3⁄32" galvanized wire

suggests endless space, much like the

rope! It seemed unbelievably thin!

immeasurable distance of a night sky.)

The cable and necessary hardware for the installation cost just under $100. Paint, electrical and other supplies cost another $250. Student

All electrical wires were concealed which added to the magical aspect of the installation. The Akari were lit through the use of electrical cords that extended from the floor outlets below the platforms or from the ceiling by discreetly hidden cords that ran down the cables that supported the platforms. Lamp wattage, ranging from 7 to 150 watts, was carefully orchestrated throughout the exhibition to establish areas of visual emphasis and subordination. Title signage included an enlargement of Noguchi’s signature hand-painted on a suspended 2' x 14' wall. The sculptures were for sale as a fundraiser for pARTners, the newly

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organized Department of Art support group. Noguchi was the honored guest at a preview opening and bento dinner. Although, upon seeing the model, Noguchi expressed displeasure with the installation design, the exhibition was used as the unacknowledged beginning sequence of the Bruce Bassett biographical film on Isamu Noguchi. Invitation design: Jerry Kuyper, Don Dugal Design advisors: Kenneth Kingrey, Prithwish Neogy, Jeanne Wiig Installation assistants: Edward Kikumoto, Wyatt Osato

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November 19 – December 17, 1978

P R A N A S

D O M S A I T I S

The installation of eighty works of the German Expressionist painter Pranas Domsaitis (1880–1965) that immediately followed Akari by Noguchi, through contrast of presentation, emphasized the versatility of the University of Hawai‘i Art Gallery’s exhibition facility. The closed somber spaces, the dark color of the walls, and the dramatic lighting established a mood entirely different from the open and sprightly presentation of Noguchi’s Akari. Domsaitis’ work, a moving and personal reflection of a significant moment in modern history, conveys the essence of the Expressionist credo by revealing the inner view of the artist. Domsaitis’ early paintings depict the disillusionment of post-World War I Europe. His recurring theme Flight into Egypt, allegorically and prophetically depicted the plight of thousands of refugees that moved about Europe as a consequence of this war and subsequent, even more devastating conflicts. In each painting, however, there seemed to be a search, an underlying message of hope, which was at the heart of the artist. Repressed by the Second Great War, Domsaitis carried the Expressionist manifesto until his death in South Africa. His paintings of the South African Karoo are landscapes of great spiritual depth. The visual power of these landscapes continued the subjective sensibility of his earlier figurative works—he still was a painter from within.

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Conceptual intensity became the leitmotif of this installation. Domsaitis, an artist who studied with Max Liebermann and Lovis Corinth and included Munch, Schmidt-Rottluff, Nolde, Kirchner, Müller, and Dix among his associates, had suffered the consequences of being termed a “decadent” artist. He saw his work removed from the National Gallery in Berlin and included in Hitler’s 1937 Munich exhibition Entartete Kunst (Degenerate Art) that served as the kind of art the Nazis intended to purge from the Fatherland. This made him political victim and cultural refugee. The installation strived to evoke the sense of repression and the longing for freedom that the artist experienced in his peregrinations through Europe in WWII. A series of small, darkly lit rooms highlighted various periods or media of his work and led the visitor on a chronological journey through the artist’s life. The gallery’s windows were concealed behind walls. For the visitor, as South

artist’s works, contributed to the power and the intense human feeling

Africa had been for the artist, there was no

of the art. His watercolors, pastels, drawings, and etchings were matted

escape until arrival in the section of the

in chipboard to suggest the casual, sometimes negative response that

gallery containing Domsaitis’ work from his

German Expressionist art received as it emerged in the early 20th century

adopted country. This room, larger, with

and continued in the years between the two great wars. The individual letters of the artist’s name and the dates of his birth

more illumination, elicited the sudden release that the artist felt upon departing

and death at the exhibition entry, based upon research of German

the suppression he had experienced for

Expressionist posters and graphics, were cut from wood, painted black,

so much of his life in Europe. Subsequent

and mounted on the wall. Unfortunately, the blocky, black letters with

rooms again became smaller, less lit, as the

small counters (negative spaces within the letters) and dark shadows

artist’s work showed his return to religious

created a title wall that was almost illegible. On the adjacent wall,

themes and the luminous spiritualism of

stamped letters that had been cut from cardboard reproduced a

his later years.

quotation from the artist. Although the typeface was the same, the

The deep burgundy wall color became

non-dimensional nature of this message made it easy to read.

a quiet, subdued backdrop for Domsaitis’ bold, richly colored paintings. Lighting,

Curator, catalogue author: Murray Turnbull

carefully controlled to highlight only the

Catalogue photography/design: Joel Stahmer

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January 26 – March 7, 1980

T H E

F I R S T

B I E N N I A L

W E S T E R N

S T A T E S

E X H I B I T I O N

The First Western States Biennial Exhibition that showed the work of 28 artists from the western United States was as diverse and grand as the land in which the artists live. While most of the works were large in scale, they ranged from a six-inch porcelain by Chris Unterseher to a twenty-three foot polychrome fiberglass sculpture by Luis Jimenez. The enormity of scale and scope of style and medium produced an exhibition richly varied in its visual and emotional effect. Impact was the guiding principle of the installation at the University of Hawai‘i Art Gallery. At the moment of walking through the gallery door the visitor was confronted by the sculpture of Luis Jimenez and the entire exhibition. Counterbalancing this sculpture was another in the distance by the same artist. All was presented as one unit in one large room with only minimal use of walls to divide the space and showcase the work. This heightened the eclectic nature of the

Additional illustration: page 10

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exhibition and increased its visual force. As Dale Koller of the National Endowment for the Arts stated, it was “a ‘real’ bombardment!” that made far more sense than its presentation in “DC and San Francisco” where separate rooms suggested special themes or sub-regions.1 Walls lined the perimeter of the gallery and, with several interior walls, provided sufficient hanging space and appropriate viewing distances for the large-scale paintings. The openness of the gallery suggested the vastness of space in the land of the western United States. Because of the size and number of works in the exhibition, not all would fit within the main 4,200 square foot exhibition area. Thus, a 620 square foot gallery was created in a nearby meeting/ storage space. The floor to ceiling windows on two sides provided the opportunity to see the exhibition as one approached the Art Building. This portion of the presentation served to introduce the Biennial and encouraged entry into the main gallery. The potential use of this area as an additional exhibition space within the Department of Art was realized. Named the Commons Gallery, with its schedule of weekly exhibitions of class work, thesis candidates, and visiting artists, it has become the most highly visible exhibition space in the State of Hawai‘i. Signage for The First Western States Biennial was placed on a wall panel erected outside the entrance to the exhibition.

1 Memo to Jacquie Kitzelman, Visual Arts Coordinator of the Western States Arts Foundation, originator of the exhibition, February 12, 1980.

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October 5 – 31, 1980

A

L E G A C Y

O F

T E A C H I N G

Although Professor Emeritus Kenneth Kingrey served as the catalyst for A Legacy of Teaching, he was only the vehicle for a concept that extended beyond a specific individual. The exhibition recognized that many teachers contribute to the development of students and it honored all creative educators. A Legacy of Teaching presented the professional work of former students of Professor Kingrey. It reflected awareness that Kingrey, who taught for over 38 years at the University of Hawai‘i and the University of California at Los Angeles, was a significant inspiration to the development of his students. Considered a most conscientious and influential professor, he advocated exacting standards and a philosophy that provided the foundation for succeeding generations of artists, designers, and teachers. Kingrey’s students became living and practicing proof of the effectiveness of his teaching philosophy. He prepared them with a broad sense of design that allowed them to develop in any area of artistic endeavor. Thus, a philosophy of education became the premise of the exhibition, not specific artists’ works. Seventy-two former students who worked professionally throughout the world presented over 300 works. Although most of the work was from the fields of design, the exhibition emphasized the diversity of directions that artists pursued. It included sculpture, painting, photography, printmaking, glass blowing, ceramics, fibers, and video.

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The exhibit’s design utilized a subtle drafting board concept of angled plywood panels constructed between the 4' modular gallery walls. This provided effective display space for twodimensional work that included books, graphics, packaging, toy design, industrial design, illustration, and computer art. The arrangement of works on the angled panels exemplified well the twodimensional considerations relative to the elements and principles of art outlined in chapters 1 and 2. The utilization of felt lines was integral to developing a visual structure that provided cohesiveness and unity within the individual panels and throughout the exhibition. Paintings, photographs, and other large-scale or three-dimensional works were important to providing vitality and interest within the exhibition space. The embossed appearance of the exhibition title on the entrance wall was a reference to the restrained and understated design characteristic of Kenneth Kingrey. The letters were cut from 1/4" foam core, then attached to the wall with rubber cement and painted to match the wall. Lights were directed to give the title the appearance of being embossed. Kenneth Kingrey, the consummate comprehensive designer, was known for his sensitive use of plants within his interior and exhibition design. Thus, plants were carefully selected and positioned throughout the exhibition. A three-day symposium by Kenneth Kingrey’s former students was presented in association with the exhibition and included eighteen participants from

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Hawai‘i and the continental United States. The exhibition and symposium helped current students realize the potential application of the theoretical knowledge they were gaining in school. Consultants: Momi Cazimero, Clemente Lagundimao, Jeanne Wiig

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February 1 – March 6, 1981

F I L A M E N T S O F

T H E

I M A G I N A T I O N

Maintaining the individuality of distinct works and the visual integration of the entire exhibition became the guiding principles of Filaments of the Imagination. To achieve this, while each artist’s work was presented in proximity, all was displayed within wall spaces appropriate to their size or on individual stands. A half-inch deep vertical reveal between works on the walls provided that separateness. This was achieved by placing a strip of 1/2" plywood between the walls as they were joined. The walls and vertical pedestals were painted warm white while large platforms were painted brown, a value that allowed them to integrate with the floor and thus emphasize the woven work placed upon them. The small, three-dimensional works of Diane Sheehan were positioned upon acrylic cubes within individual vitrines that allowed the basket-like forms to appear to float in space. Organized by the University of Hawai‘i Art Gallery, Filaments of the Imagination featured the works of ten masters of contemporary fiber: Adela Akers, Auturo Alanzo Sandoval, Neda al-Hilali, Lia Cook, Tetsuo Kusama, Clinton MacKenzie, Walter Nottingham, Hiromi Oda, Diane Sheehan, and Anne Wilson. While most media have enjoyed a longstanding relationship with art mainstreams, in the 20th century fiber art struggled to achieve acceptance as a viable art medium. Contemporary fiber artists, however, have moved beyond materials, technique, and

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imagery to incorporate mature conceptual thinking. Their visual statements transcend the physical to communicate personal refection and the interpretation of ideas. Unique for its time, this exhibition indicated a renewed development of the two-dimensional plane through the use of new materials and techniques. An open plan allowed easy viewing of the 43 works in the exhibition. The visual balance of large and small pieces throughout the gallery, with smaller works presented in more intimate spaces, established rhythm and variation that encouraged visitors to linger and study the range of techniques used by the artists. Title signage and acknowledgements that included the National Endowment for the Arts were screened on a 4' wall placed at the exterior entrance of the gallery. Inside, the exhibition title on the entry wall echoed the embossed catalogue cover. The calligraphic script was cut from 1/4" foam core, glued to the wall, and painted. The catalogue, designed by students Susie Brandt and Valerie Kennedy

Noted fiber artists Katherine Westphal and Ed Rossbach and Filaments artists Clinton MacKenzie and Neda al-Hilali conducted lectures and workshops in conjunction with the exhibition. The exhibit was crated with the help of student gallery assistants

under the direction of faculty member

to meet standards of national traveling exhibitions. Filaments of the

Susan Merritt, set a new standard for

Imagination was presented at six museums in the continental United

catalogue production in the fiber arts. It

States under the auspices of the Western Association of Art Museums.

won five regional and national awards

The photography and design of the catalogue, as well as the

for excellence of design and printing.

preparation and installation of the exhibition and construction of

Students August Riccio Jr. and Nathan

the crates for the traveling circuit, provided an invaluable learning

Chung did the catalogue photography

experience for students. The success of this exhibition served as an

with the guidance of Assistant Professor of

incentive for students to become involved in various aspects of other

Photography Stephen Brigidi.

projects and thereby gain important professional expertise.

The exhibition was featured on the front and back covers of the June/July

Curator: Judith C. Brooks

1981 issue of American Craft with a six-

Catalogue authors: Judith C. Brooks, Naomi Whiting Towner

page full-color review. Fiberarts carried a

Catalogue direction: Susan Merritt; design: Susie Brandt, Valerie Kennedy

review in the July/August 1981 issue.

Catalogue photography: Stephen Brigidi, Nathan Chung, August Riccio

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October 11 – November 13, 1981

K O A

F U R N I T U R E

O F

H A W A I I

This award-winning exhibition presented 50 pieces of furniture that spanned a century of production in Hawai‘i, from 1820 when the first missionaries arrived to the advent of mass-produced furniture in the 1920s. It highlighted the artistry of early woodcarvers and cabinetmakers in Hawai‘i who used the most revered of all native woods, koa. Four years of research and the cataloging of several thousand pieces of koa furniture throughout Hawai‘i by volunteers from the University of Hawai‘i Department of Art and the Daughters of Hawai‘i provided the inventory for selection. The exhibition was laid out in a chronological and linear manner with the furniture set upon continuous platforms. The objective was to present the furniture as distinctive works of art, emphasizing the sculptural qualities of individual pieces rather than attempting to

Additional illustrations: pages 16, 44

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recreate a period setting. The environment created an ambience of elegance and sought to suggest the sense of reverence and respect that people of Hawai‘i have for objects made from this beautiful wood. Koa trees were plentiful in Hawai‘i during the 19th century, especially on the higher elevations of the islands of Hawai‘i and Maui where they reached enormous proportions that allowed the production of wide boards especially suited to the making of furniture. However, it was the rich color and pronounced grain of the koa with its ability to take a high gloss that made articles constructed of this wood so desirable. In the 20th century, the rareness of the wood caused by the trees’ depletion from the forests, and the association of the wood with furniture of the former Hawaiian royalty, effected a continued admiration and respect for objects made from koa. Since missionaries, untrained in the skills of cabinetry, made the first furniture in Hawai‘i, early examples were simple and rectangular. Gradually, as more skilled craftsmen arrived in the Islands, curves and graceful lines became apparent. The installation design emphasized this aspect by incorporating rectilinear spaces in the area of missionary furniture. As flowing lines began to appear in the furniture, the

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gallery walls and platforms achieved a harmonious interplay between curved and straight lines. The installation effectively blended flowing vistas and intimate spaces that provided the opportunity for viewers to glimpse and compare objects from various periods and carefully observe individual works. In fact, the exhibition took on the aspect of a forest with undulating paths and unexpected views. The modular system of 2’ x 14’ and 4’ x 14’ walls served as the structural ends of curved walls that were constructed from two-by-fours and 1⁄8” Masonite. Additional modular walls placed upon eight-inch concrete blocks were used as the basis for the one-foot high platforms that supported the furniture. To achieve the curved portions of the platforms a structure of two-by-threes, surfaced with 1/2” plywood, was constructed and faced with an eight-inch wide strip of Masonite that concealed the substructure and allowed a four-inch kick-space. This reveal created the illusion that the platforms were suspended and gave the installation a light and floating quality. The platforms provided a barrier-free design that allowed, without the use of guardrails or ropes, unobstructed visual access to the furniture. The exhibition garnered a Print Casebooks: Best in Exhibition Design award and was published in the 1984/85 Casebook Edition.1 The jurors praised the selection of the dark green color for the walls and platforms, chosen to emphasize the forest origins of the wood and provide a contrast to the rich, warmly lit colors of 1 Carpenter, Print Casebooks 6, 58-60.

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furniture. The color was determined

silk-screened directly onto the walls, including the curved walls where

beneath a spreading koa tree with careful

screen frames were constructed to correspond to the curved surface.

consideration given to the tones and

Labels, screened on matte board that had been painted the green color

luminosity of the foliage.

of the walls, were placed on the platforms.

Incandescent ceiling track lights

A koa desk and chairs replaced the gallery desk. Near the exhibition

highlighted each piece of furniture,

entrance two vertical sections of a koa tree showed the bark and the

bringing out the warm orange tones of

interior grain of the unfinished wood. To emphasize the importance

the wood. Under the lights and against

of the furniture, accessories were restrained and consisted primarily of

the cool green background, the furniture

koa calabashes, ferns and palms. A child’s quilt, brought by missionaries

glowed lustrously because the color

from New England, covered the mattress of the crib. Hawaiian appliqué

selection took advantage of the principles

quilts graced three other beds.

of complementary and warm/cool

The exhibition was installed within three weeks on a budget of

contrasts. The furniture appeared radiant

$7,250 that included labor and supplies. With no full-time employees,

against the cool green setting.

students and community volunteers were called upon to help. The

The exhibition title, of individual letters carved from koa wood in a modified

National Endowment for the Arts supported the project. The 76-page exhibition catalogue received an Award of Merit from

Torino Roman, was pin mounted about

the Honolulu Advertising Federation.

1/4" off the curved wall. Throughout the exhibition, display type was Torino

Catalogue author: Rhoda Hackler

Roman. Individual labels used Garamond.

Graphics, catalogue design: Clemente Lagundimao

Interpretive explanatory texts were

Color consultant: Jeanne Wiig

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November 22 – December 10, 1981

A R T I F A C T S O F

T H E

P O M A R E

F A M I L Y

A major role of a university is to provide a source of knowledge and

influence as a result of their relationships

an opportunity for research and study. At the University of Hawai‘i

with European missionaries and traders

the study of the Pacific region and Asia is preeminent. The Artifacts

and became instrumental in the social and

of the Pomare Family exhibition, organized by graduate student

cultural changes that took place in the late

Karen Stevenson, evidenced the University’s commitment to Pacific

18th and 19th centuries.

Island studies and allowed Stevenson to experience the process of

Europeanization transformed the

developing an exhibition and conducting the necessary research that

traditional system of multiple chiefs to one

accompanies curatorial responsibilities.

of an absolute monarchy and modified

The Pomares ruled Tahiti from 1773 to 1891 and, after French

all aspects of Tahitian material culture.

rule until the death of Pomare V’s daughter in 1961, continued to

The exhibition explored the Pomares’

be recognized as the royal family. The Pomares rose to a position of

contacts with European culture and traced the resulting retention and adaptation of traditional society. The artifacts represented an undocumented aspect of Tahitian history, as they had largely been kept from public view and were scattered among Pomare descendants and the museums of Europe and the Pacific. The Commons Gallery (620 square feet) provided an appropriate venue for the installation. Following selection and procurement of the objects, Stevenson developed a scale model of the exhibition. Using the modular exhibition system of 2' and 4' walls, she conceived cases that would present the royal artifacts securely and with dignity. Objects that ranged from traditional wooden bowls and penu (stone pestles used for pounding and grinding) to a crown and sabers were displayed in cases constructed in a scale appropriate to the size and the context of the assembled artifacts. Thus, articles of traditional manufacture and use were set apart from those of Western origin or influence. Cases

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for small objects were made using 2' x

Stevenson selected a “Bengal Red” for the cases and walls. The

14' walls for the structural ends of a waist

color, its value and intensity, provided a rich setting for the diversity of

high platform that received a Plexiglas

artifacts within the display. At the entrance of the gallery, photographs

vitrine. Larger pieces were presented

of the Pomare monarchs established the context in which the artifacts

in cases fabricated from 4' x 14' walls

were made and used. Title signage and acknowledgements were

with a platform approximately 18" from

placed on the walls constituting the confluence of the two large cases

the floor. The sides of these cases were

that faced the courtyard in front of the gallery. Individual labels were

covered with large sheets of Plexiglas.

screened on painted matte board. The curator and volunteers installed

Objects within these cases were elevated

the exhibition in four days.

on Plexiglas and wooden pedestals to

A 48-page bilingual catalogue, designed by students Steven

facilitate visual access. Within the restricted

Minoda and Lianne Chong, received an Award of Merit in the annual

space of the gallery Stevenson developed

competition of the Honolulu Advertising Federation.

an effective traffic flow that conceptually

The exhibition was subsequently presented at Le Musée de Tahiti et

showed the transition of art in Tahiti from

des Iles in Papeete and the Pacific Asia Museum in Pasadena, California.

works of indigenous manufacture and use to those of Western derivation. Groupings

Curator, catalogue author: Karen Stevenson

of small objects were effectively

Graphics, catalogue design: Steven Minoda, Lianne Chong

counterbalanced by the presentation of a large tapa and tīfaifai (appliqué bedcover).

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A Triennial Exhibition

I N T E R N A T I O N A L S C U L P T U R E

S H O E B O X

E X H I B I T I O N S

Presenting an exhibition with renewed vitality every three years that has the same conceptual construct constitutes a challenge for the exhibition designer. How does the designer give a new look to each exhibition yet provide the essential viewing and security conditions that make the works accessible? How can this be accomplished within a restricted budget and primarily with the assistance of student help and volunteers? Ever since its inception in 1982 The International Shoebox Sculpture Exhibitions have become a signature endeavor of the University of

The 3rd (below), 6th, 2nd, 9th (right, top to

Hawai‘i Art Gallery and artists around the world anticipate taking part

bottom) International Shoebox Sculpture

in the exhibitions. The number of artists included in each of the ten

Exhibitions

exhibitions already presented ranges from 87 to as many as 162.

Additional illustrations: 15, 18, 41

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Because of the often large and unwieldy nature of sculpture, national and multinational exhibitions present specific problems of organization. University of Hawai‘i professors of sculpture Mamoru Sato and Fred Roster developed the exhibition concept as a means of seeing a wide range of sculpture in Hawai‘i, but the exhibitions have generated an audience well beyond Hawai‘i’s shores. Museums and university galleries throughout the United States, Taiwan, Guam, Korea, Japan, Canada, and Mexico have been encouraged by the quality of the artists’ works and the opportunity the exhibition provides to bring sculpture created by international artists to their communities. Sculptures must not exceed the dimensions of a standard size shoebox. The small size of the works in the traveling exhibitions, with their ease and economy of handling, provides ready exposure to a broad spectrum of contemporary sculpture. When The 9th International Shoebox Sculpture Exhibition ended its traveling itinerary in 2008 these triennials had been presented at 125 venues. The small format of the works encourages more careful observation than viewers would give to large-scale sculpture. The size limitation helps to generate a sculptural art rich with intricate detail. The array of ideas, styles, and media is invariably vast. Without the technical and financial restrictions inherent in large works, concepts become preeminent. Likewise, formal integrity is not compromised, as most structural concerns are eliminated and artists use any material with practicality.

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For each of the International Shoebox Sculpture Exhibitions the design challenge has been one of presenting many small works of art in a visually coherent manner that conveys variety yet does not emphasize one artist’s work over that of another. The installation concept has repeatedly expressed a contemporary feeling of cohesiveness and openness. The Art Gallery does not have sufficient sculpture stands to accommodate the myriad works in these exhibitions, nor does it have adequate storage space if they were to be constructed. Also, the varying heights of existing pedestals, while providing an interesting articulation of the space, might suggest an implied rank based on height. Likewise, traditional pedestals would either dwarf the small sculptures or prove to be unstable and, without the relief of intervening walls, the 4,200 square foot exhibition space with its 14' 6" high ceiling would appear to be an unremitting sea of vertical sculpture stands. Thus, for each exhibition platforms of varying lengths have been constructed to hold the sculptures. For most exhibitions, walls were used to support the ends or sides of 2' wide platforms, each raised about three feet off the gallery floor. To feature all sculptures independently each was placed on a low, light colored sculpture base 3" high x 21-½" x 17" or, for some exhibitions, on a panel of similar dimensions that was cut with beveled edges from 1⁄8" Masonite. On these stands, each sculpture maintained a presence of its own, independent of others on the platforms. Since the sizes of the sculptures were relatively uniform, care was given in

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The 1st, 6th, 7th (left, top to bottom), 9th (above top), 5th (left, catalogue cover), 8th (above bottom) International Shoebox Sculpture Exhibitions

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their placement to contrast each piece with nearby sculptures different

the overall exhibition design. To further

in texture, material, and form.

coordinate the design, the platforms,

Individual labels were placed on both sides of the platforms in front of each pedestal to facilitate viewing from both sides.

individual sculpture pedestals, columns, and supports were painted white. Six

The 2nd International Shoebox Sculpture Exhibition (1985) received

freestanding walls punctuated the space

a Print Casebooks: Best in Exhibition Design award and was commended

and prevented viewers from quickly

by the jurors for its elegance and “the way the design gave equal play

observing the extent of the exhibition.

to each piece of sculpture.”1 Casebook author Edward K. Carpenter, in

To provide a contemporary accent to the

his introduction, used the exhibition as an example of what can be

white sculpture platforms each side of the

accomplished with a minimal budget. Of the 25 exhibitions selected

walls and their ends were painted in one

for awards, The 2nd International Shoebox Sculpture Exhibition was

of five colors of equal value—lavender,

installed “with student and volunteer labor for just under $4,000, the

pink, aqua, blue, and yellow.

lowest cost of any exhibit discussed [in the Casebook].” Five of the

The exhibition title in Times Roman, an

featured exhibits cost $1 million or more, and one cost $10 million.

2

This installation used 13 L-shaped platforms, 2' wide in various lengths of 2' increments. Each platform rested on three ceramic sewer pipes that graduate art student and exhibition coordinator Sharon

adaptation of the catalogue cover design, appeared as a dynamic graphic element on the entrance wall. The windows of the gallery were left

Tasaka found at a State Surplus warehouse. The sewer pipes cost $4

uncovered allowing unobstructed visual

each and their 14" diameters matched the gallery’s four load-bearing

access to the surrounding bamboo

columns. Four of the L-shaped platforms were supported at their

garden. Perimeter walls were painted the

central angle by the gallery’s columns, integrating the columns into

same dark brown as the ceiling.

1 Carpenter, Print Casebooks 7, 42-43. 2 Carpenter, 5-6.

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The sculptures were evenly lit from ceiling floodlights. A lower intensity light was focused on the colored walls. The need for each exhibition to appear unique and different became an integral part of the process of color selection. Concern was given to providing a contrast to the mood expressed in the previous exhibition through a determination of colors that nevertheless remained subordinate to the sculptures. This was most often achieved by keeping the immediate space surrounding the sculptures neutral. Within a university context the International Shoebox Sculpture Exhibitions are an important vehicle for educating students in the processes of organizing, preparing, and presenting exhibitions. Students have served as exhibition coordinators, catalogue designers and photographers, and have helped with correspondence, editing, installation, packing, and crating. Exhibition coordinators: Courtney Brebbia, Linda Gué, Marsha Hoffman, Stacy Hoshino, Antonia Houfek, Erika Johnson, Anne Smoke, Sharon Tasaka, Michael Weidenbach Catalogue design: Joy Akama, Kariann Aoki, Lianne Chong, Maureen Domingo, Brenda Iwai, Aaron Lee, Stacey Leong, Steven Minoda, Nani Morris, Edwina Salac, Alan Saltiban, Matt Spencer, Marween Yagin Catalogue photography: Paul Kodama, Hal Lum, Miguel Matos, Malcolm Mekaru, August Ricco, Carl Shaneff, Shuzo Uemoto

The 2nd (left, right top, bottom), 3rd (right middle) International Shoebox Sculpture Exhibitions

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March 14 – April 16, 1982

E G Y P T I A N

A N T I Q U I T I E S

The installation of Egyptian Antiquities from the Charles Pankow Collection referenced a number of allusions—pyramidal façade, deep Nile blue walls, a tomb-like environment with an enticing maze of corridors and small rooms, and an imposing darkness with wells of light that accentuated the objects. Designed to evoke a total perceptual experience, where the ambience supported and enhanced the art, it elicited a sense of discovery and heightened the mystery and the intimacy of the nearly 100 ancient works of art that spanned 32 centuries. Entering the gallery, one traversed an expanse of space interrupted only by clusters of towering papyrus. In the distance rose a commanding pyramid punctuated by a vertical shaft of darkness that led to the inner chambers of the exhibition. At the end of the

Additional illustration: page 69

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long 4' wide corridor, under carefully focused lights, the black granite head of a Pharaoh appeared in the near obscurity of the darkness. To create the illusion of the ancient pharaonic tombs, the sand colored pyramidal façade, composed of the modular 4' x 14' gallery walls with angled extensions on the ends, inclined. Ceiling mounted flood lights evenly lit this monumental entrance while the walls surrounding it, that extended to cover the gallery windows, were painted medium value blue and were more subtly lit. The spatial illusion achieved through placement of walls, color selection, and lighting evoked the sensation of crossing a desert before entering the spiritual domain of the ancient Egyptian edifices devoted to death and afterlife. The narrow corridor leading to the exhibition was painted the dark brown color of the ceiling, as was an antechamber on the left where a studentproduced rear-screen audio-visual presentation introduced the history and culture of ancient Egypt. Throughout the exhibition screened interpretive texts and labels placed the objects within the context of their meaning and use. Docent tours and lectures further increased the educational aspect of this exhibition. Inside, intricate passageways, small spaces, the uniform dark blue color, and subdued lighting emphasized the tomblike environment. The art was presented in vitrines supported on platforms that were suspended like a bridge in niches or between vertical shafts of walls. Structural brackets were fabricated to hang stone reliefs on the walls.

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Scarabs were arranged within a case containing inclined sheets of Plexiglas; the top sheet, having holes cut to the size of the scarabs, held them in position when a second sheet of Plexiglas was placed immediately below. Mirrored Plexiglas mounted a few inches behind allowed visitors to view the hieroglyphic inscriptions engraved on the undersides. The amount of lighting in the spaces and on the artifacts varied throughout the installation. This helped to establish the contextual meaning associated with the objects and provided visitors with an effective and intriguing sequential flow as they progressed through the exhibition. For example, light levels were kept very low in the section of the exhibition containing polychrome fragments of mummy cases. The lower light quality not only protected the fragile objects from fading, it enhanced the dramatic effect of entering the most hallowed chamber of the tomb. Elsewhere, light, directed inside the alabaster jars, allowed them to glow radiantly.

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Visitors moved naturally from chamber to chamber and then suddenly found themselves exiting to the right of the entrance façade. The exhibition title was hand-lettered on the wall to the left of the entrance, the words “Egyptian Antiquities” in blue and “from the Charles Pankow Collection” in brown. Each color was lightened with the sand color of the wall to allow the signage to integrate more effectively with its background. Installation took three weeks and cost $5,685 for student labor, supplies, audiovisual equipment, and screen. Curator: Heide Van Doren Betz Audio-visual presentation: Allen Hori, Delmarie Klobe, Malcolm Mekaru, Grace Murakami

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March 13 – April 10, 1983

S E L E C T I O N S A M E R I C A N

A R T

I N

I I :

E U R O P E A N

H A W A I I

A N D

C O L L E C T I O N S

Eccentric juxtapositions based on visual relationships rather than historic continuity informed the placement of the art in Selections II: European and American Art in Hawaii Collections. While the objects exuded a pervasive sense of quality and informative documentation established the importance of the works and the artists, the formal aspects of art prescribed the correlations essential to arrangement. The installation reinforced the timeless significance and validity of the study of the elements and principles of art, for it emphasized that artists throughout time have sought to bring perceptual order to their creations. Though the visual manifestation or style of works of art changes over time, the use and organization of the formal elements remain relatively constant.

Additional illustrations: pages 9, 22

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James Jensen, curator of Western art at the Honolulu Academy of Arts, assisted in the search for objects for this exhibition. Originally intended to include art and artifacts from various cultures, research revealed a little known aspect of collecting in Hawai‘i. That is, despite Hawaii’s obvious connections with Asia, many high-quality objects of Western art exist in private collections. Consequently the decision was made to limit the exhibition to Western art from the 16th to 20th centuries. One hundred sixty works representing more than forty collections comprised the final selection. The presentation elucidated the diversity and discriminating nature of collecting Western art in Hawai‘i. The placement of walls permitted a gentle and enticing flow throughout the gallery, creating a movement that was not overly linear, but one that allowed visitors to proceed with ease back and forth across the space. Platforms, elevated 12" off the floor for the placement of furniture and sculpture, integrated the position of walls and cases, permitted engaging views beyond, and created a barrier-free presentation. Walls, cases, and platforms were painted medium value mauve. This established a quiet color harmony among the diverse objects on display. A soft, general light permeated the environment while a lower footcandle wattage was directed on light sensitive artwork and the use of spot lights on selected objects achieved visual emphasis. The exhibition was installed in three weeks on a budget just under $3,000. Curator: James Jensen

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November 18 – December 23, 1984

G R E E K

A N D

R U S S I A N

I C O N S

As visitors entered the Art Gallery an astounding sense of awe overcame them. More than 120 rare Greek and Russian icons, dating from the 10th to 18th centuries glowed in the subdued darkness of an environment that suggested their religious intensity but presented them as works of art. The exhibition design, based on a Greek cross plan, reflected the interior of Byzantine ecclesiastical architecture. Four existing support posts in the gallery became the basis for the arcaded central crossing area. In the obscurity of this space two large and magnificent icons glowed with light. Beyond, in the extending arms of the apses, series of icons—the life of Christ and the apostles, Mary and the Archangels, and the saints—were brilliantly lit beneath embracing arches. Deep burgundy walls provided a rich background for the sumptuous gold

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and vibrant colors of the icons. Carefully controlled lighting added to the symbolic intensity of the works. Light seemed to emanate from the icons exemplifying one of the essential tenets of the Eastern Orthodox Church, that icons are, in both a literal and symbolic way, windows between the heavenly and earthly worlds and that through the icons the heavenly figures manifest themselves to mankind. The installation utilized the gallery’s modular system of 2' x 14' and 4' x 14' walls to create the Byzantine church-like setting with apses and alcoves that featured each icon as a distinct and individual work of art. Arches, constructed from 1/2" plywood and 1⁄8” Masonite, framed the central space. Free-floating arches spanned the alcoves between column-like 2' x 14' panels and the perimeter walls of the plan. Moving beneath the arches into intimate recesses, visitors could appreciate

accommodate the specific needs of the works on display with

and be awed by the color, detail, precision,

consideration given to the concepts or ideas suggested by the

and nuances of expression in the icons

works. To shape the vision of the icon exhibition a scale model was

and the contemplative ambience of the

constructed from which a floor plan drawing was developed. Initial

environment. Small icons were secured

conceptions of the model were too monumental—too cathedral-like.

in Plexiglas cases, while tabletka, double-

They lacked intimacy and left little for the visitor to discover since the

sided icons painted on thin panels of linen

whole exhibition could have been seen from any point in the space.

stiffened with size, were presented within

Contrary to good exhibition planning, spaces had not been created for

an opening in specially constructed 2' x

each object; rather, the icons were forced into a preconceived format.

14' walls that allowed viewing from both

The second plan evolved out of an attempt to create individual spaces

sides. These tabletka were placed within

for every item. In the process of creating a better exhibition space for

a cavity cut in 1/4" inch Plexiglas that was

each icon, a plan developed that was more intimate and more reflective

then sandwiched between two sheets of

of a Byzantine church.

1⁄8" Plexiglas. Two large icons in the central

The arcaded central crossing was 22' square. To determine the

area of the gallery were mounted on metal

dimensions and the height of the arches of the central arcade a full-

stands that permitted observation of their

scale cardboard mock-up was made and tested. Apses were 22' deep,

construction on the reverse.

and the alcove arches were about 11' above the floor. Student assistants

Each exhibition at the University

and volunteers prefabricated these arches on weekends during the

of Hawai‘i Art Gallery is designed to

month preceding the installation. The exhibition was constructed and

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installed in three weeks without full-time employees while portions of the gallery were being used for an exhibition of the work of Agam and to jury and pack The Second International Shoebox Sculpture Exhibition. The deep burgundy walls and arches blended into the dark brown ceiling allowing the upper reaches of the gallery to disappear into darkness. With carefully directed spotlights, each icon, with its gold and brilliant colors, seemed to glow with an inner intensity, as if each were really a window between heaven and earth.

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Explanatory texts in light gray-green Novarese typeface were silk-screened directly onto the walls. They told of the making and use of icons and of the meanings of significant icon themes. Individual screened labels described each icon. Wall bracket supports for the arches were painted charcoal green. In a theater to the left of the entrance, a ten-minute rear-screen audio-visual slide presentation prepared by students provided visitors with a glimpse of the traditions and the nature of the Byzantine and Russian worlds in which the icons were made and used. The installation budget was $6,100, not including audio-visual equipment. The exhibition installation was documented and became a half-hour video that was shown on the Oceanic Community Programming Channel. The video follows the exhibit design through planning, construction, and installation to the opening reception; and, in it, the designer, planners, student assistants, volunteers, critics, and the public respond to and discuss the exhibition. Greek and Russian Icons from the Charles Pankow Collection received a Print Casebooks: Best in Exhibition Design award and was praised by the jurors for the “way the exhibit’s color and structure reflected the content.”1 Curator: Heide Van Doren Betz Catalogue author: Rex Wade Graphics, catalogue design: Allen Hori Audio-visual presentation: Karen Thompson, associate director; Patricia Hayashi, Sam Kim, Mark Fontaine, Patty O’Neal

1 Carpenter, Print Casebooks 7, 44-45.

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March 31 – April 26, 1985

F I R S T

I M P R E S S I O N S

J A P A N E S E

P R I N T S

O F

F O R E I G N E R S

In 1985 Hawai‘i commemorated the centennial of Japanese immigration. In true celebratory fashion museums and cultural institutions throughout the state presented exhibitions and programs that interpreted the culture and traditions of the Japanese. First Impressions: Japanese Prints of Foreigners was unique in that the dominant theme of this exhibition considered the influence of Western culture on Japan. It presented Japanese impressions of foreigners— those who were arriving in Japan, after two centuries of exclusion, at about the same time that the first Japanese came to Hawai‘i. The woodblock prints called Yokohama-e portrayed popular images of Westerners and reflected the “first impressions” the Japanese of the late 19th century had of the West. These perceptions were brought to Hawai‘i by immigrants and document the beginning of what would become a rich cross-cultural experience. The 89 single prints, 40 triptychs, and two hand scrolls came from the collection of Melvin P. McGovern who developed a special interest in Oriental art, especially the manifestations of its interaction with and assimilation of other cultures.

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To the right of the gallery entrance a hand painted mural reproducing Kunihisa’s 1861 print of a Russian couple welcomed visitors. Title signage was at the left. Stepping inside, visitors experienced the frenzied activities of the port of Yokohama in the late 19th century. Two 14-foot high painted murals of Western ships crowded the entrance and seemed to direct visitors into the exhibition. Behind a 28-foot long mural that showed the inner workings of a ship and its sailors, a student-developed audiovisual slide presentation depicted life in Japan at the time of expanded Western contact. It explained the history and effect of this interaction, and told about the Japanese fascination with these strange people, their customs, clothing, and the artifacts they brought with them. Interpretive texts and labels further elucidated this information and told of the tradition of Japanese printmaking. Two additional hand-painted ceiling-high murals boldly interrupted the repetition of the uniformly sized prints. The murals served as a

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visual relief and, because of their large scale, invited viewers to look closely at the activities and details within the murals and subsequently encouraged similar observation of the prints. While both of these objectives may have been achieved, a question continues to loom. That is, when designers choose to incorporate extremely dramatic elements in an exhibition, at what point do these elements dominate and take away from the work on display? Does what should appear as neutral background become the visual focus? To provide additional variation within the installation the gallery walls were painted six shades of blue. While the matted prints were hung at a uniform

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height, careful attention was given to grouping similar subjects and to varying the spaces between individual prints and the groups. The interpretive wall texts and individual labels, the audio-visual slide presentation, public lectures at the University and at four locations in the community, guided tours of the exhibit, a gallery brochure and the catalogue all helped to set the historical context of the arrival of Westerners in Japan and the Japanese reaction to Western culture and industrialization. The enhanced interpretive potential of this exhibition was realized through grants from the Hawai‘i Committee for the Humanities, the State Foundation on Culture and the Arts, the Lloyd/Moore Foundation, and Hui Manaolana Foundation. The exhibition catalogue received an Award of Excellence in the American Advertising Federation District 13 annual awards competition. A traveling exhibition of forty prints was presented at three additional exhibition venues in Hawai‘i and twelve museums on the United States mainland and Canada. Curator, catalogue author: Willa Tanabe Graphics, catalogue design: Cheryl Brzezinski Audio-visual presentation: Karen Thompson, associate director; Grace Murakami, Karl Miyajima, Scott Tome

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March 25 – April 25, 1986

T H E

A R T

O F

M I C R O N E S I A

Formulating an installation design appropriate to the specific needs of the works on display and the concepts or ideas that the works suggest is imperative to effective exhibition design. The presentation of The Art of Micronesia evolved from a determination of the requirements for conservation and protection of the objects as well as an understanding of Micronesian life and culture. As the curators selected the artifacts and arrangements for their loan were negotiated, the designer developed the exhibition maquette based on measurements and requisite needs for presentation of the objects. Consideration was given to how the exhibition design would make maximum use of the existing modular wall system, how lumber and supplies from previous exhibitions could be utilized in this installation, and new materials could be efficiently reused in subsequent projects.

Additional illustration: page 81

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Current standards of acceptable light levels for fragile objects made of natural materials necessitated an environment with controlled lighting and climate. To sustain a maximum light level of 15 footcandles, the modular walls covered the gallery’s ceiling-high windows. After a review of historical photographs and publications about Micronesia and discussions with many who had lived in this area of the Pacific, display cases were designed that utilized the 4' x 14' gallery walls as ends for sloping tops and open bases that referenced Micronesian architecture. Ten 4' x 8' cases were arranged in five L-shaped configurations. Four 4' x 4' cases stood independently. Case platforms were about three feet from the floor. The two shades of muted green of the cases and four large palms evoked the natural ambience of a Micronesian village with clustered huts set against the blue perimeter walls that suggested an endless horizon of sea and sky. Micronesia consists of over 2,000 small islands scattered over an expanse of the northern Pacific Ocean the size of the continental United States. Subsisting in four archipelagos—from Kiribati in the east, the Marshall Islands, the Caroline Islands, and the Northern Mariana Islands—most are coral atolls, few more than thirty feet in elevation. In the central and western regions, however, atolls are interspersed with high volcanic islands. In all, the ocean is rarely out of view. Thus, navigation is a key to culture, and the ocean—the home of visionary voyagers and their spirits—informs the art of Micronesia.

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Panels, 16" wide and 5' high (their top portions obscured by the top of the cases), hung by monofilament from metal bars in the top of the cases, displayed sepia-toned photocopied texts and pin mounted photos, drawings, and paintings. To give the object labels a look of more substance within the cases, they were typed on paper painted the same olive green color of the case interior and glued to 1/2" plywood, the edges of which were painted. Times Roman typeface was used for the text, Romic for the display type. The see-through aspect of the cases with their open bases provided the installation with an expansive quality. Yet a sense of intimacy was maintained through the subdued lighting and muted colors that emphasized the richness of the artifacts’ textures and colors. Described by Print Casebook author Edward K. Carpenter as having a “feeling of stillness and elegance,” The Art of Micronesia received The nearly one hundred artifacts selected by the curators spanned this vast geographical area, but did not represent the complete

a Best in Exhibition Design award.1 The overwhelming obstacle facing the

artistic production of specific island groups either geographically or

presentation of major exhibitions such as

in time. Therefore, the objects were presented within the context of

The Art of Micronesia at the University

meaning and use rather than chronology or location. Grouping the

of Hawai‘i constitutes conducting the

pieces thematically according to various cultural aspects associated

installation in a large (4,200 square foot)

with an ocean-oriented society emphasized the cultural unity of the

exhibition hall in a short period of time—

Micronesian islands. The themes—the sea and transportation, religion,

three weeks for this exhibition—with only

shelter, and personal adornment—reiterated the continuity of color,

the assistance of part-time student help

texture, and proportion that makes these objects of everyday use

and volunteers. Nevertheless, for all, the

throughout Micronesia an art that is distinct in its simplicity of form and

experience of working on exhibitions

regularity of design. The nature and number of artifacts displayed in

of this nature remains valuable training

each theme determined the configuration of the plan.

towards potential careers. Additionally,

A seven-minute audio-visual slide presentation developed by

for this exhibition, because inadequate

students played in an alcove behind the entrance wall. It, interpretive

information was supplied by some of

texts, and object labels explained the techniques of construction and

the curators, considerable amounts of

the use and importance of the works in Micronesian culture.

the exhibition research and writing had

1 Carpenter, Print Casebooks 8, 41–43.

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to be conducted by the gallery staff and volunteers. Karen Stevenson, a graduate art history student at UCLA, was hired to assist in coordinating and researching the materials in the exhibition. However, the attendant delays and requisite demands of subsequent exhibitions restricted the publication of the 78-page catalogue until well after the close of The Art of Micronesia. Nevertheless, it won an Award of Excellence from the Honolulu Advertising Federation. As the University of Hawai‘i Art Gallery is a temporary exhibition space with a policy that restricts collecting, the loan of works from other institutions is vital to the presentation of the exhibition program. Important works of traditional Micronesian art were secured from the collections of Bishop Museum, Smithsonian Institution, Metropolitan Museum of Art, Peabody Museum of Salem, Lowie Museum at Berkeley, Belau National Museum, and the Honolulu Academy of Arts.

and cultural fair focused attention on Micronesia, an area often only

The Art of Micronesia received funding

minimally covered in other exhibitions of Pacific arts. The activities

from the National Endowment for the Arts,

fostered an awareness of the art and cultural contributions of the

Hawai‘i Committee for the Humanities,

Micronesian people to Pacific culture. The involvement of the

Mobil Oil Micronesia, Bank of Hawai‘i,

Micronesian community in Hawai‘i and the stimulation of ethnic pride

Continental Air Micronesia, and School of

remain the most positive residual aspects of the exhibition and the

the Pacific Islands. The exhibition budget

attendant activities.

of $72,108 included publications, crating,

The exhibition and cultural fair were documented in a half-hour

shipping, and insurance, of which $9,000

video that was presented on Oceanic Cablevision in Hawai‘i and in

consisted of installation costs.

public programming throughout Micronesia.

A one-day Micronesian Cultural Fair emphasized continuity and change

Curators: Gerald Feldman, Donald Rubinstein, Deborah Waite

within Micronesia. The festive event

Research assistant: Karen Stevenson

included culinary treats, dancers, chanters,

Exhibition assistant: Jeanne Wiig

musicians, and artisans who gathered

Catalogue direction: Peter Salter; design: Allen Hori, Christine Kehlor

in a “village” setting surrounding the

Audio-visual presentation: Karl Miyajima, Scott Tome

Art Gallery. The exhibition, lectures,

Cultural Fair coordinator: Margo Vitarelli

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January 25 – February 20, 1987

G L A S S : A N O T H E R

V I E W

Glass: Another View pushed beyond the customary traditions of “working with glass,” with its usual preoccupation with technique and functionality, to consider the use of glass in the context of meaning. Curator Ivan Treskow planned an exhibition comprised of the work of seven artists who employ glass to convey sculptural and conceptual concerns traditionally not associated with the medium. The artists, Michael Aschenbrenner, Bruce Chao, Laddie John Dill, Rick Mills, Richard Posner, Thermon Statom, and Ivan Treskow, produced large-scale works. With the exception of Dill, they were installations that required the artist’s presence and response to the space. Aschenbrenner and Posner shipped the elements comprising their works and assembled them on the walls of the gallery. Hawai‘i artists Mills and Treskow produced large sculptural pieces that were positioned within the gallery. Chao and Statom created works that responded to the environment and the materials available in Hawai‘i.

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Care was given to creating an installation environment open in plan, that allowed independent viewing of each artist’s work. This was achieved through the minimal use of interior walls that were painted cool white and the utilization of the expansive qualities provided by the perimeter windows. Title signage and acknowledgements were placed on a 4' wall at the exterior entrance to the gallery. A series of lectures by each of the artists established the context of their work within the exhibition and added depth to public understanding of the medium of glass as a vehicle for the conveyance of meaning in contemporary art. Planning for Glass: Another View spanned a period of several years. A grant from the National Endowment for the Arts initiated the project, but insufficient funding delayed the exhibition for more than a year while the process of procuring additional support from the Hawai‘i State Foundation on Culture and the Arts and McInerny Foundation took place. Because of the installation nature of many of the works, photography could not be completed prior to the exhibition. Thus, a gallery guide that contained biographical data and artists’ statements accompanied the exhibition. The subsequent student-designed 46-page catalogue received an Award of Excellence in the annual awards competition of the American Advertising Federation. Curator, catalogue author: Ivan Treskow Graphics, catalogue design: Milicent Smith, Fal Bueno, Evelyn Esaki Catalogue photography: Nathan J. D. Chung

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March 15 – April 16, 1987

W O V E N

P A S S A G E :

T H E

S I L K

R O U T E

Over the centuries the Silk Road from China through Central Asia to the Near East served as a trade route for goods, but more importantly, it was a means for a profound and long-lasting exchange of cultural and aesthetic influences. In a complex but remarkably navigable installation that recalled a crowded bazaar, this exhibition of Oriental rugs from Hawai‘i collections traced the “Silk Route.” It presented rugs with a range of styles and designs as diverse as the distant regions from which they came. While patterns often were regionally specific, many reflected a synthesis of ideas from East and West. Visitors could traverse the gallery proceeding west from China to Asia Minor or from west to east. Approximately 140 rugs, horse blankets, tent bags, saddlebags, and animal trappings hung on the walls or rested on low platforms. Color and pattern abounded. Some rugs were rich and vibrant; the colors of others, soft and blended, showed the natural patina of age. A 15-minute audio-visual program prepared by students ran continuously in a specially constructed theater at the core of the exhibition. It established the cultural, geographical, and historical context for the making of rugs. The various colors of the walls and intricacy of the installation highlighted the rugs and suggested the geographical areas represented—broader more open expanses of China and Central Asia

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contrasted the crowded and vertical spaces of the mountainous terrain in the Caucasus and Turkey. The audience hall setting in which the elegant and refined classical Persian carpets were presented reflected the splendors of palaces and formal gardens. All around, niches were filled with small woven objects of bold design and color that expressed the visual preferences of tribal people. Individual labels interpreted design characteristics and explained the customs and history of the people who made the rugs and the cross-cultural ideas that they often shared. The funding of an exhibition program within a university setting, especially without the advantage of a permanent collection, is often the most challenging aspect of directing a gallery. The pressure to maintain a varied and quality exhibition schedule that broadly represents the disciplines within the Department of Art and that makes maximum use of presentation time within a school year is constant. To balance a budget with little support from the department or the university demands creative curatorial considerations that incur minimal expenses and that utilize quality works from private collections within the city of Honolulu. Woven Passage: The Silk Route was presented at a total cost of $6,225 that included $4,544 for student help to install the exhibition and work as attendants while the gallery was open to the public. Advisors: Frank Seki, David Slusher Audio-visual presentation: Steven Kiyabu, Kelly Siu, Scott Tome

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October 12 – 23, 1987

S N U F F A

B O T T L E S

M I N I A T U R E

A R T

O F

C H I N A

The habit of taking snuff, which was first introduced into 16th century

The presentation of small objects

China by the Europeans, became so popular that it inspired an art form

with regard for security and easy visibility

rich in history and unique to Chinese culture. In the snuff bottle, fine art

introduces particular problems for the

and craft combine artistic creation with technological skill.

designer. Nevertheless, attention to

The exhibition featured rare inside-painted bottles from one of the

these two primary requirements allowed

finest collections in the United States. The tiny containers of hand-

the creation of an installation that was

blown or carved glass and other materials were painted in the style of

intimate and entirely gem-like. Initial

traditional Chinese paintings but were executed in reverse from the

considerations for the display of the

interior. The artist worked with minute brushes through the aperture of

snuff bottles placed them on individual

the bottle that was usually no bigger than one-quarter of an inch. The

pedestals of varying heights, but often

detailed renderings illustrated trends in Chinese painting, documented

the grouping of the pedestals obscured

historical events and literary legends, and portrayed historical

one side of the bottle. Since both faces

personages of the 18 –20 centuries.

of the bottles were painted, a design for

th

th

For students studying within the master’s program in art history, the

cases that allowed viewing from each

opportunity to research and curate an exhibition based on original art

side was essential. Thus, a process of

represents a unique circumstance in their educational development.

investigation took place that would allow

MA student Kevin Chang organized this exhibition for the Commons

optimum viewing. Realizing that viewers

Gallery, the size of which served as an appropriate and intimate venue

would want to see the miniature paintings

for this collection.

within the bottles, magnifying glasses were purchased prior to case construction so the maximum optical distance for the depth of the cases could be determined. Recalling that a study collection of coins in a European museum permitted examination of both sides of the coins, Plexiglas troughs were constructed to support the bottles. U-shaped notches were cut into one-inch plywood panels to receive three troughs in each case. The notched panels were secured to two facing 2' wide gallery walls. Three-foot long three-quarter-inch Plexiglas panels affixed at the top and bottom secured the walls and troughs in position. One face of the case was installed prior to

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placement of the snuff bottles that were then carefully arranged within the trough. Quake wax stabilized precarious bottles. To achieve an aesthetic order that highlights each item, the placement of small objects demands far more attention to detail than does that necessary for large pieces. Often the subtle movement of a bottle even a fraction of an inch brought visual structure and cohesion to the composition. Extraordinary consideration was given to the spaces between the bottles and to how the bottles corresponded to those and the spaces on the troughs above and below. Upon completion of the arrangement the front Plexiglas cover of the case was installed. Labels were placed at the side of each case. Chang chose a pale aqua color for the gallery—a tone that suggested the translucency of glass. A small vitrine on a pedestal near the entrance contained paraphernalia related to the practice of snuff. A low platform held copies of the announcement/brochure that included an essay by Chang, a small receptacle for the magnifying glasses, and a potted yellow chrysanthemum. The inventive multifold brochure, designed by student Thomas Tsuhako received an Award of Merit in the annual awards competition of the American Advertising Federation District 13. This exhibition and a series of lectures on Qing Dynasty art and culture were supported by a grant from the Hawai‘i Committee for the Humanities. Curator: Kevin Chang Graphics, brochure design: Thomas Tsuhako

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November 15 – December 10, 1987

T H E

A R T

O F

P O L I S H

P O S T E R S

Statements, such as those on the right, on the walls of the University of Hawai‘i Art Gallery established the context for The Art of Polish Posters. However, this installation clearly showed how the development of space and the nature of presentation aid in the interpretation of meaning. The objective of the exhibition design was one of creating a compelling installation that supported the powerful graphic tradition of the posters. The implied chaos of walls placed askew and the dark, somber color helped express the environment in which the posters

“‘There were fences everywhere, just waiting

were born. With their bright and vivid colors the posters offered a

for us to cover them with posters.’”

glimmer of hope in a war-ravaged land. The slanting walls, positioned at angles to each other, established

“The modern Polish poster was born out of

an abstract and disorienting cityscape, but one possessing a distinct

the devastation of World War II to encourage

sense of human scale and presence. The warm gray walls served as

the rebuilding of a ravaged country and

an effective contrast for the vibrant and innovative posters. They were

promote the socioeconomic and ideological

intended to suggest the gloom of post-war Poland yet project a sense

reconstruction of a new communist nation.”

of Old World elegance. Likewise, recorded music of Chopin, a favorite subject of Polish posters, in its ironic suggestion of pretense, provided a somber refinement to the installation. Dr. Henri Niedzielski, University of Hawai‘i professor of language, recognized the artistic and cultural significance of Polish posters while teaching on a Fulbright grant at the University of Crakow from 197274. He began collecting posters with the express idea of exhibiting them in Hawai‘i. In 1986 he donated his extensive collection, dating

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from the 1950s through the 1970s, to the Department of Art. About 200 of them were shown in this exhibition. In the 1960s Polish poster art emerged from the devastation of World War II. Then, even within the Communist system, the traditional individualistic spirit of the Polish artist re-asserted itself. The breakthrough came when a state official in charge of selecting advertising art for the film industry accepted designs of a freer, more experimental nature. The literal, architectonic quality of late 1940s propaganda art gave way to metaphor and inventive, dynamic expression. The gallery staff researched 20th century Polish history and culture, specifically the development of posters in post-World War II Poland. At first a conventional, straightforward presentation was considered, but this seemed not to reflect the expressive quality of the posters. Thus, a freer, more forceful maquette was developed. Spontaneity continued to guide the placement and angle of walls as the actual installation deviated from the model. Initially a deep purple color for the walls was chosen; however, the contrast

were made with sufficient leading between paragraph lines to allow

provided by the dark gray seemed more

the lines of alternate paragraphs to be reproduced on the same INT,

representative of the war-torn milieu

thereby reducing the costs to half. To insure no mistakes while rubbing

from which the posters had served as a

the INTs on the wall, paragraphs were set upside-down to each other.

psychological release.

The exhibition was installed in one week with student help and

The posters, grouped thematically,

volunteers at a cost of $1,829 for labor and supplies.

their placement determined by impulse,

Termed “a gem of an exhibition, as rewarding in its evocation of a

suggested the vitality and casualness of

general ambience or environment as it is in its rich and specific detail,”1

this popular art form. The statements on

by Star-Bulletin reviewer Marcia Morse, The Art of Polish Posters was

the walls (INTs in 54 point Serif Gothic

one of 25 selected from 186 competitors to be recognized for a Print

Bold) provided interpretive information

Casebooks: Best in Exhibition Design award.2

and eliminated the need for individual poster translations and labels. The INTs

Graphics, announcement design: Thomas Tsuhako 1 Morse, “Exhibitions focus on human body, Polish poster art.” F11. 2 Carpenter, Print Casebooks 8, 44-45.

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November 13 – December 23, 1988

T H E

A R T

O F

A S I A N

C O S T U M E

In the absence of a permanent collection, collaborations become a key to a varied and vital exhibition program. Nearly three years in the planning, The Art of Asian Costume represented a major collaboration between two departments at the University of Hawai‘i: the Department of Human Resources and the Department of Art. Assembled over a period spanning more than twenty-five years, the Asian Costume Collection contains in excess of 2,500 articles of clothing, accessories, and jewelry, which previously had not been exhibited or published. It is among the largest and most significant collections of costumes from the 19th and 20th centuries in a United States university. The exhibition brought this resource to the attention of the community and the catalogue gave it national and international visibility. To help explain the use of collection material or show the diversity of costumes from specific countries or regions Associate Director Karen Thompson researched the availability of additional objects. She negotiated loans from more than twenty collectors.

Additional illustration: page 28

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Selected for the quality of their design and execution, approximately 450 objects presented a range of personal apparel from twenty Asian countries. The exhibition was arranged to permit the study of similarities and contrasts within geographical regions. Upon entering the gallery visitors could move through the exhibition in the manner of a journey across Asia: either west from Okinawa and Japan to Afghanistan, or in reverse. Movement was linear, advancing from one section to another. In an exhibition that progresses in a fixed manner, the development of dramatic views is important and often easy to achieve.

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Because visitors had the option of moving in either direction care needed to be exercised in the layout to allow effective and dynamic sight lines regardless of the direction in which one moved. Conservation requirements prohibited the use of natural light. Thus, the gallery’s modular walls covered the windows and divided the interior space. Continuous platforms provided a stage for presentation of the costumes and unified the installation. Projecting ramps allowed garments to be viewed from both front and back, permitting observation of detail, yet creating dramatic vistas. For protection of the fabrics lighting was carefully controlled to a maximum 15 footcandles. Realizing that a light color would provide too much contrast and emphasis to the background, lavender of medium value was selected for the walls and platforms and a matching fabric covered all surfaces upon which garments were mounted. In this way, within the environment of restrained light, it was easier to view the subtlety of colors and patterns within the garments. Likewise, the color provided a rich and elegant backdrop for the diversity of regional color preferences. The interplay of contrasting color, textures, and patterns created areas of distinctive character and mood as visitors moved along prescribed paths. The costumes, textiles, and accessories represented wide variations in methods of construction, in the use of materials, and in the nature of ornamentation. In many of the cultures, the costumes played an important role in religious rituals, rites of passage, and other celebrations,

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or indicated rank, wealth, and social prestige. Labels, typed on painted paper and mounted on 1/2" plywood, placed the objects within the context of their culture, fabrication, and use. Thompson researched the objects, wrote the labels and entries for the exhibition catalogue, and edited the entries written by students. Costume exhibitions present particular installation challenges because each garment requires individual attention and custom display techniques. Conventional mannequins, with their idealized proportions and Western features, proved inappropriate for an exhibition of Asian costumes. Likewise, the small sizes and other characteristics of specific costumes in this exhibition required custom mannequins for sixteen ensembles. A standard torso was developed to which padding was added for larger sizes. Heads with subtle Asian features were developed for costumes that included headpieces. All mannequins were painted a warm, medium gray. Over fifty mannequins and dress forms displayed entire costumes with accessories. Many forms were constructed from coat hangers and pillows supported on pipes concealed by the painted cores from rolls of newsprint. Necks were made of margarine containers covered with warm gray stretch fabric. More than thirty Japanese kimono, Chinese robes, and garments from other countries were displayed on acrylic tubes hung by monofilament from the ceiling. The exhibition was installed in four weeks with student help and volunteers. A video documented the exhibition.

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Total project costs were $129,548 of which 46% constituted in-kind costs of salaries. Installation supplies and student help totaled $9,781. An additional $5,707 was spent on the custom mannequins. The exhibition was supported through grants from the National Endowment for

Researcher, catalogue author: Karen Thompson

the Arts, the Center for Arts & Humanities,

Researcher, essayist: Mary Ellen Des Jarlais

the University of Hawai‘i Foundation

Essayist: Carol Ann Dickson

Educational Innovations Fund, the A.J.

Catalogue design: Thomas Tsuhako

Simone Kimono Cultural Foundation, the

Catalogue photography: Nathan J. D. Chung, Man To Wan

Student Activity and Program Fee Board,

Editor: Jeanne Wiig

and private contributions.

Proofreader: Carol Langner

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January 22 – February 24, 1989

F A C I N G R I T U A L

T H E

M A S K S

O F

G O D S T H E

H I M A L A Y A S

In the Himalayas, the mask is a medium for supernatural forces. Masks personify legendary beings, monsters, and heroes and their mystical power is often conveyed through the exaggeration of facial features. Masks are meant to impress humans and appease or frighten invisible gods and demons. Conveying mystery became the conceptual basis for the installation of Facing the Gods. As visitors entered the gallery the view referenced the glimpse of a distant mountain range. Two, four, and six-foot walls, arranged to emphasize their verticality, were set back allowing an open space at the beginning. The perimeter windows were covered. All walls were painted a deep midnight blue. With subdued lighting that emphasized only the masks, interpretive panels, and photographs, one seemed to be entering a world of unusual and secret rituals.

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Display cases for the 75 masks were constructed using a 3-foot plywood panel between two 4' wide gallery walls and facing them with Plexiglas. Vitrines with platforms were built for masks mounted on bases. In the open area to the left of the door a similar wall configuration with a platform contained a video monitor that provided background on the cultural and religious traditions that inspired different styles of masks, ritual dances and the functions of disguises, and mask-making procedures. The University of Hawai‘i Art Gallery was the premiere venue of this exhibition organized by the Smithsonian Institution Traveling Exhibition Service. In Hawai‘i traveling exhibitions entail special financial burdens on the exhibitor because of costs related to shipping. Working closely with airlines in the planning stages is essential to gaining their endorsement and support. As it had with several other projects, United Airlines became an indispensable partner in presenting this exhibition. Announcement design: Edward Scully, Abraham Raguindin

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November 19 – December 22, 1989

S Y M B O L T H E

A N D

P I C T U R E

S U R R O G A T E : W I T H I N

Symbol and Surrogate: The Picture Within celebrated the sesquicentennial of photography through the consideration of a rich and potent theme as explored in historical and contemporary photographs. From the earliest days of the development of the medium, pictures have been incorporated into photographic compositions as surrogates for people, objects, or environments; have served as substitutes for an absent reality; or assumed roles intended by the artist to convey compositional, literal, or symbolic expression. The project began in 1987, when, upon reading an award winning paper by visiting professor of photography Diana Schoenfeld, the potential of its development as an exhibition was discussed. This initiated an intensive two-year search for the photographs and for necessary funding, the two pragmatic aspects of any exhibition.

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Ultimately, 158 works by 94 photographers were secured from 71 public and private collections in the United States and Europe. Conducting a project of this magnitude and complexity, with a curator residing outside the state, constituted a major undertaking for a gallery without full-time employees. Nevertheless, the extraordinary dedication and determination of all involved allowed this exhibition to become a reality. Requisite maximum illumination levels and the quantity of photographs established tangible parameters for the needs assessment that determined the design of this exhibition. The large number of works and the thematic development of the exhibition mandated a sequential and complex linear progression. As a large percentage of the gallery’s walls were necessary to cover the windows, a design was conceived that permitted efficient use of the 4' x 14' walls. Considerable presentation space was gained by using some of the 14' high walls horizontally. The gallery’s four existing posts were encased in 2-foot square columns. They

The entire gallery was painted medium gray—a value that

and additional square columns served

highlighted the rich tones within the photographs. The exhibition title,

as supports for the horizontal walls that

hand painted in red on the horizontal panel facing the door, was of

were held in place by angled brackets. The

equal value to the gray background; however, it maintained a subtle

rhythmic interplay between the standard

visual emphasis through its contrast of intensity. Additional signage

floor to ceiling walls and the suspended

marked the key themes of the exhibition.

panels created an installation that was

Symbol and Surrogate was supported by grants from the Hawai‘i

logically convoluted, yet open and light

State Foundation on Culture and the Arts, the National Endowment

in feeling. In fact, with the number of

for the Arts, and through private contributions. This exhibition was

works in this exhibition, an installation

prepared and crated for presentation at the Galleries of the Claremont

that utilized only walls that extended

Colleges in California.

from floor to ceiling would have resulted in an ominous, almost claustrophobic

Curator, catalogue author: Diana Schoenfeld

environment.

Catalogue design: Edward Scully

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January 21 – February 21, 1990

T H E

P R E S E N C E

O F

A B S E N C E

Artists’ installations pose particular challenges for museums and art galleries, especially if they are group exhibitions. The unique requirements of each artist often create a compartmentalized and disjointed installation—one that lacks cohesiveness and a logical interaction or flow between the various works. The absence of the artists and the intentional interpretation that constituted the premise of the exhibition The Presence of Absence permitted a fluid and easy interplay between the artists’ works. The conceptual strength of The Presence of Absence was especially advantageous within a university setting. The meaning and purpose of the exhibition was greatly enhanced by the fact that students and faculty were involved in the installation of works by artists who were the authors of ideas, but not the makers of what was visible. Thus,

Serigraphed Wall

perceptual and conceptual issues, that included the elimination of

Daniel Buren

the art object, the absence of the artist, and the use of architecture as support, could be deliberated.

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The works in the exhibition were “shipped” to the gallery as diagrams,

Rear View Mirror

instructions, transparencies, and directives for materials to use in

Patrick Ireland

assembly. It was left to the gallery staff, students, and volunteers to take that information and construct each work. Individual interpretation and development within the parameters of the artists’ intentions became the creative paradigm of the exhibition. Nevertheless, in some instances, the installers exercised considerable license in their interpretation while still attempting to retain the spirit of the artist’s concept. Likewise, architectural considerations sometimes imposed adjustments to the artist’s intent—especially evident in the work of Daniel Buren. Since the University of Hawai‘i Art Gallery has no permanent walls, the arrangement of walls from the preceding exhibition, Symbol and Surrogate, was largely retained. Throughout, walls were adjusted in position and color only where it was necessary to accommodate a specific work. In this way, the concept of retaining the missing previous exhibition became an underlying theme of The Presence of Absence. In certain areas unpainted sections of prior construction were exposed when portions of walls were removed to accommodate the new

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installation. Likewise, in areas where no works from The Presence of Absence were located, the nails and labels from the former exhibition remained. The placement of walls and panels from the previous exhibition proved to be especially effective for Daniel Buren’s trademark stripes that were applied to more than one surface near the entrance. The bright red stripes alternating with the medium gray, by taking advantage of the visual perceptions relative to simultaneous contrast evident in color relationships, established a dynamic entry. Judith Barry’s exploration, through texts and symbols, of the historic relationship between the American Indian and white Americans was interpreted relative to Native Hawaiians. As one of the two installers was Hawaiian, considerable research and emotive intensity permeated this installation. While the singular importance of this piece was recognized, each felt the work lacked the political and social consciousness it sought to elicit in its viewers. Dan Graham’s work, a “Renaissance perspective” view of temporary exhibitions in Honolulu, was projected on a screen covering a portion of the window near the gallery entrance, thereby making what was absent in the UH Art Gallery present. From the exterior, viewers were able to see above and below the projection to other artists’ works within the gallery. The exposed area of Lawrence Weiner’s request that a 36" x 36" section of wall be removed gained visual impact as the two portable walls that were cut into had been constructed using different materials.

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Not all works were presented within the gallery. Jenny Holzer’s Truisms elicited an ironic and powerful impact that forced viewers to question information otherwise taken for granted as her texts were integrated within actual announcements on two electronic moving message signs at the Campus Center. Because of the unavailability of four matching dissolve units, the continuity of movement through the exhibition was broken by the inability to realize the presentation of Lorie Novak’s projected slide Projections on a Gallery Window

installation. Thus, visitors passed through a large, but empty, room as

Dan Graham (left top)

they progressed through the exhibition. The technical difficulties encountered in Novak’s piece and with

A 36" x 36" Removal … from a Wall

projectors in others, emphasized the problems often encountered

Lawrence Weiner (left bottom)

when installing and maintaining artists’ works that utilize technological equipment. This is especially problematic in small and understaffed

The Absent Presence

institutions without necessary back-up resources and technical support

Judith Barry (above top)

personnel who can monitor equipment on a regular basis.

Concurrent Skiagrams

Inc. and supported by grants from the National Endowment for the Arts,

Leni Schwendinger (above bottom)

the Lannan Foundation, and Art Matters, Inc.

The Presence of Absence was organized by Independent Curators,

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March 18 – April 20, 1990

J E A N

C H A R L O T :

A

R E T R O S P E C T I V E

Jean Charlot has long been recognized as one of Hawai‘i’s most distinguished artists. Born in 1898 in Paris, in his early twenties he immigrated to Mexico, the birthplace of his maternal grandfather. There, he became friends of and worked with other artists of the Mexican mural movement. In 1928 he moved to New York and for two decades he painted, wrote, and taught in New York, California, and elsewhere in the United States. In 1945 he returned to Mexico for two years as a Guggenheim Fellow to conduct research for his book The Mexican Mural Renaissance. This sojourn reinforced his love of indigenous people and their customs. While Mexican themes remained significant in his oeuvre throughout his life, upon coming to Hawai‘i in 1949 he became greatly attracted to native Hawaiian people and their culture. From 1949 until his death in 1979 Charlot created almost 600 easel paintings, several hundred prints, and 36 monumental works of art, most in the fresco medium. Almost 300 drawings, prints, oil paintings, frescoes, and mural cartoons in the exhibition spanned his life and showed the prodigious production of this singular artist. The exhibition presented important early works done in France, but focused on his formative years in Mexico where he developed a personal imagery and style that continued throughout his career. Even after his move to Hawai‘i and his enthusiastic adoption of Hawaiian and Pacific themes and images, he repeatedly returned to Mexican subjects for inspiration.

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Because Charlot had been profoundly influenced by his experiences in Mexico, research on Mexican architecture inspired the layout and colors of the exhibition. Since the gallery had insufficient walls to accommodate the number of works selected for the exhibition, a plan was developed that utilized an interplay of walls placed vertically and horizontally. A suggestion of intimate courtyards was created by constructing eight, ten, and twelve-foot high walls from the gallery’s portable walls placed horizontally on top of each other and secured at the ends to 14' high walls. Intermittent glimpses of the gardens surrounding the gallery added to an atmosphere of informality. The predominant color, light gray, was accented throughout the space by muted tones of aqua and ochre. The exhibition was arranged in a chronological order that permitted a study of the stylistic development and maturation of Charlot’s work and its manifestation in Hawai‘i. The exhibition was installed with the help of students and volunteers in three weeks at a cost of $5,043. Total project costs were $61,346 of which 40% were inkind costs of salaries. The 160-page catalogue received an Award of Merit in the annual competition of the American Advertising Federation. The National Endowment for the Arts, the Hawai‘i State Foundation on Culture and the Arts, the Charlot Foundation, and Charlot family supported the project. Catalogue authors: Karen Thompson, John Charlot, James Jensen, Mike Weaver, Nancy Morris Catalogue design: Marla Musick

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September 23 – November 2, 1990

T H E

I M A G E

A N D

T H E

W O R D

Researching, organizing, and mounting a major exhibition in ten weeks without full-time staff constitutes an overwhelmingly exhilarating and challenging endeavor. When the decision was made to cease consideration of a traveling exhibition of contemporary illustrated books because of continuously escalating costs imposed by the organizing agency, research on the local availability of works that corresponded to the theme of image and word began. The outcome was a presentation far richer in content and meaning than the original exhibition. The diversity of objects in the exhibition addressed historic and contemporary conjunctions between words and images and served as the fulcrum for a panel discussion and series of lectures and events associated with the Center for Arts & Humanities Festival of the same title. Works ranged from historical documents and political cartoons to artists’ books and contemporary paintings, sculpture, and ceramics. Some emphasized the collaboration between artist and author while others exemplified very personal responses to individual searches.

Additional illustration: page 30

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Works were grouped into six themes that helped the viewer focus on the nature of interaction between image and word. These themes—Documentation, Instruction, Meditation, Narration, Satire and Humor, and Self Expression and Collaboration—were identified as titles at the entrances to the sections of the exhibition. Interpretive labels for many works reinforced the thematic relevance to their section of the exhibition. The installation design utilized and adapted remaining elements of the layout of the Jean Charlot exhibition. Throughout the exhibition the interplay between bold, large-scale works and small, subtle objects, such as books, broadsides, and documents, provided a varied pace that, because of the diversity of material from

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different cultural traditions and time periods, and the interpretive

At the door visitors were greeted

information provided next to works, enticed visitors to linger and look

by Jonathan Borofsky’s tall, mechanical

as they progressed. Likewise, the intimate spaces, with the attendant

Chattering Man that muttered incessantly

inability of visitors to view the extent of the entire exhibition in a glance,

and unintelligibly to its accompanying

encouraged more careful observation of the material at hand.

painting. Beyond, title signage was hand

More than 200 objects were carefully arranged within the space,

painted on the wall, while to the right,

on the walls, and on inclined cases that were covered with acrylic

an introductory statement emphasized

sheet. Attention to the organizational aspects of design through

the context of words and pictures to the

the careful consideration of the elements and principles of art gave

nature of being human. The title signage

structure and simplicity to the presentation of many articles within a

shows the importance of careful attention

case or on the walls. The concern given to shapes and sizes of spaces

to line spacing. While the four lines were

surrounding the items and their labels was especially evident in the

positioned with uniform distance between

placement of books within the cases. Because the sequence of objects

the lines, care should have been taken

along with knowledge of their presentation size was calculated in the

to optically place the words rather than

development of the model, cases of appropriate sizes were built and

rely on mechanical placement. The word

the final positioning of books was easily determined.

“Word” should have been lower in the

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grouping so the negative spaces between the lines would have appeared uniform. Despite the hastily conceived and assembled nature of this exhibition, it turned out to be one of the most popular. The variety of material from a range of collections, cultures, and times encouraged a diversity of visitors. The inclusion of books and documents from libraries and archives introduced a new audience to an exhibition space normally conceived as a domain for artists and art enthusiasts. An informal analysis of visitor attendance shed light on ways of encouraging new visitors. The extensive thought and rigorous conceptualization that went into this project along with the support and suggestions of humanities scholars from numerous departments within the university helped to provide the necessary focus for the exhibition. The conceptual depth of the exhibition definitely was strengthened through their participation and showed the importance of collaboration in the planning of exhibitions. A mini-grant from the Hawai‘i Committee for the Humanities helped to realize the exhibition, symposium, and lectures. The exhibition was installed at a cost of $7,035 for labor and supplies. Humanities scholars: Joseph Stanton, Tony Quagliano, Richard Bigus, Eliot Deutsch, Stephen Goldberg, Marcia Morse, Gary Rosine Graphic design: Richard Bigus Researcher: Karen Thompson

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January 13 – February 22, 1991

P E R S P E C T I V E S O F

C O N C E P T U A L I S M

Although most major exhibitions, even those of contemporary art, are

glasnost under Gorbachev, this exhibition

planned years in advance, sometimes only the turn of world events

and others marked an astonishing reversal

makes their presentation possible, more relevant, and profound.

in the attitude of the Soviet government

Perspectives of Conceptualism opened at the University of Hawai‘i Art

towards avant-garde art and artists.

Gallery during a week in which the United States went to war in the

Formerly “unacceptable” works, which

Middle East and the U.S.S.R. sent tanks into the Baltic States. The world

for years were shown only to a small

was on edge!

circle of reliable friends in the confines

Perspectives of Conceptualism began its United States tour at the

of the artists’ tiny apartments, came out

University of Hawai‘i with only three months of planning. When, in

to be displayed in public in the capital

mid-October 1990, Ronald Feldman Fine Arts in New York informed us

of the Soviet Union. This conceptual

of the availability of the exhibition, a dynamic process of securing the

art—previously done in protest, in

necessary funding was set in motion and with the help of the Center for

response to a restrictive political and social

Arts & Humanities the presentation in Hawai‘i became a reality.

reality—now carried a subliminal warning,

Perspectives of Conceptualism1 was born in the summer of 1989

declaring “beware and remember; but

when the Avant-Gardists’ Club, an informal group of “unofficial” Soviet

never lose hope.” While officially “unofficial,”

artists and poets, launched an exhibition of conceptual art in the Hall

contemporary artists suddenly were not

at Avtozavodskaya in Moscow. In the climate of political and cultural

only tolerated, they were encouraged, and

1

For an authoritative account of the creative impulses surrounding glasnost, see Solomon.

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through the efforts of Ronald Feldman this exhibition came to the United States. The number and size of works in Perspectives of Conceptualism dictated an open plan that permitted viewing many of the works from a distance. Conceptually, the plan, with its visual access to the exterior, suggested glasnost—the opening up of the Soviet Union. Works were presented individually, each on an independent wall or, as for sculpture, with sufficient space surrounding it. The gallery was painted stark white. A brilliant Soviet red at the entrance and on intermittent walls provided impact. The works conveyed a sense of desperation conceived in an atmosphere of artistic isolation. Igor Makarevich’s installation consisted of seven military stretchers propped against the walls of a small room. They were interspersed with six paintings of dark, drippy camouflage paint on wrinkled medical gauze. The room possessed a sobering and chilling effect and evoked the loss of individuality and the death and destruction inherent in war. The timeliness of this exhibition during a period of military upheaval provided much to ponder regarding contemporary social, economic, and political issues. Art critic Joseph Bakshtein, curator of the exhibition, came from Moscow to assist in the installation and delivered a lecture prior to the opening. Soviet conceptual artists/architects Alexander Brodsky and Ilya Utkin presented a weeklong series of workshops, critiques, and lectures.

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November 22, 1992 – February 12, 1993

T R E A S U R E S O F

H A W A I I A N

H I S T O R Y

Months of careful research and documentation of hundreds of books, papers, and photographs from the archives of the Hawaiian Historical Society preceded plans for the installation. Each item considered was sketched, measured, identified, and its importance to Hawai‘i’s history noted. Gradually, as an understanding of the range and depth of the collection was gained, themes were identified and a determination of how each article fit into these topics was made and recorded. The sizes of walls and display cases in the scale model were determined in relation to the material that needed to be presented. As the model progressed, to confirm the number and arrangement of objects in the cases while allowing room for interpretive labels, an

Additional illustration: page 25

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additional review of selected articles took place. New sketches were made showing the layout of each display case. Likewise, a determination was made of the necessary sizes of frames for the maps, drawings, documents, and photographs that were to be hung on the walls. Later, students and the gallery director matted and framed the works on weekends over a period of a month before the installation began. Interpretation was integral to and developed concurrently with the construction of the model. This required further research, writing, and editorial oversight from the director and historians of the Hawaiian Historical Society. Treasures of Hawaiian History commemorated the 100th anniversary of the Hawaiian Historical Society and told Hawai‘i’s story from the time of initial Western contact to the beginning of the 20th century. At the entrance, in a section built to reflect the first public library in Honolulu, signage told about the collections and the work of the society. The letters of the exhibition title in Torino Roman font were dimensional and adhered to the wall. Subtitles,

old photograph of the Historical Society’s first location in downtown

acknowledgements, and thematic wall

Honolulu. Another column referenced the pillars of Kawaiaha‘o Church

texts were INTs that were rubbed in place.

and began the section on the arrival of the missionaries and the

The art gallery’s four supporting

establishment of schools in Hawai‘i.

columns present a challenge for each

The third column in the section on the monarchy alluded to the

exhibition. Often they are hidden inside

façade of ‘Iolani Palace (page 25) and the fourth to the simple posts

temporary partitions. For this exhibition

of early mercantile buildings (page 167, bottom). These architectural

they were incorporated into the design

references, and color, functioned as points of contrast or as transitions

and, along with color, served to introduce

among multitudes of similar sized objects.

thematic sections of the exhibition.

While a light, cool gray served to unify the exhibition, accent colors

The first column opened the

underscored the introduction of various exhibit themes. Mauve and

exhibition and held up an architectural

green in the entry, replete with a potted palm, evoked a “Victorian spirit

pediment similar to that evident in an

in keeping with the origins of the historical society.”1 1 Rose, “Gallery worthy of ‘Treasures.’” G8.

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Rich blue-green introduced the Kumulipo, the Hawaiian account of the creation of the world. Two 19th century versions of the Kumulipo, one written in Hawaiian by King Kalākaua, the other a translation by Queen Lili‘uokalani, resided in the case beneath an explanatory text. The opening verses of the Kumulipo chanted by kumu hula Brother Franklin Pao quietly issued from a tape recorder concealed below the case. The adjacent case, painted green, displayed important early publications about Hawai‘i’s legends and history. Through a maze of winding passages and small rooms the exhibition continued with early written records of Hawai‘i written by Native Hawaiians, the European voyages and their discoveries in the Pacific, and the introduction of Christianity and the development of Western education. Blue-green introduced the monarchy while a somber dark gray offset vintage photographs of the ceremonies in front of ‘Iolani Palace that formally transferred the Hawaiian Kingdom to the United States. Green again signaled a new section—the establishment of Honolulu as the political, commercial, and cultural center of Hawai‘i. A recording of music composed by Queen Lili‘uokalani and sung by Kamehameha Schools students was concealed beneath the case containing the Queen’s sheet music. Set against a dull red, an impressive sequence of photographs that documented the devastating Chinatown fire of 1900 terminated this section. The rise of tourism followed with late 19th century photographs of tourist attractions and advertising ephemera. The exhibition

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ended with books and photographs that showed Hawai‘i, its people, and natural resources as sources of continuous interest and wonder. The construction and installation of an exhibition as complex as Treasures of Hawaiian History within three-weeks without full-time assistants was a major accomplishment that depended heavily on student help and volunteers. Costs of student labor, that included matting and framing, totaled $7,320. An additional $7,550 was spent on lumber, paint, and other supplies. From its beginning this exhibition was a close collaboration between the Hawaiian Historical Society and the University of Hawai‘i Art Gallery. Concurrently, the Historical Society published a catalogue that highlighted selected treasures from its holdings. The exhibition and catalogue were supported by grants from the Hawai‘i State Foundation on Culture and the Arts, the Atherton Family Foundation, the Cooke Foundation, and the Samuel N. and Mary Castle Foundation. HHS administrative director: Barbara Dunn Librarian: Linda Wiig Historians: Agnes Conrad, Helen Chapin, Maile Meyer

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March 7 – April 16, 1993

B A S K E T S R E D E F I N I N G

V O L U M E

A N D

M E A N I N G

Today, contemporary artists no longer seem bound by the traditional

various heights and widths that depended

hierarchy of the materials and techniques of painting and sculpture.

on the nature of each artist’s work. Scale

Many of the most adventurous artists work in three dimensions, but

dictated a symmetrical arrangement with

they engage in experimentation and explorations that culminate in

the highest platforms in the center being

the creation of art that formerly was referred to by a humble, everyday

three feet high and those at the sides only

word: “craft.” Though some may struggle with the word, many “do

a foot high.

not want to forget or disassociate themselves from the origins of the techniques used in their work.”

1

The work in Baskets: Redefining Volume and Meaning showed

The dark gray selected for the platforms, gallery posts, and few perimeter walls allowed the generally lighter value

that the material and process associated with basket making were

sculptures to stand out, or as in the case

important to the artists, but their artistic search redefined form and the

of Linda Kelly’s sparse, darkly dyed totemic

attendant meaning of their creations. Curator Pat Hickman selected

plaited columns, to remain mysteriously

eleven artists. Each had six works in the exhibition. The range of scale

compelling.

was as diverse as the approaches to construction. From small, intimate

The superbly designed 84-page

objects to structures seven feet tall, size determined presentation and

catalogue received two top awards in the

the nature of the installation. Except for walls placed at the back of the

American Advertising Federation District

gallery to accommodate two works by John McQueen, the windows

13 annual competition—a Pele Award

allowed the bamboo gardens surrounding the gallery to serve as a

and a Best of Show Award for Design. It was

reminder of the botanical origins inherent in the process of basket

in competition with 424 design items

making. The gallery’s walls were used to create 14-foot long platforms of

produced in 1993 by firms in Hawai‘i. Jonathan Tanji designed the catalogue and Jason Nakano took the photographs, both students in the Department of Art at the University of Hawai‘i. The

1 Hickman, Baskets, 5.

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judges commended the catalogue for its outstanding photography and the effectiveness and appropriateness of its design—how from the typography, to the ink colors, to the paper—the design and the subject matter were beautifully woven together. Costs of producing 1,000 catalogues came to $18,864. The total project budget was $115,157 of which 44% constituted salaries. Installation labor and supplies were $2,009. A workshop/lecture series by six of the artists and two curator/critics reached out to the community on O‘ahu and the neighbor islands. The creative sharing of organizational resources doubled the anticipated presenters outlined in grant requests and significantly increased community participation and awareness of the exhibition. Baskets: Redefining Volume and Meaning was the feature article in the December 1993/January 1994 issue of American Craft. It was reviewed in Fiberarts and received a two-page spread in the European published Textile Forum. The exhibition and associated programs were supported by grants from the National Endowment for the Arts, the Hawai‘i State Foundation on Culture and the Arts, the university, and private arts organizations. Baskets: Redefining Volume and Meaning traveled to museums and art centers in North Dakota, Alaska, and Hawai‘i. Curator, catalogue author: Pat Hickman Catalogue essayists: Laurel Reuter, Ed Rossbach Catalogue design: Jonathan Tanji Catalogue photography: Jason Nakano

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March 16 – April 15, 1994

O N B I R D S

H E A V E N L Y A N D

W I N G S

A S P I R A T I O N S

Birds have always fascinated us. We admire their physical beauty or oddity, their grace or strength. Their flight instills in us a sense of freedom. Birds inhabit our myths, rituals, and narratives. They have invested our art, literature, and folklore. Birds represent our experiences, our dreams, and our ideals. In almost every culture, birds have served as divine messengers. To understand their language was to understand the gods. Bound to the earth, we have searched for ways to express our desire for flight. Extraordinarily diverse and spanning many periods and cultures, On Heavenly Wings addressed the theme of birds and human aspirations for flight. Works ranged from elaborately illuminated manuscripts to an installation of wishbones. Oriental scrolls with bold brush strokes contrasted with delicately rendered children’s books. Folk art juxtaposed contemporary sculpture. Paintings, prints, drawings, rugs, garments, musical instruments, postcards, photographs, canoe finials, spears, masks, and scientific specimens demonstrated the many ways in which birds have endowed our lives with meaning.

Additional Illustrations: pages 19, 56

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The strong conceptual focus of On Heavenly Wings: Birds and Aspirations provided the opportunity for multiple avenues of ideological access to the exhibition. The diversity of objects and the thematic construct of their presentation encouraged entry to the exhibition’s meaning by visitors from vastly different backgrounds. An underlying tenet of the exhibition, as stated at the entrance, was an ecological consciousness based on a realization of the interdependence of all life on earth. On Heavenly Wings began in deliberations attendant to the theme of the Center for Arts & Humanities Festival Nature and Culture. As an idea for an exhibition, “nature” seemed to provide a context that encompassed too many possibilities. Through discussions

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and thought the concept of the exhibition was narrowed to birds.

that man has associated with birds

Research conducted on exhibitions in which birds constituted the

through the ages.

theme showed that most simply considered the presentation of

Monetary restrictions, that precluded

“pictures of birds.” Continued discussions with Center Director Joseph

shipping, limited works to those available

Stanton led to an expansion of the exhibition’s thematic context and

on the island of O‘ahu. Nevertheless, the

meaning within the restricted subject of birds. This, however, again

yearlong search disclosed a plethora of

opened seemingly unlimited possibilities of conceptual suppositions.

bird- and flight-related art of outstanding

Nevertheless, the expansion and subsequent contraction of ideas

quality in Hawai‘i collections. Sketches

proved to be a valuable mechanism for the conceptual development of

documented each piece that was

the exhibition. A careful analysis of a multitude of sub-topics revealed

considered and notes were made

that works could be grouped into five sections that fostered specificity

regarding size, artist, title, medium and

of thought relative to each new discourse. The divisions included:

the section of the exhibition in which the

Birds and Science; Birds in Art, Literature, and Popular Culture; Birds as

work would fit conceptually.

Cultural Symbols; Birds as Messengers; and Flight and Transcendence. The

Research on the objects and the

serendipitous, but likewise calculated, inclusion of the final section

writing of interpretive signage and labels

explored human emulation of the magical power of flight and brought

occurred concurrent to the construction

new significance to reflection on the myriad meanings of birds.

of the exhibition model. This method of

Meetings with ornithologist Leonard Freed yielded additional

exhibition development produced an

resources that not only emphasized the scientific context of birds, but

unusually cohesive narrative throughout

established new insights into the cultural and sociological meanings

the exhibition. The flow from each

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object and idea to another maintained a remarkable continuity that permitted effortless transitions and lessened the potential for museum fatigue that can easily occur in an exhibition containing hundreds of works. As the model progressed, careful attention was given to the issues of how the installation design could enhance the interpretation of the material being presented. Thus, the scientific illustrations and publications at the beginning of the exhibition were presented in an environment reminiscent of a 19th century ornithologist’s study replete with desk, chair, and specimens. The dull mauve background emphasized the Victorian nature of this section of the exhibition. A pale aqua of equal value signaled the change to contemporary specimens and illustrations (pages 56, 170–171). By contrast, white walls introduced Birds in Art, Literature, and Popular Culture and established a new and vibrant mood that reflected the eclectic nature of the material in this section. Occasional walls with accent colors provided variation within the exhibition. A page from a 15th century French illuminated manuscript depicted St. Sebastian and a peacock. The bird’s association with the saint signified the regeneration of the human body and became a Christian symbol of eternal life. Set on a lavender wall, it introduced Birds as Cultural Symbols. Jean Charlot’s painting of Noah’s dove returning with an olive branch announced that the flood had receded. In other works in the section Birds as Messengers,

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birds proclaimed the time of day or the changing seasons. In almost every culture birds also served as divine messengers and to interpret the meaning of their song, their flight, and migration was to foretell the future. Aspirations of flight reach deep into the human past. Flight has signified the rise to greater heights of morality, strength or creativity. Since very early times, birds came to connote the human soul and wings were considered analogous to spirituality. Contemporary works, a painting of Leonardo da Vinci by Rallé and a Frank Sheriff sculpture, inspired by Leonardo’s flying machines, introduced Flight and Transcendence. Upon turning, visitors saw George Peter’s Feather Wings, that appeared as a life size physical embodiment of Leonardo’s dream. Works by various artists, postcards, and photographs commemorated early flight while, further on, Constantino Brumidi’s preliminary painting for the fresco in the United States Capitol dome of The Apotheosis of George Washington introduced the concept of transcendence. Beyond, angels, apsaras, and a multitude of winged creatures from different cultures filled the space and signaled the climatic end of the exhibition (page 19). Throughout, specific presentation requirements established a range of display techniques that provided broad general views for large objects or, for small, valuable items, close observation within cases. Intermittent platforms accommodated a range of threedimensional works of art.

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With the assistance of many students and volunteers the extraordinary task of dismantling and packing The 5th International Shoebox Sculpture Exhibition and installing On Heavenly Wings occurred within three weeks. Student Gail Gauldie designed a light and airy calligraphic title image for the exhibition. It was embossed on the invitation and hand painted in a subtle tone of lavender on the beige-colored entrance wall. A restricted budget coupled with the lack of sufficient staff curtailed consideration of the publication of a catalogue. Nevertheless, the diversity and quality of the art and the strength and depth of the research involved in the interpretive development of On Heavenly Wings warranted documentation that would have extended the life of the exhibition. Concept development assistants: Joseph Stanton, Martha Lister Advisor: Leonard Freed

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January 15 – February 17, 1995

C O N T E M P O R A R Y E A S T

E U R O P E A N

C E R A M I C S

Needs and available resources, more than anything, dictated the nature of the installation of Contemporary East European Ceramics. However, the resultant presentation that utilized the shipping crates and the unfinished reverse sides of walls, emotively and forcefully expressed the repressive environment in which the East European ceramic artists struggled to create their works. In contrast to painters and sculptors whose art was carefully scrutinized for political content, ceramists were able to sustain high levels of artistic achievement and freedom of spirit even before the “Wall came down.” Ceramics and fiber, classified as “decorative arts,” were considered less important and less likely to contain political messages. However, the artists shared a mixture of hardships and benefits under communism. Existing in sluggish, disorganized, and closed

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societies where raw materials frequently were hard to get and kilns were sometimes unavailable, many were forced to experiment with firings, alter industrial materials, and explore and push beyond all limits the possibilities and potentialities inherent in clay. Nevertheless, ceramic artists often were recipients of considerable state support. They were permitted to establish independent, private businesses and were given studios. But, ceramists who held positions of respect and enjoyed relative freedom, comfort, and wealth also risked quickly falling out of governmental favor. Organized by the Council for Creative Projects in New York, Contemporary East European Ceramics included the work of 74 artists from 14 Eastern Bloc countries. The installation was determined, first and foremost, by an inability to store the inordinate quantity of packing crates and the gallery’s inadequate supply of sculpture stands that could accommodate the 164 works in the exhibition. Solving these problems gave rise to the use of the crates within the display. Additional crates from another exhibition and others from previous University of Hawai‘i organized traveling exhibitions that were in storage

placed throughout the gallery. The 3" high sculpture bases from the

were pressed into use. To maintain the

Shoebox Sculpture Exhibitions and slabs of plywood isolated small

consistency of a rugged, warehouse-look,

works on the heavily marked and tagged crates and those that hung

the gallery’s walls that were normally used

on the walls. All bases and slabs were painted dark gray, as were the

to cover the windows were sandwiched

gallery’s four support posts and walls surrounding the windows. Labels

together, unfinished reverse sides

and wall texts were computer printed in reverse, white text on a black

exposed. They were randomly positioned

background.

in the space and supported signage,

Title signage, utilizing a stencil typeface, was painted in red on the

panels of wall text, and pieces mounted

raw plywood wall.

on the walls. Crates supporting the ceramic sculptures were also haphazardly

Announcement design: Alvin Wong

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March 12 – April 13, 1995

C I T I E S

O F

S H A D O W

A N D

L I G H T

Cities are the most complicated artifact we have created. They are cumulative, generational artifacts that harbor our values as a community and provide us with the setting where we learn to live together. Architectural historian Spiro Kostof’s commentary on the urban environment and a painting by Tadashi Sato of the shadow of a city light on a crosswalk introduced Cities of Shadow and Light. The exhibition culminated with the questions and statement:

Who should be allowed to design a city’s skyline? Who should have the privilege to represent us on the horizon? The aesthetic vision of our cities resides in the balance between private interests and the public good. It is appropriate—indeed imperative—for the citizens to control the limits of that vision.

Additional illustration: page 24

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Progressing from grand promenades and city parks; to busy harbors and moody back alleys with fire escapes, trench-coated strangers, and street musicians; to the jungle of looming skyscrapers, predatory automobiles, and skittering pedestrians; to nostalgic views of a Honolulu long forgotten; and the peaceful quietude of a Japanese temple—between the beginning and the end of the exhibition, viewers experienced the range of emotions that cities elicit. Works spanned diverse media and a range of periods and cultures. Some represented observations of the everyday; others depicted artists’ utopian visions or fears. The exhibition allowed visitors the opportunity to consider how cities developed, what they have provided, and how they have altered the landscape and human lives. For a society interested in solutions it did not posit definitive answers. Instead it evoked considerations of the responsibilities for the nature of our urban environments.

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Arranged to suggest the varying height of city architecture, many of the gallery’s 4' x 14' and 2' x 14' walls were stacked horizontally, some acting as lintels above passageways. Color also contributed to the busy urban environment. Teal and salmon interacted with a predominant cool beige and olive. Adam LeBlanc’s small-scale dioramas set in a darkly painted and narrow, alleylike passage implied the seedy nightlife of the inner city. A red lamp gave the space an eerie nocturnal glow. In a dark alcove nearby, a motion detector turned the gallery’s lights off when the viewer entered, allowing dusk to settle on the glowing skyline of Waikiki condominiums and hotels in Thomas Bacher’s phosphorescent painting. The exhibition was installed in three weeks at a cost of $2,750 for labor and supplies. Cities of Shadow and Light, by emphasizing the theme of architecture and city planning, served as an adjunct to the First International Symposium on Asia Pacific Architecture: The East-West Encounter sponsored by the University of Hawai‘i School of Architecture and the East-West Center. Research assistants: Joseph Stanton, Nancy Morris

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1995, 1998, 2002, 2006

E A S T - W E S T

C E R A M I C S

C O L L A B O R A T I O N S Conceived and organized by University of Hawai‘i professor of ceramics Suzanne Wolfe as an intercultural exchange in the ceramic arts, the East-West Ceramics Collaboration and exhibitions began in the summer of 1995 and continued in the summers of 1998, 2002, and 2006. Each time, prominent international ceramic artists who teach at universities, art schools, or in professional workshops along with several of their graduate students were invited to participate in a monthlong collaborative workshop at the University of Hawai‘i ceramics studios. Intended as a cross-cultural dialogue that shared technical and aesthetic understanding of the traditional and non-traditional aspects of their creative processes and research methods, the project established bridges for continuing communication and interaction.

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Artists have come from Australia, Canada, China, Germany, Japan, Korea, Latvia, The Netherlands, New Zealand, Taiwan, Turkey, California, Maine, Michigan, Oregon, Rhode Island, and Hawai‘i. The installation of each of the exhibitions has been the result of an analysis of the nature of the ceramic pieces created in the collaboration. The first, comprised of works that were generally large in scale, utilized the gallery’s 14-foot portable walls as low platforms. Of various widths, the platforms were raised off the floor about three inches. They provided visual containment for installation-type works composed of multiple parts and supported sculpture stands for the presentation of smaller pieces. Vertical walls intermittently divided the space and served as supports for works that required wall presentation. The signage wall was placed near the center of the gallery. The title, large and hand painted directly on the wall, was clearly visible from the entrance. The gallery’s windows were left uncovered, permitting unobstructed views of the bamboo garden. Walls, platforms, the gallery’s support posts, and framing surrounding the windows were painted terra-cotta. The color choice allowed the

accommodated larger sculptures. The gallery’s walls were used in the

platforms to blend in color and value with

construction of table-like surfaces for the display of the ceramics. The

the warm rich tones of the teakwood

selection of a light gray color defined the platform groupings and gave

floor, and thereby emphasize the ceramic

prominence to the many small objects.

sculptures with their contrasting values. In subsequent collaborations, the

Project coordinator: Suzanne Wolfe

smaller and more numerous works

Exhibition design: Wayne Kawamoto

dictated elevated presentation areas that permitted intimate observation of the individual pieces while low platforms

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March 3 – April 12, 1996

N A K E D

T R U T H S

Central to the philosophy of the exhibition program at the University of Hawai‘i Art Gallery is the presentation of quality exhibitions that explore contemporary conceptual issues. Naked Truths, with Jeff Baysa as curator, and Sum of the Parts (1994), Gaye Chan, curator, addressed issues of changing perceptions of traditional artistic discourse and considered how the visual arts can challenge the norms of social construction. When presenting potentially controversial issues in a public arena such as a museum or art gallery, careful thought must be given to explaining to visitors the objectives of introducing this material for

Among the responsibilities of a

their consideration. Thus, for Naked Truths, the adjacent statement was

university is that of providing a

mounted on a wall preceding the entrance to the gallery.

forum for ideas that fuel the mind. A university must foster and nourish the development and exchange of thought. The University of Hawai‘i Art Gallery resolutely considers its role of serving the meaning and purpose of a university. Thus, the Art Gallery is proud to present the exhibition Naked Truths, for the concept and the artists’ works in this exhibition present ideas and issues that are relevant to our time. Naked Truths provides new interest in the representation of the human figure in painting and, most importantly, considers the changing nature of that representation. The expectations of the past are changing. The human body is the site of new investigations. Naked Truths is not only about bodies, but about the nature of desire, pain, pleasure, and alternative ways of talking about these matters.

—Tom Klobe, Director



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establishment of effective sight lines throughout the space. As visitors moved about the gallery they had sufficient room in front of each painting to view it adequately while the arrangement of walls also permitted effective distant views for comparative analysis of works by different artists. Ten painters—each had three works in the exhibition—probed difficult social and political questions of body identity. The artists’ statements on the walls near their works provided insight into the issues each was working through. Two of the artists, Hanneline The exhibition announcement also

Røgeberg and Dotty Attie, presented public lectures. The discussions

cautioned “this exhibition considers

of the artistic and societal concerns inherent in the development and

issues relevant to our times. Some may

presentation of their work gave further dimension to the meanings and

disapprove of these issues and the

objectives of the exhibition.

imagery of the works. Attendance is at the viewer’s discretion.”

The exhibition catalogue, designed by Michael Yap Cueva, handsomely featured one work by each artist and contained essays

Naked Truths promoted the purpose

by guest curator Baysa, John Yau, Allan de Souza, and David Medalla.

of a university—that is, the exchange of

Cueva’s innovative page-layout, his creative supplemental photographic

ideas. Students and the community talked

imagery, and his inventive use of typography and various paper stocks

about this exhibition. Nevertheless, public

made the catalogue a visually rich publication.

responses were generally positive and, if

Graphics on the title wall, adapted from the catalogue cover,

apprehensive, cautiously accepting of the

listed the artists and acknowledged the support of the Hawai‘i State

exhibition’s role within the mission of a

Foundation on Culture and the Arts.

university.

Public funding of exhibitions that sensitively bring forward

Possibly, controversy was avoided

potentially disputable issues in the visual arts acknowledges the

because care had been given to

respect for diversity evident in Hawai‘i. It may also constitute the most

developing a statement that established

appropriate source of support for exhibitions such as this, especially

the exhibition’s objectives before the

within the context of a university, for it recognizes the responsibility a

visitor entered the exhibition space.

state university has to provide the opportunity for controversial issues

And, upon entering, visitors were not

to be presented and discussed. Public funding for the arts should not

confronted by the most potentially

end with children at the secondary level and should not be only for

charged works. In this way, an ethical

those art forms that are pretty and acceptable. Young adults must

respect for the principles of all visitors was

address difficult issues so they can prepare to make responsible

immediately evident and even those who

decisions in the future. The work in Naked Truths gained greater

might find certain works offensive could

significance by generating thought and discussion. No matter what

understand the overriding intentions of

separate conclusions were reached, it was important that individuals

the exhibition and recognize the concern

consider these issues and become aware of other viewpoints .

given to its sensitive presentation. As most of the works in Naked Truths

Guest curator, catalogue author: Jeff Baysa

were large, in the development of

Catalogue essayists: John Yau, Allan de Souza, David Medalla

the model, attention was given to the

Catalogue design: Michael Yap Cueva

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January 21 – February 21, 1997

A

J O U R N E Y

T H R O U G H

C H I N E S E

H E L L

Can the nature of an installation enhance the interpretation of that which is being presented? A Journey Through Chinese Hell, in the manner of Marshall McLuhan, appropriately exemplified how strongly the medium (the installation) can be the message. Here, as exhibition designers, we narrowly walked the “line between fabulous installations which enhance the art and fabulous installations which pull attention away from the art.”1 The trick as a designer is always to maintain balance—that which is being presented, the art, is most important. Yet exhibition design can truly heighten the emotive and interpretive impact of a work of art. Two sets of ten hell scrolls from Taiwan, a gift to the Smithsonian Institution by Neal Donnelly, were presented in an “evocative visual and spatial analog” for the netherworld and for “the works on view.”2 Visitors wandered in a maze-like, disorienting construction of “isolated alcoves or way-stations for each scroll” that replicated the “directed but non-linear journey taken by the deceased.”3 The labyrinth of dark, winding paths took visitors on the torturous journey of souls as they endured the multiple courts and punishments presented in the scrolls.

1 Rose, “Wander through the labyrinths of hell and be judged,” E6. 2 Morse, “living HELL,” 19. 3 Morse.

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In Taiwan these colorful and didactic scrolls provided anxious mourners the opportunity to examine traditional Chinese culture and ethics, and learn the Buddhist, Taoist, and Confucian worldviews with their proscriptions for human conduct. In its Chinese manifestation, hell consists of ten courts in which a soul’s transgressions during life are judged by a king who administers appropriate punishments. The souls, with the exception of a few whose sins require eternal damnation, do not remain in hell forever. Most are reborn into the world. The scenes of punishment are meant to encourage virtue and circumscribe social order among the living. The scrolls remain significant within the cultural heritage of many of Hawai‘i’s people, but this heritage has become increasingly obscure as Americanization and, now, globalization have blurred social

the context for the installation. The library resources yielded graphic

and ethnic identity. Thus, cultural context

descriptions of Chinese hell and reiterated the uses and meanings

afforded the motivational inducement

associated with the scrolls.

to present the exhibition in Hawai‘i and

A meeting with Taoist priest Duane Pang and a visit to the Wah Kong

it inspired the nature of the exhibition’s

Temple in Honolulu provided a wealth of additional ideas of how the

installation. As a designer, it became

interpretive aspects of the exhibition design could be enhanced. Exhibit

imperative to understand the Chinese

design assistant Wayne Kawamoto and I observed the ceremonies and

concept of hell. Fortunately, within the

supplicants as they made offerings and prayed. Grand Chinese lanterns

framework of a university, specialists

hung from the ceiling. Offerings of fruit, flowers, and incense covered

in almost any field of study are readily

an altar. We noted and photographed exterior and interior architectural

available to serve as resources. A meeting

details and furnishings. We made tracings of the dragons that rose

with professors of religion and philosophy

above mountains and encircled the columns.

provided valuable insight into the essence

It seemed that a dark and maze-like environment with alcoves

of Chinese conceptions of hell and

where visitors could contemplate the individual scrolls would express

important recommendations of relevant

most appropriately the process of passage through hell. Also, since the

texts in the university library. Several

entire exhibition contained twenty scrolls only a portion of the 4,200

professors had visited temples in Taiwan

square foot gallery space needed to be used. This proved advantageous

that contained murals depicting hell. The

as the unused portion became a staging area for photography and

discussion at this meeting began to set

preparation of The 6th International Shoebox Sculpture Exhibition.

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antiqued the deep amber colored walls. He and other students painted the Chinese characters of the exhibition title in red at the right. The blue-green title and acknowledgements in English were Internegative Transfers (INTs) rubbed directly on the wall. To the left an altar with offerings and incense stood before banners and a scroll depicting the pantheon of gods. Two lighted Chinese lanterns hung above. These objects, from Hawai‘i collections, supplemented the Smithsonian’s scrolls. The towering walls of the passage were painted deep red brown—described by some as the color of dried blood.4 A fourfoot wide opening in the center led to hell with its convoluted, almost claustrophobic, dark passages. The scrolls were presented in subtly lit alcoves that allowed visitors to gather and carefully observe the torturous punishments inflicted on the hapless souls as they are judged by the bureaucratic and impassive kings of the underworld. Labels that included a drawing and guide to the persons and punishments depicted accompanied each scroll. The more recent and easily read set of scrolls from the early 20th century was presented first to help viewers interpret the complex imagery in each scroll. The As the scrolls were originally shown within the milieu of a

second set, darker, more foreboding and

temple, thought was given to how an entrance that referenced this

difficult to see, was painted in the 18th

context could be created. Gradually, through careful and deliberate

century by an unknown painter or painters

development of the model, the concept took physical form.

and is one of the oldest known surviving

Inside the gallery, a temple-like entrance to the exhibition was constructed by placing the title wall approximately 23 feet from the

sets of hell scrolls. A panel discussion by university

door; thereby, creating a large alcove that framed two of the gallery’s

professors on the living tradition of

support columns. Volunteer artist Kloe Kang drew and freely painted

Chinese hell scrolls preceded the opening

the encircling dragons on the columns. Student Arnold Lopes carefully

and helped to establish the religious and

4 Rose.

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social context of the exhibition. Reverend Pang conducted a Taoist blessing for the opening. It was followed by a specially choreographed lion dance that culminated in a great frenzy of popping firecrackers as the gallery opened and long serpentine lines of people waited patiently to go to hell. A Journey Through Chinese Hell was circulated by the Council for Creative Projects in New York. Advisors: Roger Ames, Fred Blake, Kevin Chang, David Chappel, Steve Goldberg, Duane Pang, George Tanabe

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October/November 1997

C R O S S I N G S

’9 7

F R A N C E / H A W A I I Crossings ’97: France/Hawaii, the largest collaborative effort of Hawai‘i’s cultural institutions, is a clear example of how more leverage, visibility, and impact are attained by joining forces. Planning for Crossings ’97: France/Hawaii began in 1986 and led to the presentation of the works of 44 artists from Hawai‘i in France in 1989 (Crossings ’89: France/Hawaii) that commemorated the bicentennial of the French Revolution. The concerted efforts of the Honolulu Academy of Arts, The Contemporary Museum, and the University of Hawai‘i Art Gallery, along with the cooperation of the artists and many volunteers, were essential to obtaining community support and to the organization of the presentation of the work of Hawai‘i’s artists abroad. Many traveled to France for the opening of the exhibit, but, unfortunately, the point of the exchange—the meaningful communication of conceptual and visual ideas between artists from other parts of the world—never happened. When we realized that the reciprocal French exhibition in Hawai‘i had not been and would not be organized, we searched

Sarkis

for a knowledgeable and independent curator who would serve as

Here the Night is Immense (below: left, right)

our coordinator in France. This came in the capable and sharp-witted

Here the Light is Immense (right)

person of Pascal Letellier.

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Soon we obtained the backing of the French Consulates in Honolulu and San

and importantly, the cooperative aspects of Crossings ’97 aided in obtaining local and national financial assistance.

Francisco and the French Embassy in New

The French retail industry in Hawai‘i joined with us and planned a

York. Eventually a promise of financial

French Festival that coincided with Crossings ’97. This connection,

assistance came from the Association

besides providing an important marketing and promotion boost for

Française d’Action Artistique (AFAA) within

Crossings, became the vital catalyst for obtaining complimentary

the French Ministry of Culture in Paris.

airfares for the artists from United Airlines Japan. Earlier we had

As the French artists began accepting

obtained a commitment of hotel rooms from the EWA Hotel Waikiki

the invitations to exhibit in Hawai‘i we

for the duration of all the artists’ visits in Hawai‘i, but our attempts at

realized that their stature would make

securing the necessary airfares had brought minimal results.

Crossings ’97 a truly international event.

Crossings ’97 featured the work of 28 contemporary French artists

Gradually the venues grew from three

at ten sites throughout Honolulu and one on Maui. Sarkis, the most

to eleven and historical museums and

internationally distinguished of the artists who came to Hawai‘i, created

cultural institutions joined the project

major installations for the courtyard of Honolulu Hale (City Hall) and the

by presenting celebratory exhibitions

nearby Roman Catholic Mission Cemetery. Sarkis made a preliminary

and events that emphasized Hawai‘i’s

trip to Hawai‘i in February 1996 to review sites and present an illustrated

connections with France. In total, 22

lecture at the University of Hawai‘i. Inspired by the large, sun-bathed

organizations worked together to make

courtyard of the Spanish colonial city hall, Sarkis conceived of a work

Crossings ’97: France/Hawaii happen.

that would celebrate the everyday vitality of the city. His work, titled

While the funding provided by AFAA

Here the Light is Immense consisted of a huge birdcage that contained

was important to the realization of this

50 live parakeets. The giant birdcage, fabricated by the Iron Workers

endeavor it was not sufficient to make

Union Local 625 and students at Honolulu Community College, used

a project of this scale a reality. Certainly

materials donated by various steel firms and organizations. During the month-long presentation, volunteers cared for the parakeets. On his initial trip, as we drove away from Honolulu Hale along King Street, Sarkis suddenly yelled out “Stop!” He asked to visit the cemetery we were passing. For nearly an hour he wandered among the old, falling tombstones as I waited by the car. When he returned, though he had not seen the interior, he asked to do an installation inside a mausoleum at the edge of the cemetery. Following a request and negotiations with the diocese of Honolulu permission was obtained and detailed plan and elevation drawings were made and sent to Sarkis. Sarkis returned a watercolor sketch and description of his intended project. The interior and exterior of the mausoleum were professionally cleaned and electrically outfitted. Hawai‘i artist Frank Sheriff fabricated the burnished bronze coffin-like structure that mimicked the shape of the interior space and rested on the floor in the center of the mausoleum. Artist Ture Gustafson formed and installed the glowing neon words Here the Night is Immense that surrounded the vault. Here Sarkis commemorated the silent and forgotten history of Honolulu.

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Eight artists—Sylvie Blocher, Bernard Calet, Frédéric Coupet, Eric Fonteneau, Véronique Legendre, Joachim Mogarra, Jean-Michel

Bernard Calet Contractor’s Hut (above)

Othoniel, and Françoise Quardon—served residencies at the University of Hawai‘i Department of Art. Public lectures, workshops,

Véronique Legendre

and classroom discussions promoted dialogue and the involvement

Timing Point (detail) (near right)

of students, faculty, and volunteers in the development of the artists’ installations that explored issues related to travel, global interaction, and

Frédéric Bruly Bouabré

intercultural contrasts and relationships.

Installation (far right)

In the Commons Gallery at the University of Hawai‘i 81 postcardsize drawings by Ivory Coast artist/poet Frédéric Bruly Bouabré

Sylvie Blocher

expressed the dichotomy emerging from two contrasting cultures—

Living Pictures #5/Tell Me (right bottom)

an indigenous African tradition and a culture imposed by French colonialism. To provide security for the small drawings and to facilitate

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subsequent movement and presentation at the Kirsh Gallery at

Yan Pei-Ming

Punahou School between seven and eleven drawings were grouped

Dwarf, Bruce Johnson 30.09.97 (above)

and sandwiched between two pieces of Plexiglas creating nine panels that were mounted on the walls. Entrance signage and one Plexiglas

Jacques Vieille

panel that permitted viewing of Bouabré’s drawings from both sides

Monstera (right top)

were suspended between two 2' x 14' gallery walls. The dark blue walls made the small, light colored drawings stand out in the large space. Chinese artist Yan Pei-Ming, who lived and worked in France, painted twelve large portraits of people of Hawai‘i and a landscape within the

François Bouillon Medieval Souls (Ames Médiévales) (right middle)

East-West Center Gallery during a residency preceding the exhibition opening. Students within the Department of Art at the university

Eric Fonteneau

witnessed Yan’s bold and rapid painting process and discussed

Seven Monsters from Waikiki Beach

conceptual premises with the artist.

(right bottom)

Permission was obtained for Tony Soulié to create ephemeral environmental installations on the volcanic landscapes of the islands of

Alain Fleischer

Hawai‘i and Maui. Soulié’s photographs of his transitory drawings from

Searching for Stella (page 196)

natural pigments, flour, and colored earth constituted his exhibition at The Contemporary Museum Honolulu Advertiser Gallery. François Martin served a residency on the Windward Community College campus and created a series of drawings/paintings for a solo exhibition at Gallery ‘Iolani.

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One-person exhibitions at the Honolulu Academy of Arts addressed the concept of “museums” and “collections.” François Bouillon and Jacques Vieille created installations that intervened with the collections and architecture of the Academy. Driss Sans-Arcidet (aka Musée Khômbol) commented on the archaeological context of museums and Hawai‘i’s history as a whaling center by focusing on Herman Melville’s Moby Dick. Sophie Calle’s work investigated human responses to museum holdings. Conceptual/sculptural installations that utilized photographic imagery were the focus of the exhibition at The Contemporary Museum. It included Martine Aballéa, Christian Boltanski, Pat Bruder, Tom Drahos, Alain Fleischer, Jochen Gerz, Gotscho, Pierre Mercier, Annette Messager, and Michel Salsmann.

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Selections from the exhibitions in Honolulu were shared with the Maui community at Hui No‘eau in early 1998. To commemorate Crossings ’97: France/Hawaii and to draw

Financial support for Crossings ’97: France/Hawaii was extensive. The substantial monetary support plus services

attention to Hawai‘i’s rich cultural resources, historical museums,

in the form of advertising and promotion

galleries, and cultural institutions joined the project by presenting

from First Hawaiian Bank were significant,

celebratory exhibitions and events with French themes. This included a

as was the help of Persis Corporation.

concert of French Masterworks by the Honolulu Symphony and Hawai‘i

The assistance of the Department of

Opera Theatre’s presentation of Charles Gounod’s Romeo and Juliette.

Business, Economic Development and

Crossings ’97: France/Hawaii attained success because of the high

Tourism was essential to the production

degree of visibility the project achieved from many segments within the

of promotional materials. The financial

State of Hawai‘i. Not only were cultural leaders aware of and involved

support of Etant Donnés: The French-

in Crossings ’97, government and corporate leaders were interested in

American Endowment for Contemporary

and supportive of the project. More than 250 people worked on various

Art and the Consulate General of France

aspects of Crossings.

in San Francisco aided in the realization of

The process of persuading community “buy-in” and seeking

the artists’ works at each site.

permissions was as much a part of the excitement of the project as

As a community service Quality

the event itself. The enthusiasm of the cultural community became

Graphics produced a full-color poster.

contagious as organizations realized the value of working together.

A 24-page passport featuring all the

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The cost of Crossings ’97 was $273,721 of which 37% constituted administrative expenses provided by the three organizing institutions. The estimated value of contributed services was an additional $110,388. Promotion, especially promotion done in a timely manner, is a key to the success of any event. Over the period of a year before the event, more than one thousand press packets and releases were sent out locally, nationally, and internationally. Despite continuous efforts, sufficient funding that would allow for a paid public relations expert and advertising at the critical moment never materialized. This constitutes a missed opportunity for Hawai‘i. While national and international media coverage that occurred at the time of the event was beneficial, it came too late to attract out-of-state visitors. Furthermore, although we worked to get reviews in the best international art journals, paid advertising in these journals might have encouraged subsequent editorial consideration. Nevertheless, Crossings’97 was an enriching experience for those exhibitions and events was developed to

most involved. By concept, Crossings was an exchange—an exchange

promote Crossings. Each venue produced

of ideas and art expressions. An exchange works both ways, where

individual artist-designed stamps to

the participants from both places gain from the experience. Therein is

validate their page within the passport.

where Crossings ’97 was most successful. Besides the opportunity to

The Eiffel Tower/palm tree logo designed

experience new developments in contemporary art, we met, heard,

by Thomas Tsuhako for Crossings

talked with, and learned from individuals from another place and the

’89 became the signature identity for

“aloha spirit” impressed and affected another part of the world.

Crossings ’97 and the French Festival.

In all instances there was collaboration between the artists and the

Student Kyle Hamane’s conceptual

institution. As a result, the museums or cultural organizations have

creativity and sensitivity to design are

ventured beyond traditional attitudes about what can be done and

evident in the passport and exhibition

what is necessary to realize new art forms in their spaces.

catalogue. The catalogue, supported by a

Crossings ’97: France/Hawaii was a pilot effort of Hawai‘i’s cultural

grant from the Hawai‘i State Foundation

community to work together on a major event. Museum’s benefited

on Culture and the Arts, received a Pele

from the collaborative planning, shared costs, and publicity that

Award in the American Advertising

working together generated. We came to understand where greater

Federation District 13 annual competition.

emphasis must be placed in future collaborations. Above all, we realized that by working together we can make a difference for Hawai‘i’s artists, for the arts in Hawai‘i, and that the arts do impact Hawai‘i’s economy. Steering committee: Peter Apo, Momi Cazimero, Patricia Chong, George Ellis, Antoine Frasseto, Judith Hughes, James Jensen, Tom Klobe, Georgianna Lagoria, Pascal Letellier, Barbara Okamoto, André Parant, Jennifer Saville, Sharon Tasaka Catalogue/passport design: Kyle Hamane Logo/poster design: Thomas Tsuhako



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January 18 – February 20, 1998

H U C P R I N T S

L U Q U I E N S ’

H A W A I‘I

1 9 1 8 – 1 9 5 0

Cooperative ventures provide the possibility of advantage for all.

1917 and in 1924 was invited to initiate

The exhibition Huc Luquiens’ Hawai‘i: Prints 1918–1950 afforded a

and head the Department of Art at the

synergistic consequence that was of substantial benefit to two distinct

fledgling university. He continued as

entities—the State Foundation on Culture and the Arts (SFCA) and

chairperson until his retirement in 1946.

the University of Hawai‘i Art Gallery. Both state agencies, the State

As a teacher and artist he became a major

Foundation possesses a collection without (at that time) an exhibition

influence for high standards at a crucial

space and the University of Hawai‘i Art Gallery is an exhibition area

period in the development of art in

without a collection. By joining forces each was able to achieve

Hawai‘i and left a significant visual legacy

objectives that supported their individual missions.

of the islands for future generations.

In 1968, one year following the establishment of the SFCA Art in

This project expanded educational

Public Places Program, Elizabeth Luquiens, widow of the artist, gave her

opportunities for students by establishing

husband’s collection of nearly 700 prints to the state. This exhibition

internships in museum registration and

allowed the opportunity to conduct an examination and cataloging

catalogue design. Wendy Pires worked

of the collection that was in compliance with current registration

with the staff of the SFCA in analyzing and

standards and it permitted the public presentation of substantial

cataloging the collection. With Wayne

portions of the gift. (Previously, only isolated prints from this extensive

Kawamoto at the UH Art Gallery she

body of Luquiens’ work had been exhibited.)

developed a comprehensive database.

For the University the exhibition and publication of the catalogue

Charles Cohan, professor of printmaking,

provided an appropriate celebration of the ninetieth anniversary of

helped her identify printmaking

the founding of the University of Hawai‘i and encouraged reflection on

techniques evident in the collection.

the history of the Department of Art. Huc Luquiens came to Hawai‘i in

Student Ken Lincoln worked closely with the gallery staff in the design of the 80-page catalogue. In his final report, Lincoln contrasted this experience with that in the classroom. “There is no test, essay or project that can simulate a real life working experience. There is no substitute for the pressure and demands of a real life, working atmosphere. Conversely there is no greater reward than having accomplished a goal and finished product.” After graduation Ken Lincoln has continued in the field of graphic design and Wendy Pires is curator of education at The Trout Gallery at Dickinson College in Carlisle, Pennsylvania.

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The installation of 325 prints posed major challenges. First, as none of the prints was matted or framed, students and volunteers worked with the gallery staff to prepare the prints for exhibition, thereby acquiring knowledge regarding the technical and aesthetic aspects of the care and presentation of works of art.

tone of blue, representing the sea and sky, on the horizontal walls was

Second, because within a university

complemented by green, suggesting the mountainous landscapes

context the exhibition of a considerable

of Hawai‘i, on the vertical walls. The continuity of value and intensity

amount of an artist’s work can be

evident in the color selection provided variety and unity within an

educationally valuable, the decision to

otherwise busy environment.

display an inclusive body of Luquiens’

The prints were chosen based on their aesthetic quality and

works necessitated greater linear feet than

condition, but also with consideration to the creation of an

the gallery’s walls could accommodate. As

environment that presented every print to its best advantage.

had been done for the exhibition Symbol

Following a brief introduction of the artist, a self-portrait in oil on an

and Surrogate: The Picture Within, the

easel, Luquiens’ printing press, and examples of various methods of

horizontal positioning of walls achieved

printmaking, passage through the exhibition simulated a tour around

more display space.

the islands at a time before the advent of modern development.

However, the presentation of many

Remaining sections presented Luquiens’ Christmas cards, bookplates,

works with little differentiation in size,

portraits, and ocean series.

technique, or color posed potential

The exhibition provided important information on the medium

problems of maintaining viewer interest

of printmaking and served as a significant document of the natural

throughout the exhibition. Variation

beauty of Hawai‘i in the first half of the 20th century. It celebrated the

was achieved by grouping and stacking

foundation of the Department of Art and increased public awareness of

related prints and by altering the negative

the work of the State Foundation on Culture and the Arts and the Art in

spaces between individual prints or

Public Places Collection.

groups. Likewise, by placing the walls in opposition—a contrast of vertical

Project coordinator: Lisa Yoshihara

and horizontal—and subtly juxtaposing

Registrar: Wendy Pires

two colors, the exhibition space was

Catalogue author: Marcia Morse

visually, but calmly activated. The quiet

Catalogue design: Ken Lincoln

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January 16 – February 18, 2000 January 12 – February 21, 2003

P R I V A T E

P A S S I O N S

The need to present an exhibition at little cost affirmed the planning of both Private Passions. However, the requirement that a portion of the gallery be utilized for preparing and photographing the works in the subsequent Shoebox Sculpture Exhibitions figured significantly in the development and presentation of these exhibitions. Both Private Passions explored relevant and timely issues in the visual arts: acquisition and connoisseurship. Through the presentation of works from private holdings, the exhibitions not only examined the issues of collecting, but their focus inspired a look at unique aspects of the cultures of Japan, Korea, China, Indonesia, and The Philippines in the first and India, Tibet, Iran, and Turkey in the second. The collections, presented as independent exhibitions, were installed in a manner appropriate and specific to each. Individual rooms that implied privacy highlighted the works and often, through architectural elements and color selection, set the art within an environment that suggested its cultural context.

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The title, in a decorative display type, was hand-painted on the entrance wall. Behind this wall, a statement established the exhibitions’ rationale. Individual titles near the entrance to each room and interpretive text within introduced the collection. Labels provided identification and further explanation of the work of art. Each installation carefully considered the needs attendant to the objects and the resources of the gallery. Thus, the Ryun Namkoong collection of 22 Korean gilt-bronze bodhisattvas was presented as a group within a case that glowed in the darkly painted room. The collection of Chinese cricket cages rested on acrylic shelves in cases suspended between 2-foot wide gallery walls. This allowed intimate observation of the techniques and materials employed in the cages’ construction and permitted easy reading of the labels placed at

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the side. The church-like quality of the Carl and Jovita Zimmerman Philippine santos installation was emphasized by the hand-painted altar that served as the background for the religious images. A mood appropriate to the Gulab and Indru Watumull collection of sculpture from India and Nepal was suggested by the spicy orange color of the room where an arch, constructed around one of the gallery’s support posts, framed a Nepalese fourteenth century painted wood Buddhist triad. The pale blue walls and platforms established an intimate setting for the Turkish village textiles in Pat Hickman’s collection. Meanwhile, sparseness, dark blue walls, and dramatic lighting emphasized the tactile richness of Tibetan rugs owned by David Slusher. Simplicity of presentation and sensitivity to color enriched the installations of Japanese photographs, Indonesian textiles, and paintings from Iran. The exhibitions’ announcements, 5” x 7” cards with an illustration of one work from each collection including interpretive information on the reverse, were designed in-house by design assistant Wayne Kawamoto and doubled as a mini-catalogue of the exhibition. Both exhibitions were funded by grants from the University of Hawai‘i Student Activity and Program Fee Board and private contributions.

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January 14 – February 16, 2001

A

T R A N S I E N T

W O R L D

Conceptual determinants suggested the title and installation of Tadashi Goino’s collection of ukiyo-e. Ukiyo, meaning “floating,” has come to describe the woodblock images that capture the evanescence of the floating world of pleasure in Japan during the 17th through 19th centuries. Bold and dynamic, with vibrant colors, or elegant and refined, containing soft hues, these woodblock prints reveal the ravishing beauties of the pleasure houses, allow a glimpse of illustrious actors from the popular theater or robust sumo wrestlers, and views of the countryside—Japan, its people, its myths and history. The 100 ukiyo-e prints were presented in a way that reflected this transient world—on floating walls. Suspended horizontally by cable from the ceiling, the walls were arranged in a casual manner that permitted the exhibition to be organized by subject—the entertainment quarters, theater and actors, travel and leisure, and history and literature.

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Individual prints were mounted with clear photo corners on acidfree backboards. Gray-green mattes framed the prints and contained the adjacent interpretive information about each image. Sectioned, the mattes extended the entire length of the 14-foot long floating walls, and were covered with clear acrylic. All was held in place with corner molding. The panels, above and below the prints, were painted a lighter gray-green. Lengths of translucent Reemay, a conservation material inexpensively available in rolls 51 inches x 100 yards, hung from the ceiling and appeared like scrolls of Japanese paper that subtly divided the space to create visual pauses and a sense of privacy. The exhibition title, acknowledgements, and introductory statements were screened on the Reemay. Lighting of the fragile but brilliantly colored prints was carefully controlled to an acceptable foot-candle level by covering the windows of the gallery with the portable walls and by using low-wattage lamps. The exhibition was installed at a cost of $6,462 that included supplies and student labor.

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March 4 – April 6, 2001

J O S É M Y

G U A D A L U P E

P O S A D A :

M E X I C O

Conceptually sensitive and creative installation design and engaging interpretation can be powerful inducements to the enhancement of communication with museum visitors. The presentation of the exhibition José Guadalupe Posada: My Mexico that contained nearly 250 broadsides by the popular Mexican artist who lived from 1852 to 1913, carefully considered the use of space and color to allude to the cultural origins of the artist and the traditions of his native country. Before construction of the model, Mexican architecture was researched, especially the vernacular buildings of Mexican villages with their patios and colorful streets and the exalted designs of the 20th century architect Luis Barragán who recognized the profound influence of rural architecture on his own work. The research inspired a development of space that reflected a vibrant and sensuous Mexican aesthetic that sprang from the gallery’s flexible system of moveable walls. By placing

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and stacking walls horizontally on edge, a series of intimate courtyards permitted the presentation of the themes that comprise Posada’s work. Space, divided by the changing heights, suggested an incomplete vision, always insinuating the beyond, and encouraged visitors to meander casually through the exhibition. The walls, built to various heights and placed in front of the windows, intermittently and tenuously allowed bits of sunlight to filter through the dense bamboo outside illuminating the interior colors. All the while care was given in the placement of prints that no direct sunlight would fall on them. Intense colors, imbued with the warmth and vibrancy of Mexican folk culture, served as the visual counterpoint for the

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To avoid pedantic, didactic labels that dryly presented historical facts, introductory interpretive texts and the exhibition’s sub-themes, along with individual labels, were written in the first person—as if Posada or his calavera (skeleton) were telling the story and conducting visitors through the exhibition. The wall texts and labels contained accessible content written in an anecdotal manner that engaged visitors with an immediacy that conveyed the voice of the artist. Visitors commented, “It is like José yellowed broadsides with images printed in black on the cheapest of

Guadalupe Posada is taking me through

papers. Matting and framing Posada’s penny sheets seemed a much too

the exhibition. The labels are personal

pretentious presentation of an artist’s work that had been sold on street

and warm, like the people and culture of

corners and in outdoor markets. Consequently each broadside was

Mexico.”

sandwiched between two sheets of clear acrylic, the edges sealed with clear packing tape that wrapped around the back. The acrylic backing

I was born in Aguascalientes in 1852

was adhered to the wall with double stick tape. The prints and their

on a straw mat laid on the earthen

accompanying labels were hung using a consistent 48-inch bottom line

floor, which the poor used for a bed.

throughout the exhibition. Double-sided images were placed between

To the smell of straw that branded me

larger sheets of acrylic and presented within an opening in specially

must be added the odor of fresh dough,

constructed walls that allowed viewing of both sides.

for my father was a baker. I don’t

José Guadalupe Posada was Mexico’s most revered graphic artist.

remember much of my early years in

His work depicted almost every facet of Mexican life and was meant

Aguascalientes except that at sixteen

to educate the masses by illuminating the realities of the political,

I was excited to be apprenticed to the

cultural, and religious aspects of Mexico at the turn of the 20 century.

master printer Trinidad Pedroza. My

Posada’s prints commemorate occasions such as political events, crimes,

patient smoothing of the lithographic

disasters, miracles, the glorification of popular heroes, and the calaveras,

stones offered me the opportunity

the animated skeletons associated with the Day of the Dead.

to sense a surface that seemed very

th

The French artist Jean Charlot encountered the broadsides of Posada

genteel. Sometimes I was allowed to

in 1921 and brought Posada to the attention of the art world through

cover it with calligraphic tendrils that

the publication of an article in Revista de Revistas in 1925. Charlot’s

framed small vignettes of important

enthusiasm for Posada resulted in the assembly of an extensive

events in this provincial town. But I was

personal collection of Posada’s art. His acquisition of nearly 500 works by

most pleased when Pedroza allowed

this important Mexican artist is now part of the Jean Charlot Collection

me to copy pictures from Spanish and

housed in Hamilton Library. Considered among the best archives of

French weeklies that provided fabulous

Posada’s work in the world, it is recognized as one of the great cultural

glimpses of a faraway world.

resources of the University of Hawai‘i.

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Subsequent text panels continued his

The writing encouraged visitors to read, respond to Posada’s images,

story. In the fourth panel visitors realized

and think about Posada’s personal concerns and those for his country.

that Posada was speaking from the grave.

The exhibition was a close collaboration between the Jean Charlot Collection at Hamilton Library and the Art Gallery. While the Art Gallery

I was a common man, no bearded

has no collection, repositories of cultural and historical importance exist

sage. I left no diaries, no manuscripts,

on the university campus. Working together provides opportunities for

no descendants. My beloved son died

meaningful exhibitions, the conduct of research on the collections, and

in his teens. Of the three neighbors

community awareness of the many resources of the university.

who certified my death in 1913, only

The sensitively designed 138-page catalogue received an Award

one knew how to sign his name. The

of Excellence from the American Institute of Graphic Arts, Honolulu

state paid for my funeral. I was placed

Chapter’s biennial Hawai‘i’s 5-0 competition. Total project costs amounted to $59,021 of which 50% were salaries,

in a pauper’s grave. Throughout life the odor of straw and fresh dough

$20,170 for catalogue development and printing, and $5,241 for

never left me. Beneath baggy pants

installation labor and supplies. Grants from the Hawai‘i State Foundation

held up by tired suspenders, my sturdy

on Culture and the Arts, the Charlot Foundation, the UH Women’s

body was scented forever. My fists

Campus Club, the Student Activity and Program Fee Board, and the

were those of a manual laborer. I never

Watumull Grant for Museum Studies in the Arts supported the project. Following its presentation in Hawai‘i, José Guadalupe Posada: My

attained those bourgeois dreams. I

Mexico was shown at ten museums in the continental United States.

never traveled to those faraway lands. Instead, all through life I clung to my Mexico as a limpet clings to its rock.

Catalogue authors: Nancy Morris, Patrick Frank Catalogue design: Carolina Sarmiento

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October 7 – December 21, 2001

T H É Â T R E

D E

L A

M O D E

The winter of 1945, Paris, the end of World War II—the Nazis were gone and the French fashion industry was desperate to reassert itself. It wasn’t about to be stopped by minor inconveniences like the near-total lack of food, clothing, fuel, and medical supplies. In an unprecedented creative collaboration, the finest French artists and designers of the age created miniature fashion mannequins, set them in elaborate hand-painted stages and sent them all on a world tour. Organized to raise funds for French war relief and to resurrect the French fashion industry, in its initial showing in Paris Théâtre de la Mode attracted nearly one hundred thousand visitors, many almost too poor to pay for the entry ticket. For the French, the exhibit expressed their national pride and their defiance of the enemy. The exhibition went on to enjoy tremendous success in Leeds, London, Vienna, Stockholm,

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Copenhagen, New York, and San Francisco.

Foundation in Tokyo, the Portland Museum in Oregon, the Baltimore

However, shipping Théâtre de la Mode

Museum in Maryland, and the Lowe Art Museum in Miami, Florida.

back to Paris at the end of its tour was

Théâtre de la Mode’s opening at the University of Hawai‘i Art

deemed too expensive. Consequently, the

Gallery, less than four weeks after 9/11, by showing the determination

mannequins and stage sets languished in

of the French people as they struggled to recover after four years

a warehouse in San Francisco from 1946

of Nazi occupation, served as a testament to what the human spirit

until 1952 when the mannequins, without

can do creatively to rise above adversity. Now, years of planning and

their sets, entered the collection of the

coordination of overseas shipping suddenly took on new dimensions as

small, private Maryhill Museum of Art in

precautions were enacted as a result of America’s disaster.

Goldendale, Washington.

Calculated development of the exhibition maquette was essential

While conducting research on Christian

to contain the nine dramatic theatre sets and their more than 150

Dior in 1983 Stanley Garfinkel, professor

post-World War II mannequins within the restricted space of the

at Kent State University, “rediscovered”

gallery with its four support columns and still allow comfortable

Théâtre de la Mode. Plans were made to

visitor access. However, the necessity of accommodating more than

send the mannequins home to Paris for

forty shipping crates within the climate controlled environment of

refurbishing. By 1990 the mannequins

the gallery presented additional challenges. When the art building

were restored, new sets were constructed,

was designed the gallery’s storage area was inadequate for the size of

and this historic exhibition began its

the exhibition space and it was not equipped with humidity control.

second world tour—the Louvre in Paris,

Moreover, many of the large crates for Théâtre de la Mode would

the Metropolitan in New York, The Fashion

not fit through the storage door. Thus, a scaled maquette of each

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crate was made, whereupon they were fit into the exhibition model below the stage platforms and behind the sets. This required that the actual crates be unpacked and positioned before the stages and theatre sets were built. It involved tremendous coordination to maintain the installation schedule within the two weeks between exhibitions. Entering the gallery visitors were greeted with the grand spectacle of the Paris Opera with its imposing arcade, chandelier, commanding proscenium arch, and its multitude of mannequins in opulent evening gowns. Eight other sets surrounded this centerpiece. The gallery walls were painted deep purple. Lighting was dramatically controlled to emphasize the sets and illuminate the signage, historic photographs, and several cases that contained carefully crafted accessories. Motion detector alarms were installed at the front of each set. Théâtre de la Mode is an excellent example of cooperation between departments within the university and the community. Encouraged by Dr. Linda Arthur, curator of the university’s Historic Costume Collection, to pursue the exhibition, Professor Arthur helped by presenting lectures for docent training classes. Student Maya Smith-Henry, as a Watumull Intern for Museum Studies in the Arts, developed an educational program and initiated docent training that prepared university students to conduct tours of the exhibition. Educational kits, that included 1940s style clothes made by Sandra Ronolo, became a popular interactive part of school tour experiences.

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The annual French Festival organized by Honolulu’s retail boutiques coincided with the exhibition and assisted in the promotion of Théâtre de la Mode. Hermès provided financial support for the exhibition and Christian Dior established a design competition that gave a tuition scholarship to an art student. Théâtre de la Mode was also supported by grants from the Hawai‘i State Foundation on Culture and the Arts, First Hawaiian Bank, the French Consulate in San Francisco, the Blodwyn Goo Endowment, Arthur Goodfriend Endowment, the Student Activity and Program Fee Board, and the Alliance Française of Hawai‘i. Sixty percent of the total exhibition costs of $115,822 entailed the rental fee and shipping while twenty-five percent covered salaries. The cost of installation supplies and student help came to $3,295. Consultants: Betty Long, registrar, Maryhill Museum of Art; Linda Arthur, curator, CTAHR Historic Costume Collection Docent training: Phyllis Nakasone Education intern: Maya Smith-Henry Educational programming: Sandra Ronolo, Cat Wood

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March 10 – April 12, 2002

A T R A D I T I O N

O F

E X C E L L E N C E

“A time to remember—the Department of Art at the University of Hawai‘i at Mānoa, 25 years and 25 retired faculty.”1 A Tradition of Excellence commemorated a quarter century in the new Art Building on the Mānoa campus and it honored the retired faculty who worked to assure that the visual arts would be an important component of university education in Hawai‘i. The organization and development of A Tradition of Excellence provided the pleasure and the humbling opportunity to know better each of the former faculty and to recount the history of the department. Because the university played an influential role in shaping the arts in Hawai‘i, the exhibition and catalogue stood as tributes to the history of art in Hawai‘i from 1924 when the department was founded by Huc-Mazelet Luquiens to the late 20th century. As much as possible, the retirees were represented by four works that exemplified key moments in their creative lives. These were illustrated in the sensitively designed 128-page catalogue that included biographies

1 Klobe, “Foreword/Acknowledgement,” 4.

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of the artists and an essay by department chair John Wisnosky that recounted the department’s history. The catalogue, designed by student Lena Mochimaru, received a silver medal in Spicer Paper’s Excellence in Print National Competition. So that viewers could readily observe a range of an artist’s conceptual concerns and creative endeavors over the course of a career, the installation design featured each artist’s work in proximity, usually one work to a wall. The placement of walls and the development of space permitted especially effective sight lines throughout the exhibition allowing visitors to see easily from one area to the next. This elicited an overriding sense of continuity and unity within the exhibition. Interest was maintained through variation in media, technique, size, color, and texture. Signage at the exterior entrance to the gallery followed the graphic format of the exhibition invitation and catalogue cover. The exhibition was supported by grants from the Hawai‘i State Foundation on Culture and the Arts and the Student Activity and Program Fee Board. Catalogue authors: John Wisnosky, Tom Klobe Catalogue design: Lena Mochimaru

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October 13 – November 22, 2002

P A T T E R N

A N D

P U R P O S E

JAPANESE FISHERMEN’S COATS FR OM AWAJI ISL AND

An inexplicable and ethereal atmosphere of quiet color and subdued light permeated the exhibition Pattern and Purpose: Japanese Fishermen’s Coats from Awaji Island. The installation allowed an overriding aesthetic to come into being that reached a higher order than rationally could be accounted for by the stunning individuality of the coats. With its simplicity and understatement a kind of magic occurred, and the whole became wonderfully and astonishingly beautiful. The visitor appeared to experience another world, one in which time seemed to stand still, frozen in the poignant moment between the achievement of unpretentious perfection and the beginning of decay. While each of the twenty-two coats was humbly exquisite in its own right, together, and within the restrained environment of the gallery,

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a totality was achieved that was greater than the sum of the parts. This installation stands as a superb example of how, when all is brought together in harmony, the whole works to subtly enhance each individual object. The intricate patterns of white cotton stitches on the indigo-dyed fabric of the old and tattered fishermen’s coats stood as tiny accents in a sea of seemingly empty, quiet, nearly colorless space. The dark gray-blue walls unremittingly cast a mood of cold and stormy seafaring drama

catch introduced the exhibition. Photographs, signage, and artifacts,

reinforced by the recorded muted sounds

placed about the gallery, reinforced the interpretive meaning of the

of wind, waves, and the calls of sea birds.

exhibition and recounted the making and use of the coats.

Required by the lending institutions,

Customarily made by the seafarer’s wife or mother from layers of

the UCLA Fowler Museum of Cultural

recycled indigo-dyed kimono cloth, these 19th and early 20th century

History and the University of California

coats were characteristic of Awaji Island in central Japan. Born of

at Santa Barbara Art Museum, to present

necessity, to keep the fishermen dry and warm, the coats were also

the fishermen’s coats on platforms

declarations of ingenious beauty and family pride. The innovative

that would discourage touching, the

hand-quilting technique called sashiko originally developed as a way

coats were supported on clear acrylic

of strengthening cloth with running stitches—layering it for warmth

tubes suspended from the ceiling by

and wear. What was purely a utilitarian need, became a means of

monofilament. They hung above panels

aesthetic expression—skillfully encompassing both practicality and

of Reemay reused from the exhibition A

refinement. White cotton thread was stitched in complex decorative

Transient World (pages 204–205). The

patterns through the layers of fabric. Then the pieces—body,

Reemay, delicate and translucent with

collar, and sleeves—were hand-stitched together. In the quality of

a quality that suggested Japanese rice

their craftsmanship the coats exhibit the devotion and guarded

paper, stretched between bold pier-like

competitiveness of the women who made them.

blocks made from plywood covered with

The tranquility and serenity of the installation, with its humility, paid

concrete mortar. The Reemay, with its

tribute to the women who carefully made the coats and to the men

diaphanous and supple qualities, elicited a

who braved the seas wearing them. There was a hint of sadness in the

gentle movement that evoked a cognitive

recognition of the perfection of their human achievement. Gray-blue panels of title signage and acknowledgements framed the

association with water and the sea.

entrance and a video of the annual Bountiful Fishing Festival on Awaji

Two coats and an apron, too old and fragile to hang, were laid on inclined

Island was shown outside the gallery. Volunteer Lorraine Tokuyama

panels of Reemay that were supported

demonstrated the techniques of sashiko stitching.

by sheets of clear acrylic. A hand-woven

Pattern and Purpose was supported by the Student Activity and

fishnet, old maps and prints, and a red

Program Fee Board and the Blodwyn Goo and Arthur Goodfriend

banner intended to assure an abundant

endowments.

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September/November 2003

C R O S S I N G S

2 0 0 3

K O R E A / H A W A I‘I Building on the experience of the previous Crossings exhibitions— Crossings ’86: Japan/Hawai‘i and the two French endeavors— Crossings 2003: Korea/Hawai‘i strove to explore new territory in the development and presentation of an international cultural event in Hawai‘i. That objective—to attract greater and more serious attention from the national and international community of critics, museum colleagues, collectors, artists, and the informed public—was more successfully met than it had been in any of the previous exhibitions. To that end, experienced art publicist Anne Marie Smoke was retained to promote Crossings 2003. Consequently, local, national, and international media coverage during and subsequent to the event was exceptional. A six-page review appeared in Art in America (September 2004) and Crossings was featured in Art AsiaPacific and two major

Kimsooja

Korean art journals. However, hoped for budgetary funding from state

A Mirror Woman—The Ground of Nowhere

agencies for international advertising intended to be set in place at

(right)

least a year before the exhibitions opened was not secured. Thus, Hawai‘i missed out on a significant tourism promotion opportunity.

Catalogue cover (below)

While some travelers came specifically for the exhibitions, not sufficient numbers came as a result of Crossings. More care needs to be given to creating greater cognizance within the state of the advantages of cultural tourism that large and cooperative events can provide. The collaborative aspects of Crossings 2003: Korea/Hawai‘i, whereby the museums and cultural institutions in Hawai‘i worked together as each of the Crossings projects had done previously, brought increased visibility to the endeavor and certainly made the possibility of international media attention more viable. Likely the largest exhibition of contemporary Korean art ever shown outside of South Korea, Crossings 2003: Korea/Hawai‘i spanned a range of media—from contemporary works based on traditional art forms such as crafts, painting, drawing, sculpture, and photography to the cutting edge of electronic, video, and computer media. Crossings 2003 commemorated the centennial of Korean immigration to the United States. (The first immigrants arrived in the Territory of Hawaii in 1903.) While The Art of Korea (pages 86–89) celebrated the 75th anniversary

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of Korean immigration and acknowledged the past, Crossings 2003: Korea/Hawai‘i turned to the present and looked toward the future. The exhibitions featured the works of 56 contemporary Korean artists at nine galleries and museums in Honolulu and on Maui. Three and half years in development, the project began with an exploratory trip to Korea in March 2000. There, a young, innovative curator, Kim HehKyong, seemed to share the vision and willingness to take chances. On a subsequent trip in 2001 she introduced Kim Hong Hee, director of SSamziespace, who agreed to write a catalogue essay that set contemporary Korean art within its historical context. On that excursion to the Land of the Morning Calm, Kim HehKyong took me to visit artists and their studios throughout Seoul. Crossings 2003: Korea/Hawai‘i was beginning to take shape. Later Jennifer Saville and James Jensen, curators at the Honolulu Academy of Arts and The Contemporary Museum, respectively, traveled to Korea to formulate their presentations. The connective link that anchored the

Hawai‘i six months before the exhibitions occurred. Inspired by the

exhibitions was the spectacular installation

impressive architectural features of the building and its courtyard with

by Kimsooja in the atrium of Honolulu’s

a roof designed to close automatically when it starts to rain, Kimsooja

city hall. A vertical column of white fabric

returned to New York City to formulate proposals for her installation.

rose almost 60-feet high in the uncovered

By late July, six weeks prior to the opening, definite plans for her work

space. Inside, a 20-foot diameter mirrored

and a budget for its development were in place. The cylindrical curtain

floor reflected the sky above.

was fabricated in the Garment District in New York City and shipped to

Permission to utilize Honolulu Hale

Hawai‘i. Technical assistant Bernardo Zavattini sent specifications for the

(City Hall) as the focal point of Crossings

construction of a 20-foot diameter aluminum ring with fasteners that

2003 was obtained approximately one

would support the fabric cylinder at the top of the open courtyard and

year prior to the exhibitions. An invitation

for the acrylic mirror-covered platform at the base. Suddenly, however,

was immediately extended to Kimsooja

in discussions with city officials, a problem surfaced that plunged

and she made a preliminary visit to

the project into serious doubt. The skylight roof was inoperable and

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had not been opened in several years. The track mechanisms were rusted shut and the supporting structure was termite eaten. With only two weeks until the installation of Kimsooja’s work, city officials, architects, and engineers miraculously worked to secure the necessary replacement tracks and equipment, repair the termite eaten structure, and install the hardware needed to support the aluminum ring and curtain. The concern and dedication of all who came together to restore the moveable skylight attests to the potential to realize the completion of a project against time constraints even within the strictures of governmental agencies. There is little doubt, however, that the local and international visibility a great work of art brings to a municipality served to drive the repair of the ceiling. Volunteers constructed the mirrored platform and were on hand to assist as an industrial crane lifted the aluminum ring and curtain into position. In an emotional opening ceremony on Sunday, September 14, Kimsooja dedicated A Mirror Woman—The Ground of Nowhere to all the

that fostered dialogue with students and faculty. Formulating the plan for exhibitions of

Korean immigrants who came to Hawai‘i and the United States. Just

artists’ installations requires a direct and

as immigrants experience displacement with a sense of isolation and

simple approach that allows each artist’s

unfamiliarity mixed with hope and excitement, visitors were enveloped

work to stand on its own. The University

in similar feelings as they stepped into the fine gauze cylinder and

of Hawai‘i Art Gallery’s moveable wall

onto the mirrored floor. Displaced from their known world, viewers felt

system permits optimum accommodation

suspended in space, between the blue sky stippled with white clouds

of artists’ needs. In this exhibition each

above and their own reflection and that of the sky and clouds below.

artist had a space that was distinct and

Seven internationally recognized Korean artists created large-scale installations, many using video and new technology, at the University of Hawai‘i Art Gallery. Each also served a residency at the university

appropriate to the work. Visitors entered the gallery to Ahn Kyu-Chul’s puzzle-like cutout map of the world spread on the floor in front of them. All 196 countries, great or little, rich or poor, assumed the same status and worth of being, as Ahn made them equal size. Intended both as a political message and as a metaphor for the globalization process that standardizes and imposes uniformity on every country, Ahn deliberately attempted to challenge the visitors’ fixed knowledge of a world map—an object that is already an abstract representation of reality. Beyond, in apse-like facing niches Noh Sang-Kyoon’s sequin-covered 9-foot high

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Ahn Kyu-Chul New Map of the World (left bottom) Plan, University of Hawai‘i Art Gallery (left top) Cho Sung-Mook Communication (above) Noh Sang-Kyoon Twin Jesus Christs (right)

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Twin Jesus Christs with arms outstretched, loomed over visitors. Noh not

Kim Jong Ku

only elevated the materials of popular culture to the realm of serious

Mobile Landscape in Hawai‘i (above)

contemporary art, he also raised questions about the sacred and the profane and stimulated thought about the conflict of faith and reason. In commemoration of the 100th anniversary of Korean immigration

Lee Yong-Baek Abnormal (near right)

and the departure of his own ancestors from their beloved homeland a century earlier, Cho Sung-Mook created a boat of dry Korean noodles

Yun Dong-Koo

that seemed to float benignly within a sea of noodles. Cho strove to

Seoul/Jechu (Cheju)/Hawai‘i (far right)

remind visitors that people, like noodles, are soft and strong, but that although they pursue permanence, life is short and ephemeral. A grand, calm, mysterious, and intangible landscape swept across a 30-foot wall of Kim Jong Ku’s installation. On the papered and painted floor Kim used ground steel to write a philosophical question in Korean, English, Chinese, and Hawaiian: “How can I measure the biggest and smallest in the world?” From above, the steel filings conveyed the message, but closed circuit cameras at floor level captured and transmitted to the wall images of mountains, hills and valleys— transforming the material world of objects into the subjective realm of

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the imagination. In an enclosed room Lee Yong-Baek used computer technology to transform 8' x 10' images of the smiling Buddha back and forth into the head of Christ in agony. In the process each became the other and viewers were pulled between the poles of emotional extremes. On the opposite side of the gallery, in Ham Kyung-Ah’s Chasing Yellow, a complex, non-linear concept of time was at play. With four video projections, she used the color yellow as a sensory medium to initiate a relationship that developed into an intimate communication within the camera-mediated time she shared with her subjects. Yun Dong-Ku’s balloon and video installation evoked the communist North Korean practice of floating airborne messages of freedom over South Korea, but metaphorically questioned whether the Korean immigrants to Hawai‘i freed themselves both politically and spiritually. The works of twelve artists at The Contemporary Museum considered the contradictions and collisions that result from Korea’s acceptance of modernity and the West. Eighteen artists at the Honolulu Academy of Arts focused on contemporary expressions of traditional

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Korean crafts that ranged from fiber art and ceramics to papermaking

success. A grant from the Hawai‘i State

and metalwork. The exhibition at the Koa Gallery at Kapi‘olani

Foundation on Culture and the Arts

Community College presented a lively interplay of media-based works

covered catalogue production costs.

by eight artists and the installation showed the creative potential of

Designed by Wayne Kawamoto, the 152-

youthful interaction. Sul WonGi and Lee Byunghee were curators of

page catalogue was selected in the 2005

this exhibition. Sul WonGi also was curator of the exhibitions at the

Hawai‘i’s 5-0 competition as one of the top

East-West Center Gallery and Gallery ‘Iolani at Windward Community

five printed works produced in the state

College that featured a group of ten artists who drew inspiration from

over a two-year period.

traditional ink painting techniques. With Allison Wong as curator, twelve

Additional funding was provided by the

artists of Korean ancestry who live in Hawai‘i presented work in a variety

Laila Art Fund, Korean Airlines, the John

of traditional and experimental Western media at The Contemporary

Young Foundation, the Min family, the

Museum at First Hawaiian Center. Selections from the exhibitions were

Freeman Foundation Artists in Residence

presented at Hui No‘eau Visual Arts Center on Maui in early 2004.

Program, the Center for Korean Studies,

More than 150 people worked on Crossings 2003. Certainly the

the Consulate of the Republic of Korea,

collaboration inherent in this project contributed to its success and

and the Watumull Grant for Museum

visibility in Hawai‘i and aided in obtaining financial assistance. The

Studies in the Arts.

connection with the Committee for Korean Immigration to the United States provided an important marketing and promotion boost for

Steering committee: James Jensen, Kim Heh-

Crossings and became the vital catalyst for obtaining much of the

Kyong, Tom Klobe, Georgianna Lagoria, Stephen

funding necessary for an endeavor of this magnitude.

Little, Duk Hee Murabayashi, Peter Radulovic,

Financial assistance through the Committee for Korean Immigration

Jennifer Saville, Edward Shultz, Anne Marie Smoke,

to the United States from private, state, and city government sources

Sharon Tasaka

was crucial to undertaking this project. The reciprocal support from

Translator: Kloe Sookhee Kang

the Korean Culture and Arts Foundation in Seoul was essential to its

Catalogue design: Wayne Kawamoto Announcement design: Ara Laylo

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Ham Kyung-Ah Chasing Yellow (left) Cho Duck-Hyun A Memory of the 20th Century (right) The Contemporary Museum Lee Chunghie Chogakpo (No-Name) Women (below) Honolulu Academy of Arts

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October 10 – November 19, 2004

E C H O E S

O F

A N

I S L A N D

C U L T U R E The exhibition Echoes of an Island Culture was unique in its comprehensive presentation of the arts of Lampung. Whereas many museums have shown textiles from this southern region of Sumatra, curators/scholars Garrett and Bronwen Solyom examined the full spectrum of Lampung art. The Solyoms strove to show how Lampung’s characteristic aesthetic reaches beyond the imagery evident in the extensively exhibited textiles. The strong forms manifest in artifacts as diverse as carved architectural sculpture, headdresses, and tobacco containers are echoed in the culture’s distinctive textiles. The Solyoms propose that the symbol of the fertile earth is key to understanding the iconography and meaning of Lampung art. At its

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simplest it is a horizontal element with an uncurling fern coil at each end. Elaborated in many ways—with tendrils, sprouting buds, and fruitful trees—it expresses the desire for fertility of the land, the village, and the lineage. Solar and lunar motifs, ancestor images, young fertile women, animals, birds, and occasionally ships are part of the cosmic representations of the real and spiritual world of the people. As visitors progressed through the exhibition in a clockwise course vestiges of this imagery reverberated around every corner in changing media and different art forms. At the entrance maps, historical data, lithographs, and photographs set the context of the exhibition. Next, rare carved architectural fragments established the important concepts of “place” and “house” so essential to social organization in Lampung. Rank is recognized by descent from a deified founding ancestor. Association with a traditional house establishes people in a symbolic environment. It positions them within the village and lets them know who their ancestors were, how they relate to others, and the respect that must be accorded the family. The idea of the fertile earth originates within the traditional house as a tripartite cosmic representation—the attic as the upper world of deities and spirits of deified ancestors, the middle level as the living earthly world of human existence, and the under floor area as the underworld of spirits and earth serpents. The focal element of fertility is expressed by carved finials of uncurling fern coils that extend from the middle “earthly” level.

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specific textiles. Other textiles were carefully mounted on panels or hung on walls out of the reach of visitors. By contrast, beginning sections of the exhibition, where the artifacts were not light sensitive, utilized an open plan that permitted views of the surrounding bamboo gardens. The visual contrast that this arrangement provided enhanced the exhibition. The exhibition design also emphasized the interplay between bold, simple forms individually presented, and complex visually textured areas. For example, the presentation of ceremonial utensils and containers was densely

Wood carvings that included totem-like house posts, finials, doors, throne backs, and portions of heavenly gates served as an appropriate introduction to the motifs found in objects throughout the exhibition. Sections displaying headdresses and body ornaments, masks, keris (sacred daggers), ceremonial containers, and beadwork reiterated the patterns of fertility that exemplified and enhanced the social status, wealth, and power of the family and brought honor to the ancestors. All imagery and meaning culminated in the last section of the exhibition where the textiles resided. Here the full impact of Lampung culture came to life. Every Lampung icon and crossbred cultural image sprang forth with dramatic beauty. The iconography of the objects in the previous sections of the exhibition was repeated here and its application was illuminated. The textiles, because of their fragility and light-sensitive nature, were displayed in an environment in which the exterior window walls of the gallery were covered. Cases, utilizing the wall system, were custom constructed and covered with acrylic sheeting to accommodate

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compact and served to prepare viewers

exhibition concept, and the various exhibit sections. Individual labels

for the exuberant textures of the textiles.

explained each object.

As there were only two weeks between

Because, in the presentation of this exhibition, the Solyoms

striking the previous exhibition and the

were forging ground for new interpretation of the art of Lampung,

opening of Echoes of an Island Culture

the messages contained within the wall texts and labels were of

construction of the model emphasized

paramount importance. When preparing an exhibition in which the

the importance of knowing the material

interpretive material is vital to communicating and understanding, it

well. Consequently, a very complex

is imperative that sufficient time be allotted for research and writing

exhibition that contained much casework

and that deadlines for text and label information be met. Writing good

was efficiently installed with the help

interpretive labels for an exhibition is very different from writing an

of students and volunteers. Walls were

essay or entries for a catalogue. To make interpretive texts and labels

painted grayish beige that complemented

accessible to viewers, writers need uninterrupted time to synthesize the

the worn silver gray wooden fragments

information provided by scholars. This aspect of an exhibition should

and subtly accented the rich textiles. The

not be rushed. For this exhibition many labels were added two weeks

spectacular image of the boat and fishes,

after the exhibition opened.

used on the invitation, was painted on the entrance wall, as was the large map

Curators: Garrett and Bronwen Solyom

of Southeast Asia and Indonesia on the reverse. Interpretive texts of vinyl type introduced Indonesia, Lampung, the

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March 6 – April 15, 2005

L A B O R

&

L E I S U R E

Careful conceptualization and research are keys to the presentation of effective thematic exhibitions. Throughout the development of Labor & Leisure, as objects were considered, their significance to the overriding message of the exhibition remained a determining factor. The stated topic with its research question and rationale, as outlined in Chapter 4 on Concept, was to investigate “. . . perceptions of labor and leisure to understand their emotional significance to human well being.” For economic reasons Labor & Leisure was planned to utilize works only from collections in Honolulu. (Installation costs were $956 excluding student help and $188 for truck rental.) Fortunately planning for this exhibition had sufficiently progressed so that, when the

Labor and leisure share the fate of

October 30, 2004 flood of the University of Hawai‘i library forced the

most pairs of opposites—seemingly

postponement of Making Connections (see following entry), Labor

dichotomous partitions of the universe

& Leisure was presented six months earlier than originally planned.

of experience—that force us to take

From the outset no catalogue was envisioned; however, thoughtful

sides. The exhibition makes clear that

interpretation was essential to establish the basis for inclusion of

one state or activity is not merely the

specific objects and to enable viewers to consider the philosophical

absence or cessation of the other—they

issues of these two defining facets of human existence. One hundred

co-exist in a relationship of mutual

and sixteen works, from nearly three hundred pieces considered, were

implication or dependence. 1

included in the exhibition. They comprised the writings of ancient, medieval, and modern philosophers and drawings, paintings, and



—Marcia Morse

sculpture from a range of cultures—historical, contemporary, Western, Pacific, and Asian. This diversity helped to establish the global continuity of concerns surrounding labor and leisure.

Additional illustration: page 47 1 Morse, “The way we work and play,” 15.

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Marcia Morse’s observation in her critique of the exhibition was evident early in the development of the maquette. Initially conceived to present the two issues in segmented sections of the gallery, it soon became apparent that throughout history labor and leisure have been so inextricably linked that separating the two ideas was impossible. Near the beginning of the exhibition a bible, open to the Book of Genesis, served as a divine paradigm pointing out the rightness of work and rest. Later, near the end of the exhibition where issues of labor and social justice were presented the works of Karl Marx and Frederick Engels became an indictment of the alienating forms of labor that were brought on by the industrial revolution. One of the special aspects of this exhibition was its relevance to the history of Hawai‘i, where work has been linked to changes in social organization. Hawai‘i is perceived as a land of leisure; however, it was largely settled as a land of labor. The initial oil paintings in the exhibition—Pau Ka Hana (Hawaiian Fisherman), ca. 1935, by Jon B. Freitas and Cane Harvest, 1940, by William Twigg-Smith—aptly contrasted

The arrangement of walls created an open plan that continuously

the integration of labor and leisure in

allowed glimpses of other sections. Nevertheless, passage in a

indigenous culture with the establishment

counterclockwise direction was obvious and continuous. The

of the plantation system and the need for

placement of walls allowed all works to be featured independently.

contract laborers. Subsequent sections

The gallery was painted light gray. The title, the type style reiterating

poignantly and dramatically presented,

the exhibition announcement, was hand painted on the entrance

through vintage photographs and studies

wall. To the left, photographs by the Hungarian photographer Francis

for murals by Pablo O’Higgins and Jean

Haar repeated the images on the announcement and quietly and

Charlot, the struggles for labor rights and

appropriately stated the exhibition’s theme.

the formation of unions. Other works emphasized the dichotomy of a current

Advisor: Joseph Stanton

economy where islanders work so that visitors can play.

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September 18 – November 10, 2005

M A K I N G T R E A S U R E S H A W A I ‘ I

C O N N E C T I O N S F R O M

T H E

U N I V E R S I T Y

O F

L I B R A R Y

Exhibitions can elicit strong feelings of group identity and pride. They

fostered a sense of relief and renewal

can renew hope in the wake of disappointments and disasters and

within the larger university and local

restore the confidence of a community. Likewise, the synergy of people

community. Surely it contributed to a

working together, towards an uplifting and restorative goal, serves as a

greater appreciation of the value and

relief from the stress wrought by grave responsibilities.

purpose of Hawai‘i’s primary research

It may not be known if the exhibition Making Connections:

library. There was a rekindled awareness

Treasures from the University of Hawai‘i Library relieved the

that the holdings of the University of

overwhelming stress of librarians triggered by a devastating flood

Hawai‘i Library constitute one of the most

that compromised an estimated 2.8 million items. Following the

valuable resources within the state.

October 30, 2004 flash flood that raged through the ground floor of

Though it may have seemed the flood

Hamilton Library much was recovered, cleaned, and restored, but some

precipitated the exhibition, Making

objects were never found. It is certain, however, that the exhibition

Connections was being planned several years before. Meetings with library staff began as early as 2002. Individual librarians identified significant holdings in the collection and made lists of major treasures to be considered. All were then reviewed and notes that included potential display page spreads, significance and meaning, and sizes were taken for nearly 800 pieces. When the model was developed and final exhibit selections had been made librarians conducted further research and compiled information on each object so that catalogue entries and exhibit labels could be written. That the flood necessitated the postponement of the exhibition for only six months as the library staff worked to save what could be retrieved speaks eloquently of their dedication. Nearly 400 separate items provided a glimpse into the wealth of primary sources

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within Hamilton Library that included rare books, historical documents and photographs, letters written by Hawai‘i’s monarchs, poignant messages from Japanese American servicemen during World War II, journals, prints, drawings, maps, posters, ephemera, and fine examples of book design. All required special handling and conditions of display, such as controlled lighting and environment. With the large number of objects involved—the most ever displayed in the Art Gallery—the creation of a detailed maquette and floor plan that gave conceptual form to the exhibition’s flow was imperative. How one piece connected or related to another was important. Thus, something that initially seemed of peripheral importance may gain significance in the context of other pieces. The advice of librarians was vital to assure that assumptions were correct. The labyrinthine plan wove together a story of the university’s and library’s founding and the expertise of subject matter within the library’s holdings as it specifically related to Hawai‘i, the Pacific, and Asia. The paramount installation challenge, however, was construction of the numerous display cases—64 were built to contain and protect the books and documents. However, before case construction could begin forty new walls were built—some that would replace older ones covered with so much paint they were too heavy to lift. Meanwhile, conservation technician Scott Reinke oversaw and conducted the preparation of the objects for display. This included matting and framing flat work and

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documents and, for hundreds of books, the construction of custom stands from Vivak sheeting meant to alleviate any stress or damage that may be caused by keeping books open for long periods of time. Sheets of mylar were cut to fit exactly beneath scrolls and other objects to create a barrier between them and the painted exhibit surface. As pertinent information on the objects was received from the librarians the labels were written. Labels needed to be treated like a narrative or story, all the time thinking of the visitors as they moved through the exhibition. Their ability to make connections from one piece to another was always a prime consideration. Making Connections, the exhibition title, sprang from early discussions with librarians of how libraries bring things together and give them new and deeper meaning. They are the foundation upon which researchers find relationships that lead to new discoveries and,

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sometimes, unexpected conclusions. The exhibition celebrated the objects that permit those quests and the conclusions that make the University of Hawai‘i at Mānoa a first-rate research institute in many areas of specialization. The 164-page catalogue exquisitely designed by Wayne Kawamoto received an Award of Excellence in the annual competition of the American Advertising Federation District 13. One thousand five hundred catalogues were produced for $22,426. Total project costs were $115,580 of which 53% was administrative costs. Construction and installation depended heavily on student help and volunteers. Student labor totaled $10,690. Lumber, paint, and other supplies constituted an additional $9,830. Without a grant from the Hawai‘i State Foundation on Culture and the Arts and private contributions exhibitions of this stature would not be possible at the University of Hawai‘i Art Gallery. As is typical of all major exhibitions, only slightly more than 1% of the total project budget (excluding student help) was borne by the Department of Art and Art History. Consultants: Diane Perushek, head librarian; Tokiko Bazzell, James Cartwright, Kyungmi Chun, Lynn Davis, Gregg Geary, Monica Ghosh, Eileen Herring, Joan Hori, Alice Mak, Rohayati Paseng, Karen Peacock, Patricia Polansky, Allen Riedy, Gwen Sinclair, Bronwen Solyom, Ross Togashi, Paul Wermager, Kyung-tien Yao, Jan Zastrow, librarians Conservation technician: Scott Reinke Catalogue/announcement design: Wayne Kawamoto



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January 15 – February 17, 2006

P A I N T I N G T H E

A R T

O F

W I T H

J A P A N E S E

T H R E A D

E M B R O I D E R Y

Exhibition curator Willa Tanabe’s statement (right) that introduced Painting with Thread set the context for this exhibition of contemporary Japanese embroidery and expanded on the work of Kurenai-Kai of Japan and its affiliate, the Japanese Embroidery Center in Atlanta, that promote the continuation of traditional Japanese

In traditional Japan there was little

embroidery throughout the world. Tanabe intended that the exhibition

distinction between fine art and fine

provide a forum to raise critical issues about the relationship between

craft. Japanese embroidery, practiced

fine art and craft, about how traditional arts and techniques can be

for more than 1500 years, uses just a

maintained in a contemporary world, and about the status of art

needle and silk threads on silk fabric to

associated with women. Lectures and demonstrations of embroidery

create an art that rivals painting in lush

during the exhibition supported the investigation of these issues.

and colorful designs.

Twenty-six kimono, thirty-five obi, several screens, and a large memorial tapestry that commemorated the victims of the 9/11 tragedy were presented in an open plan that provided sweeping views but, at

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the same time, permitted intimate access to works throughout the exhibition. The installation utilized the gallery’s portable walls as platforms that were arranged at two heights and at right angles creating three islands for display of the kimono. Three inches of space below the platforms suggested they were floating. Each island incorporated two 4-foot or 6-foot walls that served as background for obi. Kimono and obi hung over Plexiglas tubes and were suspended by monofilament from the ceiling. Screens and the memorial tapestry hung on surrounding walls. Platforms and walls were painted dark blue. Title signage and the curatorial statement were placed at the exterior entrance to the gallery. A separate educational section provided examples and explanations of stitches by Hawai‘i embroiderers. On Sundays local embroiderers demonstrated stitching techniques. The exhibition was designed to allow

Planning and presentation of Painting with Thread emphasizes

that an unused portion of the gallery’s

the problems that can be encountered working with individuals and

space could serve as the staging area

organizations unfamiliar with presenting museum quality exhibitions.

for preparation of The 9th International

Although we requested delivery of the kimono and obi as early as

Shoebox Sculpture Exhibition.

December 19, 2005, actual arrival did not occur until January 13, 2006—

Tanabe was author of a 68-page

only 31 hours before the exhibition opening. Despite our instructions

catalogue that contained photographs

indicating only crates of “treated” wood could be imported to the

of embroidery details and a chapter with

United States, crates of “non-treated” wood were initially constructed

diagrams and explanations of stitches.

in Japan. Also, proper export formalities were not conducted so the re-

Total project costs were $56,396 of

packed shipment was further held up at the port of exit. Consequently

which 59% constituted administrative

the gallery staff and volunteers worked for two days and nights

costs. Student help and installation

without sleep to install the exhibition. Visitors entered the gallery as we

supplies amounted to $2,420. Funding

continued to hang objects.

was obtained from the Japan Studies Endowment, the Hawai‘i State Foundation

Curator: Willa Tanabe

on Culture and the Arts, and the Watumull

Exhibit design: Wayne Kawamoto

Grant for Museum Studies in the Arts.

Catalogue design: Marissa Rowell

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November 5 – December 13, 2006

R E C O N S T R U C T I N G

M E M O R I E S

Within the course of a career many exhibition proposals cross the desk of a museum or gallery director. Occasionally, among these an idea comes forward that strikes a special accord in space and time. The proposal of Aaron Kerner, assistant professor of cinema at San Francisco State University, for Reconstructing Memories ignited a spark of relevance pertinent to Hawai‘i. The exhibition considered concepts of “history and memory at a location that witnessed the most catastrophic event in the 20th century history of our nation—the bombing of Pearl Harbor”1 and confronted “issues of constructing historical narratives and the obscuring of cultural and personal memory.”2 Twelve artists— Katsushige Nakahashi (Japan), Alejandro González Iñárritu (Mexico), Sally Clark, Binh Danh, Ian Everard, James Fee, Robin Kandel (U.S. mainland), Gaye Chan, Kaili Chun, John Morita, Masami Teraoka, and Lynne Yamamoto (Hawai‘i) explored the human propensity to repudiate

Additional illustration: page 74 1 Yoshihara, “Foreword,” 3. 2 Kerner, Reconstructing Memories exhibition brochure.

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the personal burden of memory of tragic events for the perceived benefit of succeeding generations. While only some of the artists dealt with history as it related to World War II, the presentation of this exhibition at the University of Hawai‘i at Mānoa was especially meaningful for “during that conflict, by command of the Military Governor, army barracks and bomb shelters were built on campus and the university became a quasi-military encampment.”3 Likewise, Hawai‘i presented other layers of complex histories “pertaining to native rights, various waves of immigrants…, and Japanese American internment [that] offer[ed] a compelling opportunity to discuss the very process of historical construction.”4 Kerner made a preliminary visit to

gallery walls. An important goal of this exhibition was to develop

Honolulu in March 2005 to review work

relationships with the community—to allow their individual and

of Hawai‘i artists who dealt with themes

collective memories and oral histories to be shared through their

relevant to Reconstructing Memories. He

involvement with the artists and the exhibition. Personal interaction

also presented a lecture on the work of

and intellectual discourse were fostered through artist residencies,

artists who investigate “the fragility and

interviews of community members, and a panel discussion.

tenuous nature of human memory upon which history is based.”

Concerted efforts to include the American Japanese community that was involved in and affected by World War II were coordinated with the

5

As curator, Kerner selected the artists,

Japanese Cultural Center of Hawai‘i. A panel discussion, The Importance

wrote the catalogue essays, developed

of Story-Making, on the eve of the exhibition closing was presented at

the exhibition layout, and assisted in the

and cosponsored by the Japanese Cultural Center of Hawai‘i.

coordination of crating and shipping

Katsushige Nakahashi’s Zero Project Hawai‘i was the focal point

works to Hawai‘i. In keeping with one

of the exhibition. Over a period of five weeks during the course of

of the objectives of the University of

the exhibition, Nakahashi and over 100 volunteers who contributed

Hawai‘i Art Gallery exhibition program,

approximately 1,200 volunteer hours, built a full-scale replica of a

Reconstructing Memories presented

Japanese Zero airplane that was used in the attack on Pearl Harbor

a diversity of contemporary art

and subsequently crash-landed on the island of Ni‘ihau. Nakahashi and

methodologies: photography, painting,

volunteers meticulously taped together 25,000 photographs of a 1:32

sculpture, chlorophyll prints, video,

scale model of the Zero to create the life-sized (38' x 40') plane in the

interactive media, and a long-term

gallery. The dialogue between volunteers and the artist and among

installation that, with a culminating

volunteers while constructing the Zero was an important and nurtured

performance, went beyond the standard

outcome of the exhibition. At the close of the exhibition on December 3 Yoshihara. 4 Kerner, “Reconstructing Memories,” 7. 5 Kerner, Reconstructing Memories exhibition brochure.

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13, the 65th anniversary of the Japanese pilot’s death on Ni‘ihau, 60 volunteers participated in a ceremonial removal of the plane from the gallery and procession on campus to the site of a long-forgotten bomb shelter on the lawn in front of Hawai‘i Hall. There the Zero was reverently burned (page 74) to commemorate the pilot’s demise and to serve as a ritual act to symbolize, as Nakahashi indicated, the “spiritual rebirth, the burning away of impurities and the sins of the world.” Nakahashi asked volunteers and viewers to reflect not only on the Ni‘ihau incident, but, on the resulting American Japanese internment and on contemporary injustices that follow in the wake of 9/11. The gallery staff created a blog to communicate with volunteers and viewers regarding the exhibition as it progressed. A video documented the exhibition and burning of the Zero. Although Reconstructing Memories offered dark subject matter, anticipated fear transformed into acceptance. Viewers became thoroughly engaged and transformed by the experience. Artists, the general public, and even initially skeptical or recalcitrant administrators eventually embraced the project. For many, Reconstructing Memories

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was one of the most significant and morally provocative exhibitions to be seen in Honolulu. Most importantly many were moved to share their own stories and memories—some long suppressed. A 56-page catalogue documented the exhibition. Grants from the Hawai‘i State Foundation on Culture and the Arts and the Laila Art Fund supported the project. Reconstructing Memories served as an appropriate transitional exhibition from one director to the next that provided a powerful and provocative introduction of the new director to the university and the community. As the exhibition took place soon after the change of directors, most planning of the exhibition and production of the catalogue were already completed. Nevertheless, considerable additional community and university administrative coordination and interaction occurred as the exhibition opening drew near and continued until the culminating closure and burning of Nakahashi’s Zero. Curator: Aaron Kerner Catalogue design: Yoko Hattori

Robin Kandel Video installation (left top) Alejandro González Iñárritu 11’ 09” 01 (left bottom) Lynne Yamamoto Resplendent (right top) Kaili Chun The Irony of Trust (right bottom)

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September 21 – November 30, 2008

W R I T I N G

W I T H

T R A D I T I O N A L

T E X T I L E S

C H I N E S E

T H R E A D O F

S O U T H W E S T

M I N O R I T I E S

In societies in which written languages rarely exist, traditions and customs are passed orally from generation to generation. However, the textile arts, largely practiced by women, provide tangible evidence of a group’s history, myths, and legends. For them, the needle is the pen and the thread, the ink. The signs and patterns woven or embroidered in their clothing are often replicated in the silver ornaments made by men. Together, the textiles and silver ornaments, as complements to the oral traditions, record and transmit ideas and concepts important to the preservation and reconstruction of the identities of their makers and users. Clothing is an important signifier of identity among the estimated twenty-six ethnic minority groups that reside in the provinces of Yunnan, Guizhou, Guangxi, Guangdong, Hunan, Sichuan, and Hainan Island in southwest China. Despite attempts to maintain identity,

Additional illustration: page 59

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historic assimilation and acculturation with the Han majority and with neighboring minority groups are evident in clothing, customs, and traditions. Writing with Thread explored the meanings associated with the production and use of indigenous clothing. The exhibition, the largest and most comprehensive of its kind, featured the most inclusive collection of southwest Chinese ethnic minority costumes in the world. It showcased over 500 objects from 15 ethnic groups and nearly 100 subgroups.1 Writing with Thread had its origin in the summer of 2003 when, on a trip to Taiwan for the opening of The 8th International Shoebox Sculpture Exhibition at the Kaohsiung Museum of Fine Arts, about a half dozen spectacular southwest Chinese ethnic garments from the Evergrand Art Museum were on display and the collector Huang Ying Feng was introduced. While Mr. Huang expressed interest in showing portions of the collection in Hawai‘i, his continuing research and business obligations—and, no doubt, caution— delayed any response to requests until late 2004 when he agreed to meet briefly at the airport in Taipei with Hawai‘i resident and art specialist Li Lundin. That meeting cemented groundwork for the project. Fortunately Gary Ostrander, Vice Chancellor for Research and Graduate Education, provided seed money for an initial research trip to Taiwan in March 2005. At that time, with Li Lundin serving as associate project director and interpreter, we previewed about 450 of 1 Writing with Thread is discussed in a 60-minute educational DVD, produced by Karen K. Kosasa and Tom Klobe and directed by Clinton Uyehara.

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the finest pieces from the Evergrand collection—about 4% of the total

the exhibition.) The exhibition model

contents—and agreed that this selection should serve as the basis

was constructed in Taiwan over a period

of the exhibition. We discussed the inclusion of textile scholars in the

of six weeks in the summer of 2007 at

project and an invitation was extended to Angela Sheng, Central Asian

which time catalogue photography was

textile scholar and Chinese art historian at McMaster University in

conducted, mannequins were purchased

Hamilton, Ontario, Canada.

and adapted to fit specific ensembles, and

In the summer of 2005 the University of Hawai‘i provided additional funds for travel to Taiwan and for research in southwest China. At

custom heads with Asian features were fabricated.

this time selected textiles from the collection were shown to Dr.

Surrounding gallery windows were to

Sheng. Discussions established the philosophical framework and

be covered to control light and all objects

thematic context for the research and exhibition and areas of scholarly

and ensembles would be presented on

investigation were identified. Fieldwork in China allowed observation

platforms. In the development of the

and documentation of traditional art forms and techniques and

model careful consideration was given

permitted insight into the lifestyles of various minority groups.

to the presentation of garments or

Discussions among several of the project scholars in the summer

ensembles that necessitated being seen

of 2006 established migration and settlement along three great river

in the round. Thus projecting platforms

systems—the Yangtze, Pearl, and Mekong—and Hainan Island as the

and minimal use of interior walls became a

paradigm for organization of the exhibition. (In retrospect this proved to

design imperative. Effective and dramatic

be awkward as some ethnic minorities settled along the Honghe (Yuan)

sight lines were carefully conceived so

River and its tributaries. However, the installation at the University of

that visitors would glimpse and anticipate

Hawai‘i Art Gallery strove to retain the scholars’ three-river premise of

further sections of the exhibition but platforms restricted immediate passage to those areas. The gallery’s four central supporting posts were incorporated into the ramp-like platforms. The sinuous pathway that visitors would take as they navigated the exhibition was reminiscent of the intricate winding of a great river with its eddying tributaries. Translating the model into reality with the help of two students and two volunteers transpired in June and July 2008. Walls, platforms, and mannequin stands were painted deep rust-red, inspired by colors observed on old buildings in our travels in southwest China. This dark hue, by reducing the contrast between the objects and the background, formed an appropriate backdrop for the colors in the textiles and helped in the

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maintenance of a controlled light level on the objects that ranged

created an unprecedented city-wide

between eight and twelve footcandles. The painted surfaces and waxed

event that included site seminars, tours,

floor were allowed to off-gas for one month before the textiles arrived.

a marketplace, and over 30 exhibitions at

Upon the arrival of the textiles and the collection manager in early

museums and galleries throughout the

September, many students and volunteers were recruited to assist in

city. The University of Hawai‘i Art Gallery

preparing the garments for display and installation. Velcro, attached to

and Huang Ying Feng hosted the opening

fabric strips, was hand sewn on objects intended for wall mounting.

reception for the symposium. Many TSA

Other textiles were stitched or pinned to panels covered with fabric

delegates arrived in Honolulu two days

that matched the wall and platform color. Mannequins not requiring

early to attend a colloquium on southwest

legs were supported on hollow painted cardboard tubes secured to

Chinese minority textiles that included

the base of the torso and the platform with wooden plugs made to

presentations by the catalogue authors.

the inside dimension of the tubes. The lengths of the tubes were cut

The student-designed 430-page

to adjust to the proportions of the costumes. Outstretched upper

exhibition catalogue received an

garments were displayed on Plexiglas tubes hung by monofilament

Honorable Mention in the American

from the ceiling.

Association of Museums 2010 Museum

2

Writing with Thread became the raison d’être for scheduling Textiles

Publication Design Competition and an

as Cultural Expressions, the 11 Biennial Symposium of the Textile

Award of Excellence and a Pele Award for

Society of America (TSA), in Honolulu from September 24–27, 2008.

the best designed book in Hawai‘i in 2009

Nearly 300 textile scholars, curators, conservators, and fiber artists

from the American Advertising Federation

from 32 states and 19 foreign countries came to Honolulu where the

District 13. It contains essays by eight

local symposium organizing committee, composed of 27 members,

renowned scholars of Chinese minority

th

2 At the Chazen Museum of Art a single cardboard tube supported the horizontal Plexiglas tube that was secured with zip strips.

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textiles and metalwork and is profusely illustrated with color photographs— many, exquisite details—of all objects and ensembles in the exhibition. Because the catalogue was not available until eight months following the exhibition opening in Hawai‘i it severely hampered catalogue sales that were essential to maintaining a balanced exhibition budget. The unavailability of the publication was a great disappointment to all who attended the exhibition in Hawai‘i and at the Chazen Museum of Art in Madison, Wisconsin. Over six years of planning, research, preparation, and care went into the

within a university system that only responds long after zero hour can

presentation of Writing with Thread at

be daunting. Perseverance is the only option for survival.

the University of Hawai‘i Art Gallery and

Funding a major international endeavor such as Writing with Thread

two subsequent museum venues—the

can also be discouraging. Without the support of the Office of the Vice

Chazen Museum of Art at the University

Chancellor for Research and Graduate Education at the University of

of Wisconsin–Madison and the Museum

Hawai‘i at Mānoa this project could not have started. Grants from the

of International Folk Art in Santa Fe,

John Young and Blakemore Foundations kept the project continuing

New Mexico. The coordination of an

as all other contributions ranged between $500 and $6,000. To keep

international loan exhibition is extensive

a budgeted $345,000 project alive with total grants and contributions

even when everything happens on

amounting to $115,000 entailed careful scrutiny of the project

schedule. In this instance all, except for

throughout the process of development and tremendous personal

publication of the catalogue and the

sacrifice of all who were involved. Final costs were $260,865. Rental

finalization of agreements and contracts,

fees, shared shipping costs, and catalogue sales were essential to the

moved along well. Preparation of the

project’s execution. That the exhibition and the catalogue maintained

exhibition space, even with a limited

the quality they did is representative of the exhibitions recounted in this

installation crew, was completed two

publication and is indicative of the plight of small institutions that strive

weeks ahead of schedule. Serious

for excellence in all they do.

problems are encountered when research information and catalogue essays are not

Project associate director: Li Lundin

submitted close to schedule—one essay

Curatorial team: Huang Ying Feng, Tom Klobe, Li Lundin, Angela Sheng

was seven and a half months late and

Catalogue authors: Deng Qiyao, Stevan Harrell, Huang Ying Feng, Li Qianbin, Kate

much of the information for catalogue

Lingley, Angela Sheng, Xi Keding, Zhang Xiao

object entries, so necessary for labels,

Secretary, proofreader: Delmarie Klobe

was not received until after the exhibition

Collection manager: Chen Hsiang-ling

opened. Likewise the glacial bureaucracy

Catalogue design: Kelli Ann Harada

of developing contracts and agreements

Website and catalogue production: Wayne Kawamoto

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September 9 – October 9, 1994 Maui Arts & Cultural Center

K Ē I A

W A I

O L A :

T H I S

L I V I N G

W A T E R

Each of the humble treasures in the inaugural exhibition of the Maui Arts & Cultural Center contained a priceless ingredient. They touched the emotions. They reached to the human heart. While the exhibition showed objects, it was about people. More than anything, it symbolized and celebrated the people of Maui. Most significantly, the exhibition’s process of conception, its

Objects can tell us who we are and

development, and its presentation involved people—people coming

where we have been. They can

together. Its strength resided in its interaction between people in the

speak for us, and to us. Some speak

community and its expression of common human values.

eloquently. The voice of some is full of

The exhibition began in discussions about the appropriate nature of the inaugural exhibition for the new gallery of the Maui Arts &

humility. Some speak in voices barely understood. It is their messages that we honor here. In so doing, we honor those who have come before us—those who have given for us, and to us. As we accept these objects and the traditions and stories they tell, we take the responsibility of passing them to those who follow. And then, we must also have the courage to say thank you, for in our gratitude we express our humility and our humanity. 1

Additional illustration: page 27 1 Klobe, “Curator’s Statement,” 4.

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Cultural Center—the first permanent

the spirit of this special place. Yet, how were we going to do this?

public exhibition space on the island.

How were we going to find the objects? What would they be? What

Many wanted this to be an exhibition that

would the exhibition be like? Everyone wanted the exhibition to look

featured the finest art garnered from local

spectacular—like an art exhibition.

collections. However, one afternoon as

Finally we settled on a plan, but first it had to be tested to see if

a group assembled in an isolated beach

it would work. The next day we met with Eva Dutro. Reluctant and

house at Makena to discuss the exhibition,

restrained she immediately said, “I have no art.” As we sat in her kitchen,

concerns that art would suggest elitism

“talking story,” I could see she was right. Doubts that this idea would

surfaced. The new center was community

ever work crossed through our minds. Eva recounted many wonderful

based. The people of Maui had supported

stories of her life but nothing led to an object. Finally, I asked her, “Eva, is

its conception and contributed to its

there anything you have that is special, that you want to pass on to your

realization. This first exhibition needed

children?” Sheepishly she said, “Yes, but it’s not important. It’s not in the

to be community-oriented and in its

house. It is a rock.” “Could we see it,” we pleaded. Together we wandered

manifestation even broaden the base of

outside. Eva pointed to a lava rock in the garden. We said, “Tell us about

the Center’s community involvement.

it,” and she related the story of how, as a young girl and as a way of

In our discussions, we constantly

helping her parents, she did the family laundry on that rock. They lived

questioned, “How could we reach a

in a small Hawaiian village on the other side of Haleakala. After she

broader spectrum of the people of the

married she told her husband about the place where she had grown

island?” If we could find treasured objects

up and he asked to see her childhood home. They hiked across the

that represented the meaning imbued

mountain only to find scant traces of the village and its houses. All was

in family values maybe we could capture

grown over with trees and dense vegetation. In their search, Eva found

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the foundation of their long deserted home. Suddenly she said to her husband, “Look!” He said, “It’s just a rock.” But Eva told him the story of the rock and its meaning to her and her family. He picked up the heavy rock and said, “We’re taking it home.” Then, with a smile in her eyes Eva told us, “But he bought me a washing machine.” With that we knew the idea would work. The rock spoke eloquently of Eva, her husband, and of family values. So, the exhibition was created through this very personal and living process. Interviews were conducted with families and individuals who represented the lifestyles, traditions, ethnic groups, occupations, geographic locations, and

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values of Maui. People generously opened their doors and “talked story,” and as they spoke, an object emerged that symbolized what was of greatest importance to them. No interviews were taped, but the stories the people told were written immediately after departing and the words became the material for the labels. In their brevity all were a synthesis of the meaning of what the people had said. The title was inspired by a Hawaiian chant shared by Roselle Keli‘ihonipua Bailey. The excerpt in Hawaiian and in English, “I have done the work correctly, and I say that you are now the guardian of this living water,” was on the wall at the entrance. It provided a powerful and appropriate metaphor for the exhibition. Throughout the installation objects from different cultures, lifestyles, and echelons of society were juxtaposed. Visual and conceptual relationships linked objects and gave richness to the exhibition. But from beginning to end a message of commonality was conveyed— that as human beings we are more alike than we are different, that basic human values are universal. Kēia Wai Ola: This Living Water served as an excellent example of the power and meaning imbued in objects—of

Exhibition/education director: Christina Cowan

how messages transcend an object—and

Curator: Tom Klobe

convey deeply moving human values.

Exhibition coordinator: Kristina Lyons

People came. They brought their families.

Catalogue authors: Duane Preble, Paul Wood

They talked. Many cried.

Advisory committee: Judy Bisgard, Hokulani Holt-Padilla, Claudia Johnson,

Kēia Wai Ola stands as an exhibition

Ben Kikuyama, Verna Kuyper

that all communities need to consider—to

Interviewers: Christina Cowan, Tom Klobe, Wilma Nakamura

develop and experience. The process and

Installation: Wayne Kawamoto, Tom Klobe, Darrell Orwig

the presentation bring us together, all as

Catalogue design: Kari McCarthy

part of our human family.

2

2 Kēia Wai Ola: This Living Water is discussed in a 60-minute educational DVD, produced by Karen K. Kosasa and directed by Clinton Uyehara.

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Japanese Cultural Center of Hawai‘i

O K A G E I

A M

W H A T

S A M A I

A M

D E

B E C A U S E

O F

Y O U

The permanent exhibition at the Japanese Cultural Center of Hawai‘i draws its strength from strong community involvement in its development and its continuing interpretation by docents who emotionally have witnessed the saga of the Japanese experience in Hawai‘i. For several years before the new center was built a research committee compiled the text for an exhibition on the history of the Japanese in Hawai‘i. Realizing they needed designers to produce the exhibition, they were proud to present a 3/4" thick manuscript to the design team. We graciously thanked them for their work but explained that we would have to condense what they had written to make it into an exhibition. Nevertheless, significantly more research was required before exhibit texts were written and submitted to the committee for review. Revisions were made and again presented for reconsideration.

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The design team repeatedly met to brainstorm and discuss how the exhibition could be developed. The central issues seemed to be that, while history was the basis for the exhibition, the over-riding message needed to be more than just history—that it should be personal and relevant to all ethnic groups. Our discussions led to the concept of centering history on human values that were integral to Japanese American culture in Hawai‘i. To make the Japanese

brought to Hawai‘i as ship ballast and subsequently adapted as street

experience pertinent to others and the

markers, hitching posts, and curbs in early Honolulu became the

present generations, the exhibit sections

design solution. Symbolically, granite, just as values, suggests strength

would be introduced with a question

and stability. Twelve value markers line the wall at the entrance to the

that invited visitors to consider what they

exhibition.

might have done in similar circumstances

Recognizing that good exhibitions are a dynamic synthesis of

and what ancestral values they hold

objects and words, the design team worked to create a series of sensory

important in their lives.

experiences that allows visitors to feel the interpretation. We created a continuum of varying scenes that immerse visitors in the changing

We presented our idea to the research committee and charged it with

emotion of the Japanese experience in Hawai‘i. The team consciously

developing a list of values significant to

avoided a two-dimensional “panel layout” and worked with the third-

Hawai‘i’s Japanese population. But, when

and fourth-dimensions that exhibitions provide. Thus, individual

finished, the “short list” included over

environments constantly change in the 3,260 square foot area. Wall and

twenty-five values. We returned it to them

floor surfaces are varied.

requesting that it be narrowed to just ten.

Subtle tones of the stone markers and the wood of the walls, roof, and floor at the entrance suggest that one is still in Japan. Visitors

Finally, together, we agreed on twelve.

ascend a slight incline. Turning, they encounter the first question,

How we would give visual form to abstract concepts such as values became

“Should I stay home—or go to a faraway land?” It is a question all

a major conceptual dilemma. Simply

emigrants and those who live in the islands of Hawai‘i must ask before

listing the values on the wall seemed

they leave all that is familiar to them. The small boards of the entrance floor that simulate an engawa

unacceptable. Somehow they needed substance. Values do, after all, mark the

(veranda) change to large planks as the visitor experiences the chaotic

way we live. They are like signs that tell

activity at a port in Japan. A black and white life-size cutout photo of

us the way to go. In our search for a 19th

a family huddled on the pier shows their anxiety-ridden faces as they

century rural scene in Japan we noticed

await their departure. They sit amid their meager belongings—straw

in Hiroshige’s Fifty-three Stages of the

luggage, a few tools, and a furoshiki (folded cloth). Across the wharf, in

Tokaido stone roadside markers that

a large hand-painted mural, a western ship is being loaded. The 27-

indicated destinations. Incising the values

foot long painting reproduces a Yokohama-e print, except the attire

into granite columns, that were originally

of some of the women is changed from western garb to Japanese

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kimono. Motion activated ambient sounds of the dock—water, boards

tree among a collection of immigrant

creaking as the ship scrapes against its mooring, and the voices of dock

household artifacts. A wall of picture

workers—heighten the emotion of departure.

bride and groom photographs relates

Statements, silk-screened on the walls, express the aspirations of the emigrants. Here, the exhibition text changes from factual information to a personal first-person narrative. Visitors feel the sentiment of Urajiro

the poignant stories of expectations unrealized. Their children who were born in Hawai‘i

Yamada and his wife Yei as they clutch their passports and labor

had new aspirations. They thought of

contract and ponder their future and that of their two young sons as

themselves as American, not temporary

they arrive in Honolulu in 1885.

laborers. Their ideas of how to live were

Descending from the pier onto the dark red, earth-colored floor of

different from the old-fashioned ways

the plantation scene, visitors are nearly surrounded by a muted sepia-

of their parents from Japan. Their home

toned photomural of workers laboring in the cane fields. The mural

reflects new outlooks of concern for their

serves as a backdrop for plantation tools, text, and photographs that

children rather than family back in Japan.

describe the stark reality of the immigrant’s existence. The sounds

American conveniences contrast with

of insects, the drone of whistles, the slashing of cane knives, and the

Japanese customs and religious practices.

melancholy singing of laborers express the rigors of life in the new land. To the side a photo-cutout mother and child crouch beneath a banana

Visitors leave the tranquility of the home to experience the strife of the great

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Japanese strike of 1909—a 20-foot long photomural of striking workers gathering along River Street in Honolulu. Opposite, a printing press and photographs emphasize the importance of the Japanese language newspapers to the ultimate success of the strike. Immigrants viewed education as the way for their children to leave the plantations and enjoy a better life in mainstream society. They sent their offspring to public schools to learn to be Americans and to Japanese language schools to be educated in traditional

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Japanese values. The school captures the duality that confronted the

After Japan’s attack on Pearl Harbor,

Japanese. Above the blackboard with its hand-written essay What

immigrants and their offspring faced

Democracy Means to Me are portraits of George Washington and

discrimination, suspicion, and hostility

Abraham Lincoln. Flying high are American and Japanese flags. Across

from their neighbors and their own

the room above wooden desks, the Japanese alphabet, a framed kôkun

government. Japanese American citizens

(school creed), and Japanese language school photos are featured.

asked, “Why is my loyalty questioned?”

Strolling along the street visitors experience the hopes of the

That question dominates the war theater

immigrants after they fulfilled the obligations of their three-year

with its floor-to-ceiling photomural of the

labor contract. Many started their own businesses. Some became

swearing-in ceremony of 2,855 soldiers of

farmers, carpenters, tailors, fisherman, or blacksmiths. While they

the 442nd Regimental Combat Team on

realized their opportunities were limited, they saw potential for their

the grounds of ‘Iolani Palace. On the wall

children. Education and hard work were keys to upward mobility. The

opposite is a list of names of Japanese

children aspired to democracy’s promises, but many who studied for

American soldiers from Hawai‘i killed or

a profession, in particular engineering and law, found no one would

missing in action during World War II. An

give them a job. Plantation, business, and territorial leaders discouraged

award winning 15-minute video Ganbare

the optimistic promises of education. They told the Japanese to be

shows the impact of the war on Hawai‘i’s

obedient, hardworking plantation laborers.

Japanese. The mood of the room emits

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reverence and allegiance. Hawai‘i’s men of Japanese ancestry were not only fighting for their country; they fought for equality and fairness. Leaving the theater, a photomural shows the jubilation of V-J Day in downtown Honolulu. Here only, a statement introduces the section “Hawaii Must Change” that reflects the determination of the soldiers who returned from the battlefields. They were to release Hawai‘i from the domination of the entrenched oligarchy of big business, the Republican Party, and the paternalistic plantation system. Prior to

message was not written to rekindle distress. Through interpretation

the war most could not afford higher

that emphasizes the personal dilemma of social castigation versus civic

education, but now many took advantage

responsibility to uphold democratic rights, the presentation serves to

of the GI Bill, completed their degrees, and

instill a sense of pride for the local Japanese community.

entered politics, government, and large

The inclusion of Vietnam in the exhibition is a prime example of the

corporations to bring about the changes

negotiation of potentially contested topics. The issue of the Japanese

they desired and earned. Democrats

American protesters was carefully discussed among exhibit planners

swept the election of 1954. Nearly half

and with the research committee and representatives from the

of the new legislators were Americans of

community. Likewise, as was done throughout the exhibition, texts and

Japanese ancestry.

labels were placed on the walls in paper form and remained there for

The rapid growth of the ILWU brought

months prior to silk-screening. Docents and visitors were encouraged

together all workers throughout Hawai‘i

to be involved in the exhibition development by commenting on the

and became a powerful force that

text and suggesting changes. The exhibition concludes with the message “How can I change and

balanced the economic strength of big business. Though many leaders with their

still hold on to traditional values?” Local customs in Hawai‘i differ from

left-wing views were labeled Communists,

those of immigrant ancestors. Artifacts and photographs show how

they were motivated by a passion

many ethnic groups live together sharing the culture of each. Community involvement in the planning process and front-end

for justice, peace, racial equality, and

evaluation remain the key ingredients in the success of any exhibition.

economic opportunity.

Committed docents and public programming are vital to the continued

The story of the Vietnam anti-war protesters shows that the new generation

meaning of a permanent exhibition.

held the same commitment to ideals that their fathers had in going to war in

Design team: Momi Cazimero, Wayne Kawamoto, Tom Klobe

Europe and the Pacific. Though, at the

Research committee: Jane Komeiji, Stan Yamamoto, Hideto Kono, Ned Shultz, Sakai

time of the protests, it may have seemed

Takahashi, Yuri Tsunehiro, Kay Yamada, George Yamamoto

an embarrassment, the exhibition’s

Video production: Tom Coffman

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A P P E N D I X S A M P L E

L A B E L S

Putto and Dove, 16th century

Attributed to Antonio Correggio (1494–1534)

In late Christian art, putti (cherubic infants with wings) signify the presence of God. Capricious putti often occur in the work of Italian Renaissance painter Correggio. His style is characterized by soft modeling, fluidity of pose, and melting tenderness of expression. Collection of Mrs. Mark Reid Yates

Actual size (above and right) Font: Palatino; title: 18.5 pt bold; text: 16 pt, 21.5 leading; credit: 11 pt Exhibition: On Heavenly Wings: Birds and Aspirations (Pages 170–175) Section: Flight and Transcendence

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Aves Hawaiienses: The Birds of the Sandwich Islands Scott B. Wilson London: 1890–1899

The competitors, Scott B. Wilson and Henry Palmer, collected specimens in Hawai‘i at the same time. The nene, our state bird, typifies the unique results of evolution. This goose lives far from the water on the lava terrain of the upland slopes of the mountains. It has adapted to the rugged lava by the reduced webbing on its feet. It was once plentiful on the island of Hawai‘i, but by 1949 only 33 nene remained. Captive-breeding programs have now reintroduced more than a thousand nene to the wilderness. Collection of University of Hawai‘i Hamilton Library

Exhibition: On Heavenly Wings: Birds and Aspirations (Pages 170–175) Section: Birds and Science

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U N I V E R S I T Y O F

T H E

O F

H A W A I ‘ I

D E P A R T M E N T

O F

A R T A R T

G A L L E R Y P O L I C Y

OBJECTIVES

MEETINGS

To serve as adjunct to the specific function of the Department of Art

A. The Committee will meet as needed

as related to the aims of the College of Arts and Sciences and the

to perform the functions for which it is

University of Hawaii as a whole.

responsible.

Specifically it will serve:

B. It must meet no less than twice each

1. To provide an aid for teaching within the Department of Art through

semester.

the utilization of exhibitions and events selected for their educational values.

GALLERY DIRECTOR’S RESPONSIBILITIES

2. To contribute to the general humanities program of the University by

A. To serve as chairperson of the Gallery

presenting the arts as a significant aspect of culture.

Committee.

3. To implement a community cultural program by sponsoring

B. To operate the Gallery within the policy

exhibitions and events relative to the Art Gallery that coincide with the

stated.

goals of the Department of Art.

C. To coordinate the installation, publicity, security, reception, and removal and

THE GALLERY COMMITTEE

shipping of exhibitions.

FUNCTIONS

D. To assist in guiding community support

A. Establish procedures and modify these as needed.

for the Gallery.

B. Assist the Gallery Director as needed in the generation, selection,

E. To procure exhibitions.

and presentation of events and exhibitions.

F. To receive proposals for exhibitions

C. Assure the gallery’s exhibition program is varied and broadly

from faculty or other sources.

representative of the disciplines within the Department of Art.

G. To generate exhibitions.

D. Assist in generating funds to supplement the annual gallery budget.

H. To prepare a proposed Gallery schedule approximately one year in

MEMBERSHIP

advance which will be submitted to

A. The Committee shall be composed of ten members: five faculty

the Gallery Committee for review and

representing as wide a variety of expertise as possible, two students,

approval.

one chosen by the undergraduate student art organization and one by

I. To submit an annual operating budget

the Graduate Art Council; and one representative from pARTners, plus

for approval of the Gallery Committee.

the Chairperson of the Department of Art and the Gallery Director, both

J. To review with the Committee all

serving ex-officio.

other funding and fund-raising matters in

B. Faculty members will serve a term of office of two years with at least

advance of any commitment.

two new members appointed each year.

K. To review with the Committee any

C. The Art Department Chairperson will propose a slate of new

substitutions to the Gallery calendar as

committee members with the approval of the Advisory Committee for

they become necessary.

ratification by the art faculty.

September 21, 1979

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ADDENDUM A:

4. A schedule which includes two student exhibits, one faculty and

In light of the fact that it seems

three exhibits of works from outside the Department should be

inappropriate for the Gallery Director

maintained.

or Associate Director to be involved in the negotiations with prospective

Thus it was determined:

faculty, the Gallery Committee moved,

1. Retiree exhibits would tie up valuable State funded exhibition space;

seconded and passed that: Decisions

outside exhibits contribute more significantly to a student’s education.

regarding the crating and transport of

2. Most faculty can exhibit within the city for students to see and thus

the works of art of prospective faculty will

should not be provided with one of the prime exhibit areas in the State

be the responsibility of the Department

as a provision of retirement.

Chairperson and/or the Department

3. Since retired faculty are artists within the State, the issue of which

Personnel Committee. Budgeting and

artists in our State have access to the space could be contested if

payment of these expenses will be a

someone chose to press it.

departmental expenditure.

December 7, 1988

December 9, 1986 COMMONS GALLERY ADDENDUM B:

The Commons Gallery shall be used for:

The Gallery Committee reaffirmed

1. Student (class) exhibitions.

previous committees’ decisions that the

2. Graduate thesis exhibitions.

Gallery should refrain from presenting

3. Visiting artists exhibitions.

retiree exhibitions. It was determined

4. Exhibits of an educational, experimental, or innovative nature.

that this comes under the same general

Graduate thesis exhibits will be given first priority in scheduling.

guidelines of restrictions against one

Scheduling and use of the space should attempt flexibility and be of

person or small group exhibits and

little or no cost to the department or the exhibition program. Exhibits in

exhibits of living Hawai‘i artists.

the last two categories will be reviewed by the Gallery Committee. Requests for one person student shows (non-thesis) must fit the

December 7, 1988

above categories and the proposals should be submitted to the Gallery Note:

Committee for consideration.

The Committee reviewed the general

December 8, 1980

guidelines of the Gallery in this determination. 1. The exhibition program should broadly represent the programs within the Department of Art. 2. One person exhibits in the main gallery should be avoided unless initiated by the Department or the Gallery. 3. Exhibiting Hawai‘i artists’ works is discouraged unless it is part of another exhibit.

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B I B L I O G R A P H Y Ames, Kenneth L., Barbara Franco, and L. Thomas Frye. Ideas and Images: Developing Interpretive History Exhibits. Nashville, Tennessee: American Association of State and Local History, 1992. Bradford, David. “Getty Leadership Institute Workshop: The Productive Uses of Conflict in Teams.” Paper, Tried and True/Unknown and New: Forging a Dialogue. The Seventh Annual Directors Forum, The American Federation of Arts, New York, November 5–7, 2000. Bunch, Lonnie G. III. Call the Lost Dream Back: Essays on History, Race and Museums. Washington, D.C.: The AAM Press, 2010. Carpenter, Edward K. Print Casebooks 6/1984–85 Edition/The Best in Exhibition Design. Bethesda: RC Publications, 1984. ______. Print Casebooks 7/1987–88 Edition/The Best in Exhibition Design. Bethesda: RC Publications, 1986. ______. Print Casebooks 8/The Best in Exhibition Design (1989–90 Edition). Bethesda: RC Publications, 1989. Collins, Jeanne. “Infatuation, Apprehension, and Misconception: Museums and the Media.” Paper, Tried and True/Unknown and New: Forging a Dialogue, The Seventh Annual Directors Forum, The American Federation of Arts, New York, November 5–7, 2000. The Communications Design Team. Communicating with the Museum Visitor: Guidelines for Planning. Toronto: The Royal Ontario Museum, 1976. Darragh, Joan and James S. Snyder. Museum Design: Planning and Building for Art. New York: Oxford University Press, 1993. Dean, David. Museum Exhibition: Theory and Practice. London and New York: Routledge, 1994. Goldstein, Nathan. Design and Composition. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1989. Grinder, Alison L. and E. Sue McCoy. The Good Guide: A Sourcebook for Interpreters, Docents and Tour Guides. Scottsdale, Arizona: Ironwood Publishing, 1985. Hickman, Pat. “Baskets: Redefining Volume and Meaning.” In Baskets: Redefining Volume and Meaning, 4–14. An exhibition catalogue. Honolulu: University of Hawai‘i Art Gallery, 1993. Hughes, Don. “Growing up NAME.” Exhibitionist (Spring 1996): 6–7. Karp, Ivan and Steven D. Lavine, eds. Exhibiting Cultures: The Poetics and Politics of Museum Display. Washington, D.C.: Smithsonian Institution Press, 1991. Kepes, Gyorgy. Language of Vision. Chicago: Paul Theobald and Company, 1944. Kerner, Aaron. “Reconstructing Memories.” In Reconstructing Memories, 4–7. An exhibition catalogue. Honolulu: University of Hawai‘i Art Gallery, 2006 and exhibition brochure. Klein, Larry. Exhibits: Planning and Design. New York: Madison Square Press, 1986. Klobe, Tom. “Curator’s Statement.” In Kēia Wai Ola: This Living Water, 4. An exhibition catalogue. Kahului: Maui Arts & Cultural Center, 1994. ______. “Foreword/Acknowledgement.” In A Tradition of Excellence, 4–5. An exhibition catalogue. Honolulu: University of Hawai‘i Art Gallery, 2002. ______. “Proposing Futures—Collaborations: Bringing People Together.” Keynote address, Rhapsody 21C: The Future of University Museums and Art Galleries in the New Century. University of Tasmania, Academy of the Arts, School of Visual and Performing Arts, Launceston, May 25–27, 2005. Kosasa, Karen K. Kēia Wai Ola: This Living Water. DVD. Directed by Clinton Uyehara. Honolulu: University of Hawai‘i at Mānoa, Museum Studies Graduate Certificate Program, 2008. Kosasa, Karen K. and Tom Klobe. Exhibition Planning and Design: Writing with Thread. DVD. Directed by Clinton Uyehara. Honolulu: University of Hawai‘i at Mānoa, Museum Studies Graduate Certificate Program, 2010. Lin, Tsong-yuan. Proceedings of the International Conference on Anthropology and the Museum. Taipei: Taiwan Museum, 1995.

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Lord, Barry and Gail Dexter Lord, eds. The Manual of Museum Exhibitions. Walnut Creek, California: AltaMira Press, 2002. McLean, Kathleen. Planning for People in Museum Exhibitions. Washington, D. C.: Association of Science-Technology Centers, 1993. Morse, Marcia. “Exhibitions focus on human body, Polish poster art.” The Sunday Star-Bulletin & Advertiser [Honolulu], November 29, 1987, F11. ______. “living HELL.” Honolulu Weekly 7, no. 6 (February 5–11, 1997): 19. ______. “The way we work and play.” Honolulu Weekly 15, no. 14 (April 6–12, 2005): 15. Ocvirk, Otto G., Robert O. Bone, Robert E. Stinson, and Philip R. Wigg. Art Fundamentals: Theory and Practice. Dubuque, Iowa: Wm. C. Brown Company Publishers, 1975. Peterson, Caroline E. and Kenneth Kingrey. The Art of Flower Arrangement in Hawaii. Honolulu: University of Hawaii Press, 1962. Pritzker, Steven. “Managing Creative Teams.” Exhibitionist 18, no. 1 (Spring 1999): 15–19. Project MUSE. Introduction to the Entry Point Approach. Cambridge, Massachusetts: Harvard Project Zero, 1994. Ralph, Larry J. “Visitor Safety in Exhibit Design and Production.” Exhibitionist (Spring 1993): 34–36. Raphael, Toby. Exhibit Conservation Guidelines. cd-rom. Harpers Ferry, West Virginia: National Park Service, 2008. Reidy, James and Roger Riley. “Who Should Interpret Indigenous Cultures and Sacred Places?” Legacy 12, no. 4 (2002): 26-27. Roberts, Mary Nooter, Susan Vogel, and Chris Müller. Exhibition-ism: Museums and African Art. New York: The Museum for African Art, 1994. Romans, Van. “Competing for an Audience: Entertainment versus Education.” In Director’s Choice, The Sixth Annual Directors Forum, 7–9. New York: The American Federation of Arts, 2000. Rose, Joan. “Gallery worthy of ‘Treasures.’” The Sunday Star-Bulletin & Advertiser [Honolulu], December 13, 1992, G8. ______. “Wander through the labyrinths of hell and be judged.” The Honolulu Advertiser, February 2, 1997, E6. Rupe, Sharon. “Professing the Word: Confessions of a Ph.D. Escapee.” Exhibitionist (Spring 1995): 37–39. Ryan, Tom. Connecting with Visitors: The Communication Skills Handbook for Docents, Guides, And Interpreters. Douglas/Ryan Communication, 1995. Sample, Steven B. The Contrarian’s Guide to Leadership. San Francisco: Jossey-Bass, 2002. Serrell, Beverly. Exhibit Labels: An Interpretive Approach. Walnut Creek, California: AltaMira Press, 1996. ______. Making Exhibit Labels: A Step-by-Step Guide. Nashville, Tennessee: American Association of State and Local History, 1983. Solomon, Andrew. The Irony Tower: Soviet Artists in a Time of Glasnost. New York: Alfred A. Knopf, Inc., 1991. Tanizaki, Jun’ichirō. In Praise of Shadows. New Haven, Connecticut: Leete’s Island Books, Inc., 1977. Thompson-Klein, Mark. “Managing Your Exhibit Fabrication Project.” Exhibitionist 11 (Summer/Fall 1993): 50–53. Tilden, Freeman. Interpreting Our Heritage. Third edition. Chapel Hill, North Carolina: University of North Carolina Press, 1977. Witteborg, Lothar P. Good Show! A Practical Guide for Temporary Exhibitions. Washington, D. C.: Smithsonian Institution, 1981. Yoshihara, Lisa. “Foreword.” In Reconstructing Memories, 3. An exhibition catalogue. Honolulu: University of Hawai‘i Art Gallery, 2006.

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I N D E X ADA standards. See handicapped adaptability, 36–38 advertising, 77 Akari by Noguchi. See Noguchi, Isamu American Advertising Federation, 129, 135, 139, 157, 168, 197, 235, 246. See also Honolulu Advertising Federation American Craft, 103, 169 American Institute of Graphic Arts, 209 architecture: as resource, 41–42; as civic icons, 42 Art Asia Pacific, 218 Art in America, 218 Art Maui, 38 Art of Asian Costume (The), 28, 29, 142–147 Art of Korea (The), 6, 7, 11, 37, 58, 86–89, 218 Art of Micronesia (The), 80, 81, 130–133 Art of Polish Posters (The), 140–141 Artifacts of the Pomare Family, 108–109 Arts with Aloha, 77 audience: advocacy, 45 balance, 8, 21, 29–30, 103; asymmetric, 29; felt equilibrium, 29; symmetric (axial), 29 Baskets: Redefining Volume and Meaning, 29, 168–169 Bouabré, Frédéric Bruly, 23, 192, 193 brainstorming, 46, 69 budget, 33, 38, 39, 45, 82, 83, 84, 88, 89, 137 casework. See display cases catalogue, 77 centers of interest, 25 Charlot, Jean, 156–157, 159, 173, 208, 209, 231 chroma. See intensity Cities of Shadow and Light, 24, 25, 31, 47, 178–181 codes: building/electrical, 35 collaboration, 67–72, 77–78, 142, 161, 190, 218, 224 Collins, Jean, 75 color, 4, 5, 7, 13, 14–17, 18, 23, 24, 26, 29, 31, 43, 61, 115, 206; advancing, 16; analogous, 14, 15; complementary, 14, 15, 17, 107; cool, 17, 63, 107; nature of, 17; pigment, 15; primary, 14; receding, 16; secondary, 14; spectrum intensity, 15; temperature, 17; tertiary, 14; warm, 17, 107; wheel, 14, 16 communication, VII, 45, 49, 50, 52, 53, 56, 75, 76, 78 community, 50, 67, 70, 71, 73, 84, 239, 249, 252 composition, 7, 8, 9, 14, 21, 24, 25, 31 computer-based programs, 5; technology, 58 concept, 1, 2, 12, 43–48, 49, 50, 56, 57, 58, 61, 88, 91, 92, 110, 123, 130, 148, 153 conceptual(ization), VII, 4, 87, 152, 172, 206, 230, 253 conservation, 34, 35, 63, 65–66, 130 Contemporary East European Ceramics, 176–177 content, 45, 48, 49 continuity, 2, 9, 14, 15, 18, 21, 23, 30, 41, 52, 155 contrast, 5, 13, 14, 15, 17, 18, 26, 29, 131; simultaneous, 17 controversial exhibitions, 50, 184, 185 controversy, 75 corporate sponsorship, 79, 80–82 costs. See budget credibility, 79, 82 Crossings ’97: France/Hawaii, 67, 70, 76, 190–197 Crossings 2003: Korea/Hawai‘i, 67, 76, 218–225 cultural equity, 51 curator, 28, 31, 42, 45, 46, 53

designer: role of, 1, 2, 8 display cases, 89 docent, 52 Domsaitis, Pranas, 5, 13, 58, 94–95

Image and the Word (The), 25, 30, 158–161 indigenous people, 50 inquirer’s stance, 46–48 integrate (integration), 23, 25, 29, 30 intensity, 14, 15, 16, 17 interactive exhibits, 35, 39, 52 International Shoebox Sculpture Exhibitions, 15, 18, 20, 29, 32, 40, 41, 57, 110–115, 124, 177, 187, 200, 237, 243 Internet, 47, 70 interpret(ation), 43, 44, 45, 48, 49–60, 140, 173, 186, 206, 229 issues: sensitive, 51

East-West Ceramics Collaborations, 182–183 Echoes of an Island Culture, 226–229 ecological, 48 economy, 18, 31 education, 49; broad design, 2; liberal arts, 2 educator, 45 Egyptian Antiquities, 20, 68, 69, 116–119 electronic exhibits, 39 elements of design (art), VII, 3–20, 21, 22, 23, 24, 28, 32, 33, 100, 120, 160 11th Biennial Symposium of the Textile Society of America, 67, 70, 76, 77, 246 emotive (emotion). See mood emphasis, 13, 14, 21, 28–29, 61 entertainment, 49, 50 environmental conditions, 34 evaluation, 39, 52 exhibit furniture, 34, 35, 36 exhibition design, 1, 2 exploration/discovery, 45–46, 49 eyebolts, 37

Japanese aesthetic, 13 Japanese Cultural Center of Hawai‘i, 64, 73, 85, 239, 252–257 journalists, 75 Journey Through Chinese Hell, 20, 186–189 juxtaposition, 13, 26 Kēia Wai Ola: This Living Water, 27, 85, 248–251 Kepes, Gyorgy, 26 Kingrey, Kenneth, VII, IX, 20 (footnote), 32, 98–101 Koa Furniture of Hawaii, 16, 17, 44, 58, 104–107

Facing the Gods: Ritual Masks of the Himalayas, 148–149 felt equilibrium. See balance Fiberarts, 103, 169 Filaments of the Imagination, 102–103 First Impressions: Japanese Prints of Foreigners, 26, 126–129 First Western States Biennial Exhibition (The), 10, 11, 96–97 focal points, 29 form, 4, 10–11, 24, 26, 29, 31; threedimensional, 10; two-dimensional, 10. See shape foundations 79, 82 four-dimensional, 7 funding, 68, 76, 77, 79–84

labels, 48, 52–53, 58, 59, 60; acknowledgements, 57; captions, 57; identification (ID), 57; informational (signage), 57; introductory, 56; legibility, 58, 59; length of, 54; objectives, 54; placement, 60; sample, 59, 258–259; section, 56; testing, 60; title, 55; types of, 55–57; writing, 2, 54–55 Labor & Leisure, 47, 50, 57, 230–231 Lampung, Sumatra, 226–229 leader, 2, 79 leadership, 40, 67–72 learners: aesthetic, 51; experiential, 51; foundational, 51, logical/quantitative, 51; narrative, 51; types of, 51 learning styles, 51–52 Legacy of Teaching (A), 23, 98–101 light(ing), 12, 17, 34, 37, 39, 43, 60, 61–66, 118; aesthetics, 64–65; ambient, 66; artificial, 17, 63; beam spreads, 63; conservation, 65–66; dimming, 63; fiber optics, 63; filters, 63; flood, 63, 65; fluorescent, 63; footcandles, 66; glare, 62, 65; heat, 65, 66; incandescent, 63; infrared, 63, 66; lamp wattage, 63; low-voltage, 63; lux, 66; meters, 66; movement sensors, 65; natural, 17, 62–63; reflections, 65; shadows, 65; shuttering, 65; spot, 63, 65; thermal, 63; track, 64; tungsten-halogen (quartzhalogen), 63; visual adaptation, 62 line, 4, 8–9, 18, 24, 26, 29, 31; felt (implied), 8, 24, 100 linear movement, 8, 9, 14 living history, 52 Luquiens, Huc, 23, 30, 198–199, 214

Gestalt psychology, 11 Glass: Another View, 134–135 goal, 32, 45, 48, 71, 73, 82 Goldstein, Nathan, 30 government agencies, 79, 83–84 grant writing, 79–84 Greek and Russian Icons from the Charles Pankow Collection, 31, 122–125 grouping, 11, 19, 25, 28, 29, 30, 50, 129 Hamilton Library, 209, 232 handicapped visitor, 9, 35 hands-on exhibits, 35, 52 hanging, 9 harmony, 15, 21, 22, 27, 29 Hawai‘i Committee for the Humanities, 80, 129, 133, 139, 161 Hawai‘i’s 5-0 competition, 224 Hawai‘i State Foundation on Culture and the Arts, 129, 135, 151, 157, 167, 169, 185, 197, 198, 199, 209, 213, 215, 224, 235, 237, 241 height: of visitors, 9, 35 hollow-core doors, 38 Honolulu Advertising Federation, 107, 109, 133. See also American Advertising Federation Huc Luquiens’ Hawai‘i. See Luquiens hue, 14, 15, 17, 25 human resources, 33, 40, 72 humidity, 34

maintenance, 39, 66 Making Connections: Treasures from the University of Hawai‘i Library, 50, 57, 230, 232–235 management, 68, 71–72 mannequin, 146, 244, 246 maquette. See model marketing, 76, 80, 81 materials, 34, 36, 38, 39 Maui Arts & Cultural Center, 85, 248–251 meaning, 1, 2, 8, 26, 31, 42, 43, 45, 48, 50, 51, 57, 61, 118, 140 media, 73, 75, 76 meetings, 70–71 message, 1, 31, 43, 45, 46, 50, 53, 55, 60, 78, 186

idea, 21, 28, 31, 32, 41, 44, 46, 48, 51; abstract, 48; big idea, 45, 46, 48, 49, 50, 52, 54, 55, 69 identity, 76 illumination, 12, 64, 151

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Micronesian Cultural Fair. See Art of Micronesia mission, 46, 71 model, 5–6, 34, 47, 52, 185, 211, 233 modular walls, 37, 85 monofilament, 39 mood/feeling, 1, 5, 8, 9, 10, 11, 12, 13, 14, 17, 21, 45, 61, 94 motion. See time/motion movement: of visitor, 2, 5, 20, 24, 25, 41, 61, 62; within a work of art, 8, 21, 24–25, 29, 30 multimedia/AV, 52 multisensory exhibits, 35, 52 museum fatigue, 3, 20, 28, 55, 58, 59, 61, 173 Nakahashi, Katsushige, 73, 74, 238, 239, 240, 241 Naked Truths, 184–185 narrative: of an exhibition, 4, 47, 52 National Endowment for the Arts, 80, 83, 97, 103, 107, 133, 135, 147, 151, 155, 157, 169 needs, 33–42, 87, 91, 176, 202; immediate, 33, 34, 35, 37, 38; long-term, 33, 35, 36, 37, 38, 39 Noguchi, Isamu, 5, 12, 13, 29, 38, 90–93, 94 objective, 22, 45, 47, 48, 50, 52, 70, 71, 75, 76, 140, 185 Okage Sama De, 64, 85, 252–257 On Heavenly Wings: Birds and Aspirations, 11, 19, 29, 46, 47, 48, 56, 57, 170–175, 258–259 opposition, 21, 26–27 Oriental garden, 2, 20 outline, 46 pacing and flow, 2, 3, 5, 20, 62 Painting with Thread: The Art of Japanese Embroidery, 236–237 pattern, 27, 31 Pattern and Purpose: Japanese Fishermen’s Coats from Awaji Island, 216–217 perceive/perception, 4, 11, 13, 16, 17, 18 Perspectives of Conceptualism, 162–163 plan drawing, 5 planning, 4, 5, 12, 20, 31, 33, 35, 38, 45, 46, 47, 50, 67–72 portability, 36, 37, 38 Posada, José Guadalupe: My Mexico, 206–209 premise, 46 preparation. See planning Presence of Absence (The), 152–155 presentation, 1, 4, 9, 31, 37, 40, 43, 44, 53 press, 73, 75 principles of design (art), VII, 4, 21–32, 33, 42, 58, 100, 120, 160 Print Casebooks: Best in Exhibition Design Awards, 85, 106, 114, 125, 132, 141 Private Passions, 200–203 problem-solving, 33 pro bono services, 76 publicity, 73–78; backgrounders, 75; fact sheets, 75; media alerts, 75; press releases, 75, 76; public service announcements (PSAs), 77 public relations, 73–78 purpose, 11, 22, 52, 54, 55, 71 questions, 55 quotations, 55 rationale, 45, 46, 230 Reconstructing Memories, 73, 74, 238–241 record keeping, 71–72 Reemay, 205, 217 reflected ceiling plan, 5 repetition, 8, 21, 23, 31 reporters, 75, 76 research, 2, 46, 47, 53, 230; question, 46, 230 resources, 33–42, 43, 72, 87, 91, 176, 202

restrooms, 35 rhythm, 23, 30 Romans, Van, VII–VIII, 49, 50 rotation of objects, 39 safety/health, 35 salon style hanging, 9 saturation. See intensity scheduling, 72 scholarship, 48, 50 sculpture, 7, 65 security, 33, 34, 37 Selections II, 9, 22, 23, 120–121 self-evaluation, 32 self-guided tours, 52 sensory, 52 Serrell, Beverly, 46 (footnote), 57 shape, 2, 4, 7, 8, 13, 14, 18, 23. See form sight lines, 19, 35, 145, 185, 244 signage (title), 33, 160. See also labels similarity, 23, 30 simplicity, 2, 21, 31–32, 43, 53 simultaneous contrast. See contrast size, 7, 10, 29, 31 Snuff Bottles: A Miniature Art of China, 138–139 space, 1, 2, 4–8, 10, 11, 13, 14, 19, 24, 29, 31, 34, 41, 45, 47, 140, 206; illusionary, 5; negative, 4, 5, 7, 8, 30, 59; three-dimensional, 4, 7; two-dimensional, 4, 7, 23 Spectrum: New Directions in Color Photography, 15 sponsorship, 81 staff, 40, 69, 72, 83, 84 storage, 36 story, 46, 47, 50, 52 Symbol and Surrogate: The Picture Within, 150–151, 199

thematic (conceptual), 22 University of Hawai‘i Art Gallery, 37, 41, 57, 85, 123, 133; policy 260–261 value, 4, 12–14, 15, 16, 17, 18, 24, 25, 27, 29, 31, 43; incidental, 12, 13; inherent, 12, 13 values (human), 248, 249, 250, 251, 253, 257 variation (variety), 7, 14, 15, 19, 21, 23, 30–31, 47, 199 viewer. See visitor vinyl type, 59 visitor, 35, 45, 46, 48, 49, 52, 53, 54, 55, 56, 57, 58; attention, 8, 22, 41, 47, 58; engagement, 39, 50, 52, 55; experience, 39, 45, 55; response, 1, 5, 11, 48, 50, 61 visitor fatigue. See museum fatigue visual relationship, 21, 23, 32 volume. See form volunteer, 40, 69, 72 water fountains, 35 Western garden, 2 wood tones, 17 working abstractly, 4 Woven Passage: The Silk Route, 136–137 Writing with Thread, 42, 59, 70, 242–247 writing/writer, 53, 54–55, 229

Tanizaki, Jun’ichirō, 13 team, 2, 45, 46, 68, 70 teamwork, 69–70 technician, 2 temperature, 34 tension, 26, 29, 43 Textile Forum, 169 texture, 4, 14, 17, 18–19, 24, 25, 27, 29, 31; actual, 18; simulated, 18 Théâtre de la Mode, 210–213 theme/thematic, 22, 31, 45, 132 theory/theoretical, 48 thinking: analytical/critical, 54, 55 three-dimensional objects, 65 time (duration), 33, 40 time/motion (element), 4, 19–20, 24 tone. See value topic, 46, 230 Tradition of Excellence (A), 214–215 traffic flow, 6, 41, 47 training, 2, 4, 35 Transient World (A), 38, 204–205, 217 transition, 21, 25–26, 47 traveling exhibition, 79 Treasures of Hawaiian History, 23, 25, 41, 54, 57, 58, 164–167 two-dimensional objects, 18, 19, 65 typographic design, 58–60; body copy, 58, 59; boldface, 58; color, 59; dimensional letters, 58; display type, 58; hyphenation, 59; justification, 59; kerning, 58; leading, 58, 59, 60; line length, 58; margins, 59; ragged-right, 59; typefaces, 58; type size, 58, 59, 60; x-height, 58 u-bracket, 37, 38 UF-3 sleeves, 63 ultraviolet radiation, 62, 63, 66 understanding, 51 Unistrut, 37, 38 unity, 2, 8, 19, 21–23, 25, 26, 27, 29, 30, 31;

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C R E D I T S The author would appreciate notification of additional credits for acknowledgement in future editions. Unless otherwise noted, all photographs of installations at the University of Hawai‘i Art Gallery are courtesy of the Art Gallery, Tom Klobe and Wayne Kawamoto, photographers. Pages 7, 11, 12, 36, 86–91, 93–95, Joel Stahmer, photographer Pages 27, 248–251, courtesy of Maui Arts and Cultural Center Page 38, courtesy of Art Maui Pages 74, 77, 236–238, 240, 241 (bottom), 242–247, Wayne Kawamoto, photographer Pages 134–135, Nathan J. D. Chung, photographer Pages 190–196, Hal Lum and Shuzo Uemoto, photographers Pages 219–221, 223 (right), 225 (top), Hal Lum, photographer Page 222, courtesy of the artist, Kim Jong Ku Page 223, courtesy of the artist, Lee Yong-Baek Page 225 (bottom), Shuzo Uemoto, photographer Page 241 (top), courtesy of the artist, Lynne Yamamoto Pages 252–257, courtesy of Japanese Cultural Center of Hawai‘i Drawings and design by Tom Klobe Composed in Myriad Pro; titles: Trajan Pro; initials: Edwardian Script ITC

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Tom Klobe is professor emeritus and founding director of the University of Hawai‘i Art Gallery. During his 29-year tenure at the University of Hawai‘i he organized and designed over 200 exhibitions, five of which received the prestigious Print Casebooks: Best in Exhibition Design award. He served as principal editor and design director of more than 35 exhibition catalogues, many of which received regional and national design recognition. He conceived, developed, and taught one of the first courses in museum interpretation within a U. S. university. Klobe was named a Living Treasure of Hawai‘i in 2005 and was the recipient of the University of Hawai‘i Robert W. Clopton Award for Distinguished Community Service in 2003. In 1999 he was honored by the Republic of France as a Chevalier de l’Ordre des Arts et des Lettres for his contributions to the arts in France and Hawai‘i.

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