2020 YEAR IN REVIEW
Aloha HoMA Community, Lately, I have been reflecting quite a bit on the thoughts, hopes, and expectations I had at the beginning of 2020, as I prepared with anticipation and excitement to move my family to Hawai‘i, embrace the beautifully diverse cultures of the Islands, and begin serving as our museum’s 11th Director. However, nothing could have prepared me—or any of us—for the world-changing contagion that has impacted nearly every aspect of our lives, and will continue to shape the cultural landscape in both the near and distant future. This year has brought not only the economic and
impacted art history and expanded the possibilities
personal hardships that routinely dominate the news,
of art throughout the 20th century and into the future.
but it has also revealed some entirely new and unex-
We will also continue our journey through Katsushika
pected opportunities, and magnified the resilience
Hokusai’s famous ukiyo-e series, Thirty-six Views of
of the human spirit in all of us.
Mount Fuji—this intimate exploration of the most famous
Throughout Hawai‘i, we have seen innovation, perse-
ukiyo-e series in the museum’s collection will continue
verance, courage, and kindness flourish, born out of
through September 2021. Finally, the striking Kamran
our collective realization that supporting one another,
Samimi: In Stillness exhibition will continue through
with care and compassion, is the only way to move
August 2021. A collaboration with Shangri La, Museum
forward—together.
of Islamic Art, Culture & Design, In Stillness explores
Earlier this year, when stay-at-home orders shut our doors, HoMA’s staff worked collaboratively across depart-
how in-between spaces are full of meaning, expanses of hidden possibility, and moments of connection.
ments to quickly create a slate of digital art projects and
In 2021 we will look to expand outdoor programming
initiatives so that our community could remain connected
and activities to take advantage of the restorative power of
to our collection and to each other, as we remained
the museum’s campus, and provide more opportunities to
confined to our homes. Our #MuseumFromHome
celebrate our shared humanity and innate creativity. As we
initiative presented artworks, online art instruction,
work to imagine the museum’s future, our primary aim is
keiki activities, conversations with artists and film-
to create a museum experience that is and always will be
makers, and even virtual events to establish a digital
accessible, relevant, and engaging to our entire community.
art oasis in these otherwise isolating circumstances. When we welcomed the community back in July, we
I want to thank you for your ongoing commitment to HoMA and support of our programs, and your belief in art
launched an intentionally family-friendly schedule and
as a fundamentally important and essential part of the
extended evening hours on the weekends. By extending
human experience.
the acclaimed 30 Americans exhibition, which featured the work of 30 renowned contemporary African American
Warmly,
artists and brought focus to challenging and thought-
Halona
provoking issues, we offered more people the opportunity to experience these groundbreaking artworks and explore the timely issues of race and identity in our country. An upcoming exhibition opening in early 2021 will celebrate our Modern and Contemporary collection and offer
HALONA NORTON–WESTBROOK
visitors a renewed look at artists who have significantly
Director & CEO
2
EXHIBITIONS HONOLULU MUSEUM OF ART
Presence THROUGH JAN 2021
FIRST HAWAIIAN CENTER
Hokusai's Mount Fuji
Others: The Depiction
Tom Walker: Incipit ·
THROUGH SEP 2021
of Foreigners in
Jonathan Swanz: Parallel ·
Japanese Prints
Downtown Drawings
JAN 21–MAR 21, 2021
THROUGH FEB 19, 2021
O Kalani
Katsushika Hokusai (1760–1849) Mount Fuji in Clear Weather, or Red Fuji From the series Thirty-six Views of Mount Fuji Japan, Edo period (1615– 1868), c.1830–1832 Woodblock print; ink and color on paper Gift of James A. Michener, 1970 (15583)
THROUGH JAN 3, 2021
Kamran Samimi: Optical Impact
In Stillness
ONGOING
THROUGH AUG 15, 2021 3
30 A M E R IC A NS AT HoM A ONE OF THE MOST CELEBRATED, viewed, and talkedabout exhibitions to tour the United States, 30 Americans made its Hawai‘i debut at HoMA in February. Drawn entirely from the collection of the Rubell Museum in Miami, Florida, the exhibition included works by some of the most influential figures in the art world from the past four decades, including JeanMichel Basquiat, Mark Bradford, Robert Colescott, Kerry James Marshall, Wangechi Mutu, Lorna Simpson, Mickalene Thomas, Kara Walker, Carrie Mae Weems, and Kehinde Wiley. HoMA’s presenta-
tion of the exhibition included 40 works spanning two of the museum’s largest gallery spaces, and the exhibition marked the first time that many of these artists had their works on view in the Islands. Many of the powerful artworks in 30 Americans are challenging and thought-provoking, encouraging discussion and discourse on issues related to racial, ethnic, and gender identity, and the significance of cultural heritage and history. The museum’s presentation of 30 Americans coincided with African American history month, as well as the annual Honolulu African American Film Festival at Doris Duke Theatre. A talk with acclaimed Los Angeles-based artist Mark Bradford was a highlight of 30 Americans programming—on February 22, Bradford spoke to a sold-out theater audience about his artistic practice and legacy of community activism. In early March, the museum unveiled the exhibition Presence, intended to coincide with 30 Americans, featuring works from HoMA’s permanent collection by selected contemporary African American artists. In late March, Hawai‘i experienced a rise in cases of COVID-19. The museum closed temporarily in the interest of protecting the community’s health, and staff quickly began transitioning the physical experience of this landmark exhibition to digital channels so that audiences could continue interacting with the works from the safety of home. One strategy was to highlight each work in 30 Americans alongside quotes from the artist that accompanied the work in the exhibition’s physical space, and make it publicly 4 H o M A 2 0 2 0 Y E A R I N R E V I E W: A R T S & P R O G R A M S
accessible via social media and the newly launched #MuseumFromHome web initiative. This pivot was wellreceived by HoMA’s at-home audiences, in particular a series of thoughtful short videos that allowed viewers to examine details and consider each artwork individually. Due to the pandemic, a second museum closure was implemented in August, and at the same time civil unrest and protests in response to systemic racism were sweeping the country. The protests and conflicts playing out in cities across the United States made it all the more critical to offer our community access to these artists’ voices and artworks, providing context and understanding of these historically consequential events. Upon reopening, the museum extended the run of the exhibition into September, to ensure that as many people could experience it as possible. In order to provide additional insight and discussion around the artworks, artists, and themes in 30 Americans, HoMA developed special public programming (much of it digital) in collaboration with community leaders like Akiemi Glenn, Director of The Pōpolo Project, American poet Kathryn Waddell Takara, artist Mark Feijão Milligan, activist and professor Mari Matsuda, and Drs Ethan Caldwell, Ruben Campos, and Rod Labrador, professors of Ethnic Studies at the University of Hawai‘i at Mānoa. “We are honored to have been able to host these incredible works at HoMA, and grateful to share the experience with our community,” said museum director Halona Norton-Westbrook. “We thank our community partners and museum ‘ohana who helped us interpret and think more deeply about the artists, their artwork, and their messages, especially during this very critical time in our history.” 30 Americans was made possible by Sharon Twigg-Smith, Elizabeth Rice Grossman, Priscilla and James Growney, and Lynne Johnson and Randy Moore. Additional funding provided by the Conley Family Foundation, Judy Pyle and Wayne Pitluck, the Schulzman-Neri Foundation, the Taiji & Naoko Terasaki Family Foundation, and Hawai‘i Council for the Humanities & National Endowment for the Humanities. Special thanks to corporate sponsors Christian Dior, Halekulani, and Honolulu Star-Advertiser. RIGHT (detail) Kehinde Wiley (b. 1977). Triple Portrait of Charles I, 2007. Oil and enamel on canvas. Courtesy Rubell Museum, Miami. © Kehinde Wiley.
ARTS & PROGRAMS
C AT H E R I N E W H I T N EY AS THE CURATORIAL VISION for HoMA continues to play a key part in shaping the museum’s strategic direction and future, it is with great excitement that we welcome Catherine Whitney as the new Director of Curatorial Affairs. Whitney, who earned her bachelor’s degree in Art History and Studio Art from Bowdoin College and her masters in Art History from University of Maryland, comes to our community with more than twenty years of curatorial and educational experience. She was Chief Curator of the Philbrook Museum of Art in Tulsa, Oklahoma for over a decade, developing over 100 exhibitions and curatorial-based programs that strengthened Philbrook’s extensive public programming. Prior to that role, Whitney worked as an art dealer and director at the Gerald Peters Gallery in Santa Fe, New Mexico as well as at the National Gallery of Art in Washington, DC in various roles in curatorial, education, and conservation. Whitney is a champion of activating permanent collections through engagements with contemporary artists, and is eager to engage audiences in this exciting, interactive way. 6 H o M A 2 0 2 0 Y E A R I N R E V I E W: A R T S & P R O G R A M S
T H E A RT E X PE R I E NC E OF T H E F U T U R E, H A PPE N I NG NOW AMONG THE BIGGEST CHALLENGES that art museums face today is an age-old dilemma: is it possible to create a visitor experience that is interesting and relevant to the broadest cross-section of the community? How can we at HoMA present our collection in a more egalitarian way, acknowledging the diverse histories, perspectives, and needs of our audiences? And is it possible to satiate the curiosity of the seasoned art museum patron and the firsttime, culture-curious guest at the same time? Launched in July 2020, The Gallery Activation Project, or GAP, was designed to answer to those very questions. GAP is a multimediabased initiative that provides museum visitors immediate access to contextual information and insight into works of art found in HoMA’s collection galleries and special exhibitions through articles, audio recordings, and video clips. Videos and audio experiences are compiled and produced by museum staff, HoMA docents, and local creative community leaders, and made accessible via QR codes found on signage throughout the museum and on HoMA’s website. “We know folks have widely varying experience with art,” said Learning and Engagement Director Aaron Padilla. “So our job is to create experiences that can be scaled to any degree of interest and prior knowledge about the art you’re seeing. The supplementary digital tools can be used as to the degree to which the viewer wants to engage or learn more, at their own pace and on their own terms.” GAP is part of a slate of initiatives in a museum-wide directive to make HoMA’s collection and exhibitions more accessible to our audiences. The project achieves this by
expanding interpretive materials and offering more diverse and personal perspectives on the artwork on view. In addition to learning more about the works in an art historical context, visitors can get a glimpse of how these objects and images were created, and see through the lens of members of the HoMA community what these objects and images mean to them. “All of these resources will ultimately serve as the foundation for our future art experiences and programs,” said Director of Curatorial Affairs Catherine Whitney. “GAP will continue to enhance the visitor experience far beyond this pandemic, and it will more than likely be one of many factors that help to define what art means to people and the role it plays in our society.”
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D OR I S DU K E T H E AT R E
THE HONOLULU MUSEUM OF ART’S Doris Duke Theatre is Hawai‘i’s premier art house theater, dedicated to creating transformative, interactive experiences, and elevating conversations through “art in motion.” In 2020, the HoMA team shifted to engaging theater audiences and building community in the virtual realm without skipping a beat. “The challenge of presenting films online for us was not unique or outside of our own experience,” said Curator of Film and Performance Taylour Chang. “But what has been different is our approach to transitioning our traditionally in-person events and celebrations online, while still being able to retain the kind of excitement, engagement and community building that normally only happens when you can interact with others in person.” In July, the theater successfully transitioned the wildly popular annual Honolulu Surf Film Festival into an online-only event for the first time in its 13-year history. While the team had some concern over how
audiences would feel about holding this long-standing cinematic tribute—and normally jubilant in-person celebration—over the internet, the Honolulu Surf Film Festival 2020 drew thousands of participants, engaging audiences locally and globally in online film screenings and virtual panel discussions. “We realized that our audiences are committed to our programming, whether physically in the theatre or experienced online, and that the films and performances we present can translate well virtually with some creativity and innovation” said Assistant Curator of FIlm and Performance Sarah Fang. “In fact, going virtual made our programming more accessible in many cases, and we saw a marked uptick in the number of people engaging from locations around the world.” The team continued their virtual event offerings with the Eating Up Easter + Regenerative Tourism series, part of the ongoing Science on Screen program, which addressed local issues via film and created
LEFT From the Honolulu Surf Film Festival 2020, Textured Waves, a film by The Gnar Gnar Honeys. ABOVE (left to right) Sarah Fang, Assistant Curator of Film and Performance. HSFF 2020 identity. Eating Up Easter, a film by Sergio Mata'u Rapu. Taylour Chang, Curator of Film and Performance. H o M A 2 0 2 0 Y E A R I N R E V I E W: A R T S & P R O G R A M S 9
space for elevated conversation, as well as the fourth annual Cultural Animation Film Festival, with family-friendly short films, reaching an international viewership from 44 countries. “Despite being physically closed, we expect to see continued virtual programming through the end of the year and throughout 2021,” said Chang. “We’re fully embracing what that means for us, our dedicated fans, and for our new global audiences.” The theatre also launched a pilot version of its acclaimed Soundshop series online with Waianae and Farrington High Schools, the two schools that have participated in the hip hop creative workshop since the program’s inception in 2013. A collaboration between Doris Duke Theatre and a leadership team of local artists and educators, Soundshop’s goal is to inspire students and equip them with creative tools and methods to express their voices creatively, think outside-the-box, and share their own personal stories, especially during this transformative time as public schools navigate new ways of learning. “We spent time with our high school partners reimagining the ways that Soundshop could transform during the pandemic, so that we could continue to work with the students in developing their creativity, drive and passion,” said Chang. “So far, it’s been a success, and we’re looking forward to expanding the program in the future. Like everything we’re doing right now, it’s a process of figuring out how the essential elements of this program can be translated virtually to continue resulting in transformative experiences for youth.”
Soundshop leader Rukka conducting a workshop in the theatre, 2019.
10 H o M A 2 0 2 0 Y E A R I N R E V I E W: A R T S & P R O G R A M S
T H E A RT S C HO OL THE ART SCHOOL EXHIBITION PROGRAM is dedicated to supporting Hawai‘i-based artists through partnerships with local creatives and organizations to provide enriching experiences for the broader community. The year kicked off with three exhibitions featuring artists from across the state: the 92nd iteration of the Honolulu Printmakers Annual Exhibition, which showcased a diverse body of work collected from Hawai‘i-based print artists, Then and Now (pictured above), which featured the work of 50 multidisciplinary individuals with the intention of igniting lasting mentorships between emerging and established artists, and finally, FreeStore, installed in the Nano Gallery, a space for autonomous exchange of goods envisioned by Hawai‘i artist Gaye Chan. “With Freestore barely open, the emer-
gence of COVID-19 and safety as our first priority required that the exhibition be re-envisioned without the use of physical space,” said Marlene Siu, Art School Exhibition
12 H o M A 2 0 2 0 Y E A R I N R E V I E W: A R T S & P R O G R A M S
Manager. “With a transition to digital media, the idea of a free exchange of goods turned into a free exchange of information in the form of Edible Weeds videos, featuring Gaye Chan and guests providing alternative solutions to food sustainability. The videos were very well-received, and became a series that the artist plans to continue.” As we close out 2020, the Art School exhibition program includes two newer digital exhibitions—both of which were originally designed to be physical and in-person, but were transitioned to a virtual format. Why Are You Painting?, which opened in November, features 21 painters based in Hawai‘i, California, and New York considering the philosophical reasons for their choice of medium. In December, Transparency In Translation gathers Hawai‘i-based artists working in seemingly disparate media—glass and watercolor—to emphasize their commonalities. Both exhibitions seek to create connection between the artists and viewers, continuing to support the mission of showcasing community-based exhibitions through collaborative virtual programming.
U P COM I NG A T H I N K & A DR I N K EV E N TS JA N UA RY 21, 2021 A Princely Sculpture At the entrance to HoMA’s Japan Gallery stands a sculpture of a prince, made a thousand years after his death. Who was this prince, who made this sculpture, and why is it placed so prominently in the museum? Join Curator of Asian Art Shawn Eichman on a journey through Japanese art history, where we will find the answers to these questions.
F E B RUA RY 18, 2021 Local Artist Spotlight
A T H I N K & A DR I N K HoMA’S A THINK & A DRINK EVENTS WENT VIRTUAL
this year, and the online version of these popular learning events has been a great success. Every third Thursday of the month, HoMA Collector’s level members (and up), are invited to be a part of engaging, informative discussions with curators, artists, and HoMA staff, designed to provide deeper access to different perspectives for a uniquely rewarding experience. Participants learn more about the inner workings of the museum, receive sneak peeks of upcoming exhibitions, enjoy artist studio tours, and participate in exclusive workshops from the comfort of their own home. To learn more, contact Membership & Annual Fund Coordinator Jeddie Kawahatsu at jkawahatsu@honolulumuseum.org or (808) 535-1879.
Join us for a discussion with Kamran Samimi—printmaker, sculptor, and current Shangri-La artist-in-residence. His exhibition In Stillness will be on display in the Arts of the Islamic World Gallery through August 15, 2021. Hear about his creative process, cultural ties, and philosophy on transformation and the passage of time.
M A RC H 18, 2021 The Life & Work of Katsushika Hokusai Get an in-depth look at Katsushika Hokusai’s famed Thirty-six Views of Mount Fuji (c. 1830–1832) by master painter and printmaker Katsushika Hokusai. Twenty-two of his masterpieces, including the renowned Great Wave Off Kanagawa, are being displayed one at a time in the Hokusai’s Mount Fuji exhibition. Stephen Salel, HoMA’s Curator of Japanese Art, will offer an intimate discussion of these works and Hokusai’s artistic career, as well as the mythological significance of Mount Fuji.
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PEOPLE & COMMUNITY
T H E P OW E R OF PA RT N E R SH I PS
IN A TIME OF UNPRECEDENTED CHALLENGES, HoMA’s corporate partners have demonstrated extraordinary agility, insight, and generosity. COVID-19 has brought the museum and our corporate partners together in new ways that reinforce the importance of the cultural and corporate sectors’ responsibility to work together to foster a more vibrant community. The concepts of enhanced collaboration and philanthropy in these times are part of a welcomed national trend. A recent study from Philanthropy News Digest found that seven out of ten corporate funders across the United States actually increased their giving during the pandemic,and companies have become increasingly understanding and flexible in their approach to giving. What does this look like in our own museum community? HoMA is fortunate that with the support of our business partners, we’ve been able to find new ways of working together, quickly and collaboratively. In July, we launched virtual Family Sundays presented by the Bank of Hawaii Foundation, featuring at-home art activities to engage keiki of all ages and provide families with creative ways to spend time together in the comfort of their own homes. In the spirit of museum accessibility, we launched our masked 14 H o M A 2 0 2 0 Y E A R I N R E V I E W: P E O P L E & C O M M U N I T Y
and socially distanced Pau Hana Fridays series with the support of Hawaiian Airlines® Bank of Hawaii World Elite Mastercard®, offering free admission to all Hawai‘i residents on Friday evenings through December 2020. The Honolulu Surf Film Festival 2020 pivoted entirely to a digital platform with the support of Nordstrom, First Hawaiian Bank, Outrigger Hospitality Group, and the Surf News Network. And our media partners are following suit with partnerships that allow the museum to stretch its marketing dollars and audience reach at a critical time. “Without question, the entire community has come together during this time of crisis, which is a silver lining amidst the clouds that can sometimes seem unending,” said Chief Communications Officer Kevin Imanaka. “We’ve appreciated the perseverance and commitment of our long time partners to HoMA’s mission, and will continue to discover new and inventive ways to integrate our brand with like-minded collaborators, knowing that we are certainly better together.”
If you are interested in exploring a partnership opportunity with the museum, please contact HoMA’s Corporate Relations Officer Nicole Galagan at ngalagan@honolulumuseum.org.
R A L PH GL E N N L E GAC Y GI F T IN 2020, THE HONOLULU MUSEUM OF ART
LEFT Guests during our Pau Hana Fridays, October 2020. ABOVE Robert Glenn newspaper clipping, 1963.
received an incredibly generous legacy gift from none other than a former staff member. Ralph F. Glenn, who had served as the former Assistant to Honolulu Academy of Arts Director Robert P. Griffing during the 1960s, thoughtfully bequeathed $6 million to HoMA in order to establish the Ralph F. Glenn Lecture Series for Notable Speakers. Glenn passed away in June 2019, in Bloomfield Hill, Michigan. “It is always an amazing honor for us to receive endowments such as these that will benefit our museum community for generations to come,” said Advancement Director Budd Lauer. “And for this to come from one of our own former staff members reflects just how much of a positive impact HoMA has had on the people who are most connected to our work and mission.” Born in 1933, Glenn was an accomplished curator and historian who dedicated his life and career to the study and teaching of art. Prior to joining the Honolulu Academy of Arts, he was a junior
art curator at the Detroit Institute of Arts and held a master’s degree in art from the University of Michigan in 1957. The role of the Assistant to the Director was “both curatorial and administrative in nature” covering administrative, teaching and curatorial work, as well as playing a role in organizing the bookshop. In a letter dated May 2, 1961 urging Glenn to accept the position, Director Robert P. Griffing, Jr. wrote that the job would include “helping on exhibitions, general watching over of the collections, giving lectures to the members, to the Art School, to the public, etc. In other words, the job would amount to experience which would, in general, tend more to equip you for a museum directorship than for a more specialized niche.” Ultimately, Glenn accepted the job, and, among his other duties, he gave extensive, well-received lectures to members and the public. He launched a series of Sunday afternoon lectures on Eastern and Western art objects in the galleries that were highly regarded. He had a broad spectrum of knowledge and expertise, and focused his attention on the museum’s permanent collection, giving lectures ranging from our Art of Pacific works to HoMA’s famed ukiyo-e woodblock prints and drawings by Madge Tennent. “We’re grateful for Mr. Glenn’s contributions to our museum both as an employee and a benefactor,” Lauer said. “His legacy will allow us to share the stories behind our permanent collection with the community and with the entire world as we shift to digital and virtual programming. We look forward to honoring Mr. Glenn with future explorations into our permanent collection as we continue to rediscover treasures, research and study masterworks, and share their stories.” H o M A 2 0 2 0 Y E A R I N R E V I E W: P E O P L E & C O M M U N I T Y 15
W E L COM E TO HoM A'S
N EW E ST T RUST E E S DR. A M B E R ST RONG M A K A I AU Dr. Makaiau is an Associate Specialist at the University of Hawai‘i at Mānoa (UHM) College of Education Institute for Teacher Education Secondary Program, the Director of Hanahau'oli School’s Professional Development Center, and the Director of Curriculum and Research at the University of Hawai‘i Uehiro Academy for Philosophy and Ethics in Education. She has bachelor’s degrees in Psychology and Education from the University of California, Santa Cruz, master's degrees in Education and Teaching, and a PhD in Curriculum and Instruction from UHM. Dr. Makaiau is a dedicated practitioner of philosophy for children, who achieved national board certification while teaching secondary social studies in the Hawai‘i State Department of Education for over ten years. An award-winning educator, Dr. Makaiau’s current projects include carrying out progressive, multicultural, social justice, and democratic approaches to pre-service social studies teacher education, using selfstudy research methodologies to promote international collaboration, and developing the emergent field of deliberative pedagogy.
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JOSH F E L DM A N
AV I M A N N I S Avi Mannis is the Senior Vice President of Marketing at Hawaiian Airlines, a position he has held since July 2014. As Senior Vice President of Marketing, Mannis is responsible for Hawaiian Airlines’ brand, product, advertising and promotions, direct marketing, and direct sales and service channels. Previously, Mannis served as Vice President of Marketing from 2011 to 2014, and Vice President of Revenue Management and Schedule Planning from 2008 to 2011. Mannis joined Hawaiian Airlines in July 2007 as Senior Director of Transformation. Prior to Hawaiian Airlines, he worked at The Boston Consulting Group in New York City and Paris, France, and at Christie’s Auction House in New York City. Mannis is a graduate of Brown University, earning a bachelor’s with honors in Old World Archaeology and Art. He went on to earn his masters in business from the University of Pennsylvania’s Wharton School of Business.
Josh Feldman is the President and CEO of Tori Richard, Ltd. Founded in 1956, Tori Richard, Ltd. is a vertical manufacturer, wholesaler and retailer of betterbranded resort apparel, licensed apparel products, private label and uniforms. Company products are sold in over 2000 better specialty and department store locations throughout the world. The company has over 165 employees and 17 company-owned retail stores in Hawai‘i, and four licensed stores on the mainland's East Coast. Tori Richard, Ltd.’s whollyowned subsidiary, Kahala Sportswear, was the first company to commercially produce Hawaiian shirts, known locally as “aloha shirts” in 1936. Feldman is an alumnus of Punahou School, Carnegie Mellon University, and the University of California at San Diego, Magna cum laude. His hobbies and interests include collecting mid-century design objects and furnishings and Asian antiquities, as well as ocean sports, cycling, and photography.
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I N M E MOR I A M: CLAIRE JOHNSON AND GULAB WATUMULL THIS YEAR, amid the unfolding of the pandemic, HoMA lost two dear members of our museum ‘ohana. It is with great fondness that we remember beloved trustee Claire Johnson and kind-hearted philanthropist Gulab Watumull. Claire joined the Honolulu Museum of Art Board of Trustees in 1996, and served the museum and the Hawai‘i art community for twenty-five years. Claire was chair of the Advancement Committee and oversaw the table sales committee for Kama‘āina Christmas at the Honolulu Museum of Art for many years. Claire was born and raised in Honolulu, Hawai‘i, and attended Punahou School and Colorado Women’s College where she graduated with degrees in Merchandising and Business. Upon returning to Hawai‘i, Claire married her devoted and loving husband Larry Johnson. She is survived by her two children, Mari-jo and Mark, and four grandchildren. Claire was an active commu-
nity volunteer and fundraiser, serving in leadership roles for numerous non-profit organizations including the St. Francis Hospital Auxiliary, the Junior League of Honolulu, the American Heart Association, The Garden Club of Honolulu, and Punahou School. Her legacy will forever live on in the countless hearts that she touched, and the immeasurable impact that she made on the non-profits she helped grow— including our very own museum. “Trustees like Claire have charted a path for this museum that helps to ensure the continued role of art in our community,” said HoMA Director Halona Norton-Westbrook. 18 H o M A 2 0 2 0 Y E A R I N R E V I E W: P E O P L E & C O M M U N I T Y
Gulab Watumull was an Indian American businessman, philanthropist and friend of the museum, who built a well-known family retail empire in Hawai‘i. Through the J. Watumull Foundation, established in 1965, Gulab, with his wife Indru and their family, donated more than $500,000 to the Honolulu Museum of Art and personally gifted more than $1.5 million to the museum from 1983 until his passing. Gulab and Indru also donated a number of artworks and artifacts to the Jhamandas Watumull Gallery of Indian Art. Gulab’s philanthropic vision helped the Honolulu Museum of Art create and host the everpopular Bollywood Film Festival, and the Watumull Endowment Fund for Indian Art supports the upkeep of the Jhamandas Watumull Gallery of Indian Art, furthering the presence of Indian art and culture in our community through art acquisitions, lectures, demonstrations, and exhibitions, while supporting scholarships for children at the Art School. In 2018, the Honolulu Museum of Art was thrilled to dedicate the Gulab and Indru Watumull Shop in recognition of their years of generous support. Gulab’s bright and cheery smile will be deeply missed and his legacy will live on through the kindness and hard work of his family, friends, and all who were inspired by his optimism and personal slogan, “Be useful!” Claire Johnson, Kama‘āina Christmas, 2015. Indru Watumull, Indru's sister Koshu Lalchand, and Gulab Watumull, 2018.
PU T T I NG T H E PI E C E S TO GE T H E R OVER THE LAST FEW MONTHS, longtime HoMA Fellows
Ambassador Ellen Carson has been focusing her skills on sewing beautiful quilts out of vintage kimono fabric. Before the pandemic lockdown, she loved to travel to Japan, sourcing kimonos that were torn or unwearable due to their age and incorporating the usable sections of fabric into her quilts. Carson approached HoMA with the intent of finding a way to support the museum through her quilt work during this year of uncertainty. In the past, she has donated quilts to support charities that touch her heart and address our community’s needs—most recently, Carson’s quilts have assisted the Institute for Human Services in raising funds. We are thrilled to announce she has donated quilts to HoMA to encourage new memberships, membership upgrades, and new donations. Until the end of March 2021, if you upgrade or join the museum at the Collector’s Level or above ($1,000) or donate $1,000 for the first time, you will receive one of Carson’s special handmade quilts in recognition for your generous contribution. Please contact Individual Giving Manager Ching Jen Lum at clum@honolulumuseum.org or call (808) 532-3671 to upgrade today, and receive a one-of-a-kind work of art for your home. Ellen Carson's vintage kimonos.
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C H A NGE FORU M S AT HoM A There can be little doubt that Hawai‘i is at a critical juncture in its history. The complex issues surrounding the affordability and accessibility of some of our most basic needs—such as housing, education, and health care—require profound input and action from all sectors of our community, who must work together toward a shared vision of what it means to thrive in the Aloha State. In 2020, Hawai‘i Business Magazine, in partnership with the Hawai‘i Community Foundation and Hawai‘i Executive Collaborative, planned a series of moderated panel discussions to explore six key areas of life: Community & Economy, Health & Wellness, Arts & Culture, Natural Environment, Government and Civics, better known as CHANGE. As the local business and civic communities embraced both the framework and vision for CHANGE, the magazine selected the 20 H o M A 2 0 2 0 Y E A R I N R E V I E W: P E O P L E & C O M M U N I T Y
Honolulu Museum of Art to be a venue partner, hosting two of the six CHANGE events in January and February—before COVID-19 changed everything. “For us, the Honolulu Museum of Art was the perfect venue partner when we could all gather together safely,” said Anthony Bagnoli, Director of Events for Hawai‘i Business Magazine. “The museum has always been a natural gathering place for conversations, discourse, and ultimately for cultivating the creativity and ingenuity needed to solve these tough problems as one community.” In March, HoMA instituted a temporary closure in the interest of community safety as the pandemic began to show up on our shores. The remaining in-person CHANGE events were put on hold, until both organizations figured out next steps. “Despite how wonderful the museum was both as a venue
and true community partner we made the difficult decision, in the interest of safety, to pivot to online forums for the remainder of the year,” said Bagnoli. “The museum has been honored to be a partner of Hawai‘i Business Magazine in advancing solutions for this community’s most pressing problems,” said museum director Halona Norton-Westbrook. ““It was exciting and humbling to participate in the Arts & Culture dialogue in November that sought to solidify a path forward for the creative industry here in Hawai‘i. We’ve built a great partner in one of the most respected business publications in town, and I’m excited to see what the future holds for our partnership, next year and beyond.”
OPPOSITE (left to right) Moderator and Editor, Steve Petranik; Karen Tan, President & CEO, Child & Family Service; Rich Wacker, President & CEO, American Savings Bank; Christine Camp, President & CEO, Avalon Development Group; Norm Baker, COO & Interim CEO, Aloha United Way; Sterling Higa, Lecturer, Hawai‘i Pacific University. ABOVE (left to right) Moderator and Editor, Steve Petranik; Dr. Joseph Keawe‘aimoku Kaholokula, Professor & Chair, Native Hawaiian Health, JBSOM, UH Mānoa; Connie Mitchell, Executive Director, Institute for Human Services; Bob Harrison, President & CEO, First Hawaiian Bank; Jill Hoggard Green, PhD, RN, President & CEO, The Queen’s Health Systems; Mark Mugiishi, M.D., F.A.C.S., President and CEO, Hawai‘i Medical Service Association; Richard P. Bettini, MPH, MS, President and CEO, Waianae Coast Comprehensive Health Center.
H o M A 2 0 2 0 Y E A R I N R E V I E W: P E O P L E & C O M M U N I T Y 21
CAMPUS & RESOURCES
I M PROV E M E N TS TO T H E HoM A S C HO OL: GR A N T I N A I D AT THE HONOLULU MUSEUM OF ART, lifetime learning
is at the heart of our mission, and the Art School is currently undergoing a transformation that will help HoMA remain a cornerstone of art education in Hawai‘i. Earlier this year, HoMA received the final approval from the State of Hawai‘i’s Office of Community Services for two grants that—in combination with a substantial matching private donation—are being used to design and implement major infrastructural improvements to the Art School, including a new kiln house and glazing studio. The project’s design phase is just beginning, which means the complete picture of the improvements is still taking shape. “The project will entail work on many of the building’s fundamental elements, to include extensive waterproofing and drainage repairs, ventilation and air conditioning improvements, and concrete repairs,” said Jason 22 H o M A 2 0 2 0 Y E A R I N R E V I E W: C A M P U S & R E S O U R C E S
Morrison, Director of Campus. “Those and related efforts will lay a solid foundation for other improvements to the staff, student, and visitor experience inside the school and the highest quality of studio programs for our community to enjoy.” As the design work proceeds, the planned scope of those improvements will be iteratively estimated and adjusted to match the available funds. The actual construction work is expected to begin early in 2021, with a goal to begin reopening the Art School late in 2021. HoMA is also planning upgrades to the museum’s parking lots, along with increased parking capacity. “Some of the funds are also being used to improve the three lots that make up HoMA’s parking area between Beretania and Kīna‘u Streets. In effect, the work will provide a new parking lot for the museum, with more than one hundred spaces for visitors, employees and capacity for special events,” Morrison said.
HoM A SHOP 2020 U PDAT E S
JA S ON MOR R I S ON, HoM A’S N EW DI R E C TOR OF C A M PUS HoMA IS PLEASED TO WELCOME JASON MORRISON, the museum’s new Director of Campus, who oversees the Security, Operations, and Facilities departments, and supports the long-term vision for HoMA’s buildings, grounds and overall campus resources. Morrison comes to us with a unique and valuable mix of museum, engineering, and industrial experience. After graduating with an engineering degree from the United States Naval Academy, he served for six years as an officer in the United States Marine Corps. Following his military service, he earned a master's in engineering from the University of Michigan. He spent more than 10 years putting his skills and experience to work for government, private, and non-profit organizations within Hawai‘i's maritime industry, serving in both engineering and management roles. Morrison's experience includes several years as Vice President of Facilities and Engineering for the Battleship Missouri Memorial, overseeing preservation, maintenance, and facilities management for the historic battleship. Morrison is a graduate of Punahou School and has been a resident of Hawai‘i for 30 years. He and his wife have one son, who is just starting kindergarten.
THE HoMA SHOP continues to offer a wide selection of unique items that represent the incredible artworks and museum grounds, drawing inspiration from highlights in our collection as well as special exhibitions. The work of local Hawai‘i artisans, jewelers, textile artists, and ceramicists makes up approximately 50% of the Shop’s inventory, and that’s by design, according to Retail Manager Cori Mackie. “All of the proceeds from the HoMA Shop continue to support museum programming, and by extension, our local creative community,” she added. In November, Mackie collaborated with five Hawai‘i print artists to produce limitededition face masks: Lauren Trangmar, Kris Goto, Lauren Okano, Shar Tuisoa, and Lauren Roth all created custom designs featuring their unique styles. “We’re grateful for the willingness of these five artists to generously share their talent in support of the museum,” Mackie said. “Stay tuned for more offerings like this in the months to come. We’re planning a Local Artist Spotlight series in 2021 as a way to further support homegrown talent, and the local community.” H o M A 2 0 2 0 Y E A R I N R E V I E W: C A M P U S & R E S O U R C E S 23
HoM A C A F É A N D COF F E E BA R ON THE HEELS OF ITS 50TH ANNIVERSARY celebration, the HoMA Café kicked off 2020 in full swing, bustling with guests eager to enjoy the museum’s beloved lunch and brunch dishes, and regularly supporting special events and receptions. This year, Chef Susan Lai Hipp joined the HoMA Café team as Kitchen and Coffee Bar Manager, collaborating with Chef Ben Abes and introducing a number of exciting new items to the Coffee Bar menu. For HoMA Food and Beverage Director Josh Hancock, the initial stay-at-home order in March forced a sudden pivot in his service approach, which gave his team an opportunity to rejuvenate and re-imagine the Café and Coffee Bar—with safety as a top priority. The Café team embarked upon improvements to furniture and equipment, including hand-sanding and refinishing each of the 20-year-old Café chairs, optimizing storage space, and of course, a thorough cleaning. The team temporarily pared down menu options while still offering perennial guest favorites, like the Curried Turkey Salad (pictured above), Grilled Chicken Sandwich and the Pasta of the Day, while bringing back the much-loved Warm Goat Cheese Salad. In addition 24 H o M A 2 0 2 0 Y E A R I N R E V I E W: C A M P U S & R E S O U R C E S
to spacing tables out as a health and safety measure, the team developed an online ordering process and other ways to limit physical interactions, such as large, legible menus on the wall (versus paper) and touchless payment systems. The Café and Coffee Bar team remain focused on their commitment to operating as sustainably as possible, sourcing ingredients locally and serving food and drinks with plant-based, biocompostable tableware, containers, and straws. In recent weeks, the Café has been welcoming back a steadily increasing stream of guests. The introduction of new evening hours (for the first time since 1972) has also offered an opportunity for guests to rediscover the simple pleasure of relaxing at a table under the stars, as they enjoy the Coffee Bar’s new to-go menu items, wine, and beer offerings in the open-air Palm Courtyard. As we close out the year, the Café and Coffee Bar experience feels a little different than before, but it’s provided the museum with opportunities to explore food and beverage offerings in new ways. The team is looking forward to exciting new developments to come—there’s a good chance that HoMA Café's dinner service is on the horizon in 2021.
Major Giving Circles J U LY 1, 2019–J U N E 30, 2020
We are deeply grateful to these individuals for their generosity and commitment to the museum.
T H E V I SIONA RY C I RC L E
DI R E C TOR’S C I RC L E
$25,000–$49,999
$100,000 AN D A B OV E
Anonymous (1) Corine Hayashi
Wallette & Jay Shidler Sharon Twigg-Smith
Susan & Stephen Chamberlin
Stephanie & Sherman Hee Jae Shim & Sukhan Kim
Peter Drewliner
Melissa Lum
Lori & Josh Feldman
Judy Pyle & Wayne Pitluck
Elizabeth Rice Grossman
Jean E. Rolles
Flora Ling & Paul Sturm Indru Watumull Vi Loo
Kathleen & Ronald Wo
Ruedi Thoeni & David Franklin
L E A DE R
$15,000–$24,999
Ricki & Paul Cassiday
Linda & Bob Nichols
Barbara Fischlowitz-Leong
Cherye & Jim Pierce
& Michael Leong
David Wollenberg
H A L E KU L A N I C H A I R M A N’S C I RC L E
Marcy & Bob Katz
Anne & Philip Wright
$50,000–$99,999
Patricia & Worldster Lee
Priscilla & Jim Growney
Noreen & David Mulliken
$10,000–$14,999
Lynne Johnson & Randy Moore
Richard Cox
Linda Ahlers
Michelle & Peter Ho
Ritu & Rajiv Batra
Larry Johnson
Mary Anne & Mark Burak
Denise & Rick McGeary
Nancy & Herb Conley
Marilyn & Jim Pappas
Peggy Eu
Naoko & Taiji Terasaki
Laura & Donald Goo
Moko & Simon Treacy
Ralph Heide
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Museum Corporate Council V I SIONA RY L EV E L $100,000+
C H A I R M A N’S L EV E L $50,000+
DI R E C TOR’S L EV E L $25,000+
L E A DE R L EV E L $15,000+
Lum Yip Kee, LTD KHON KITV 26
Hawaii Business Magazine Hawai‘i Magazine Hawaii News Now
Pacific Media Group
Foundation + Grant Support J U LY 1, 2019–J U N E 30, 2020 Kenneth C. Bibee Fund of the Hawai‘i Community Foundation Dorothea Sloggett Cooke Foundation Cooke Foundation, Ltd. Henry B. Clark: Contemporary Arts Center Fund of the Hawai‘i Community Foundation
Jack & Marie Lord Trust Fund of the Hawai‘i Community Foundation Wade and Harue McVay Family Foundation Fund of the Hawai‘i Community Foundation The Kinjiro and Eiko Moriguchi Fund National Endowment for the Arts
Coolidge Corner Theatre and the Alfred P. Sloan Foundation
Honolulu Museum of Art Director & CEO Halona Norton-Westbrook
Board of Trustees
Nordstrom Cares
Chair
Vice Chair
Lenore & Chester O’Brien Fund of the Hawai‘i Community Foundation
Kitty Wo
Sharon Twigg-Smith
The Freeman Foundation
The Arthur and Mae Orvis Foundation, Inc.
Trustees
John R. Halligan Charitable Fund
Ohuokalani Charitable Foundation
Hawai‘i Council for the Humanities through a grant from the National Endowment for the Humanities (NEH) and the CARES Act
Mary Wilson Crawford Fund of the Hawai‘i Community Foundation The Dods Foundation
Hawai‘i State Foundation on Culture and the Arts through the CARES Act Relief Fund from the National Endowment for the Arts
Rajiv Batra
Robert S. Katz
Noreen Mulliken
Kaili Chun
James Lally
Kelly Sueda
Pacific Rainbow Foundation
Herb Conley
Patricia Y. Lee
Ruedi Thoeni
Prisanlee Fund of the Hawai‘i Community Foundation
Josh Feldman
Violet S.W. Loo
Simon Treacy
Priscilla Growney
Melissa Lum
Michael Watanabe
Stephanie Hee
Amber Strong
Schulzman-Neri Foundation Sidney Stern Memorial Trust
Michelle Ho Lynne Johnson
Makaiau Avi Mannis
Stupski Foundation H.T. Hayashi Foundation Ellen M. Koenig Memorial Fund Marie Kohli Fund of the Hawai‘i Community Foundation
Atsuhiko & Ina Goodwin Tateuchi Foundation Terra Foundation for American Art Jhamandas Watumull Fund
Robert F. Lange Foundation John C. Young Foundation
Vol. 93, No. 1, HoMA magazine is published as a benefit for museum members by: Honolulu Museum of Art 900 South Beretania Street Honolulu, Hawai‘i 96814
Emeritus Trustees Robert R. Bean
Alice Guild
Jean E. Rolles
Mark Burak
Toshio Hara
Jay H. Shidler
Judith M. Dawson
Michael Horikawa
Charles A. Sted
Walter A. Dods, Jr.
Akemi Kurokawa
Charles M. Stockholm
Cecilia Doo
Watters O. Martin, Jr.
Donna Tanoue
Peggy Eu
Patricia J. O’Neill
Indru Watumull
Helen Gary
Cherye Pierce
Charles R. Wichman
Allison Gendreau
James F. Pierce
Elizabeth Rice
Duane Preble
Grossman
Judith Pyle
Editors: Maggie Engebretson, Kevin Imanaka Design Director: Anjali Lee Printing & mailing: Edward Enterprises, Inc.
Director Emeritus
© 2020 Honolulu Museum of Art, All rights reserved
George Ellis
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Nonprofit Organization U.S. Postage PAID Honolulu, Hawai‘i Permit No. 119
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