A rare century-old collection of South Asian lithographs and manuscripts is now available online to researchers and the public through the University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹¡¯²õ , with the launch of its .

Created in 1903 by Atul K. Basu, the collection includes 35 lithographic prints and three typed manuscripts documenting Hindu mythology and religious narratives. Twenty-nine of the lithographs feature Bengali text with handwritten pencil transliterations, adding another layer of historical significance.

Collaboration, technological advances

The digitization project brought together librarians, archivists, technologists and students across Hamilton Library.

“Working on this project was my first experience contributing to the creation of a digital collection and a meaningful opportunity to apply metadata and collaboration in practice,” library and information science intern Munju Kim said.

Kim helped digitize the collection and developed its descriptive materials under the mentorship of IT Specialist Alisa Kwok, who led the digitization effort.

Metadata Librarian Stasha Gardasevic said the project also explored new technological approaches for digital collections.

“This project served as an excellent testbed for exploring the use of AI in supporting digital collections discovery with the transcription of non-Latin scripts,” Gardasevic said. “Gemini Pro did an excellent job interpreting Bengali script.”

Web Developer and Digital Collections Manager Daniel Ishimitsu helped publish the collection online, while Monica Ghosh, chair of the Asia Collection and South Asia Studies librarian, contributed language expertise and subject knowledge throughout the project.

The digital collection is expected to support future research in Hindu mythology, South Asian religious traditions, art history and visual culture.

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Recent University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹ graduates Chloe Lavigne and Rachel Wong earned multiple honors at the 2026 Pele Awards, one of ±á²¹·É²¹¾±ʻ¾±¡¯²õ top advertising and design competitions.

Lavigne¡¯s “Deconstruct Exhibition Campaign” received Best of Show¨CCollege and a Gold Pele in the integrated advertising campaign category. Her “Deconstruct App” also earned a Gold Pele. Lavigne and Wong additionally received a Bronze Pele for their “Synergy BFA Showcase Invitation.”

“My time in the BFA program taught me to think and produce like a designer through design history, concept development, and hands-on technical skills, pushing me to make research-driven, intentional decisions rather than choices based purely on aesthetics,” Lavigne said.

Visual storytelling

Lavigne grew up in Vermont, where she was surrounded by small local businesses and first became interested in visual storytelling through scrapbooking in middle school.

“I was instantly drawn to documenting lived experiences and experimenting with how different photos, materials, colors and compositions could shape a story,” Lavigne said.

Her award-winning “Deconstruct” project imagined a fictional exhibition for street artist Shepard Fairey at the Honolulu Museum of Art. The campaign included posters, invitations, exhibition materials, a mobile app and even a branded skateboard.

The project encouraged viewers to think critically about media, persuasion and power while creating a more interactive museum experience.

Industry success

Chae Ho Lee, a design professor in UH ²Ñ¨¡²Ô´Ç²¹¡¯²õ , said the students¡¯ commitment and openness to feedback helped make the projects successful.

“Both students worked tirelessly on several design drafts and were very open to constructive feedback,” Lee said.

Lee said UH ²Ñ¨¡²Ô´Ç²¹ students continue to perform strongly in the highly competitive Pele Awards.

“With an 86% career placement rate, the UH ²Ñ¨¡²Ô´Ç²¹ graphic design program prepares students for the competitive design industry,” Lee said. “The curriculum merges historical and theoretical foundations with hands-on, industry-aligned training.”

The Department of Art and Art History is housed in the .

With recent acquisitions ranging from rare 19th-century lithographs to the archives of Â鶹´«Ã½ artists and architects, at the University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹ continues to strengthen its role as a hub for Pacific and Â鶹´«Ã½ art research.

“These gifts enrich our collections and ensure that we are able to provide a rich tapestry of materials to support teaching, research and creative activity,” said University Librarian Clem Guthro. “As the library for Â鶹´«Ã½ only research university, we depend on the generosity of donors to help us build world class collections.”

A set of 57 hand-colored lithographs by Louis Choris from the 19th-century books Voyage Pittoresque Autour du Monde (1822) and Vues et Paysages des R¨¦gions ?quinoxiales (1826) was donated to the Pacific Collection, which already holds both books.

“These prints are among some of the earliest visual documentation we have of life in the Pacific, and as such are extremely valuable for researchers seeking information on island society, material culture and environments during the early period of contact between Pacific Islanders and Europeans,” said Stu Dawrs, senior librarian in the . He noted that the Pacific Collection is acknowledged as the world¡¯s largest and most complete library of material relating to the Pacific Islands region.

The also received donations, prompting new collections and additions to existing ones. Art Archivist Malia Van Heukelem is establishing archives for UH ²Ñ¨¡²Ô´Ç²¹ Art Professors Charles Cohan, retiring in December, and Ronald Kowalke, who died in 2021. Both taught art studio classes for decades, earning respect from peers and leaving a lasting impact on students and the community.

The Cohan Papers include sketchbooks, instructional materials and exhibition ephemera from his career as a printmaker. The Kowalke Papers feature faculty papers, sketchbooks, photos and records of his works, including his at the Â鶹´«Ã½ Convention Center.

Additional acquisitions were made to the and the . The Doi donation adds original works¡ªwatercolors, drawings, prints and two self-published books¡ªbuilding on correspondence previously donated. Architect Sidney Snyder, Vladimir Ossipoff¡¯s business partner, donated professional photos, index cards and awards documenting their firm¡¯s projects. Snyder died on September 21, 2025, and had previously donated materials in 2010.

Gabriella Wilson-Rytting, founder and creative director of , was chasing college credits before some of her Kapaʻa High School classmates were even thinking about higher education. While still in high school, she jumped at the opportunity to take dual credit courses, and earned her associate degree in liberal arts from Kauaʻi Community College by 2018.

“I remember how supported I felt by my professors and how much freedom I had to explore different areas of interest. The photography and illustration classes in particular lit something up in me—they made it clear that design was what I wanted to pursue,” Wilson-Rytting said. “I also appreciated the business class that opened my eyes to entrepreneurship, and the Hawaiian Studies program, which helped me reclaim and better understand the cultural context I grew up in. All of that shaped who I am today—not just as a designer, but as a business owner and storyteller.”

Her next educational chapter took her across the ocean to the University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹, a leap she felt ready for thanks to the foundation she built at Kauaʻi CC.

Community college = solid base

“My advice: trust your foundation. Community college gives you such a solid base,” Wilson-Rytting said. “Your experiences from a smaller campus are still incredibly valuable, and they give you an edge when navigating a bigger university setting.”

That solid base propelled her to earn two degrees from UH ²Ñ¨¡²Ô´Ç²¹—a bachelor of fine arts in graphic design and a bachelor of arts in cultural studies. Today, she channels her creativity and cultural perspective into Essence Marketing & Design. The Oʻahu-based company specializes in branding, website design, content creation and digital strategies tailored to small businesses.

“Everything is custom and intentional—there¡¯s no cookie-cutter work here,” she said. “As a Native Hawaiian woman and small business owner myself, I understand the importance of culture, depth and representation.”

University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹ alumnus Scott Norwood Fitzel, a renowned local sculpture artist, unveiled his latest sculpture, “M¨¡naiakalani,” at the N¨¡n¨¡kuli Public Library on September 21. The freestanding stainless steel and cast glass sculpture was commissioned for the library by the .

Fitzel, who earned his Bachelor of Fine Arts from UH ²Ñ¨¡²Ô´Ç²¹¡¯²õ , created “M¨¡naiakalani” as a tribute to his deep-rooted connection to Hawaiian culture and his love for natural elements.

The sculpture draws inspiration from the legendary fishhook of M¨¡ui, a Polynesian culture figure, and the golden stars of the M¨¡naiakalani constellation that adorn the night sky above N¨¡n¨¡kuli. Lit from within, the glass illuminates day and night. The artwork reminds those who see it of the popular mythology of the creation of the Hawaiian Islands.

Fitzel is a Native Hawaiian artist who was raised in Huntington Beach, California. His journey as an artist began when he discovered glassblowing in community college. His love for surfing led him to Â鶹´«Ã½, where he continued to study glassblowing at UH ²Ñ¨¡²Ô´Ç²¹. He honed his craft and developed his distinctive style that blends his love for natural elements reflecting his desire to use materials in non-traditional ways to evolve traditional ideas into new techniques.

has been recognized as one of the top 25 graphic design schools on the West Coast, according to . UH ²Ñ¨¡²Ô´Ç²¹ stood out among more than 50 higher education institutions considered for the ranking.

“We are very proud of this accomplishment and excited to see that we have been able to maintain and even improve upon the rankings for several years,” said Chae Ho Lee, a professor in the UH ²Ñ¨¡²Ô´Ç²¹ . “Our graphic design students not only gain a strong foundation in graphic design practice and theory but have moved on to successful careers in design and have become leaders in their community.”

The West Coast region ranking includes California, Oregon, Washington, Â鶹´«Ã½ and Alaska.

Real-world impact

A key feature of the program is the Graphic Design Workshop, which gives students the opportunity to provide high-quality graphic design services to non-profit organizations across the state. This spring, students developed marketing materials and visual identity systems for K¨±puna Care, a state-funded program that supports elders in aging safely at home. They also created designs for the Â鶹´«Ã½ Dementia Initiative, launched by the Â鶹´«Ã½ State Executive Office on Aging to address Alzheimer¡¯s disease and related dementias.

Past clients have included a variety of organizations including on-campus groups such as the UH ²Ñ¨¡²Ô´Ç²¹ . The program¡¯s work has received local recognition from AIGA Â鶹´«Ã½, the Pele Awards, and Honolulu Magazine, and national recognition from AIGA Los Angeles, the Adobe Design Achievement Awards, HOW magazine, and Print magazine.

Top-ranked program

About 86% of graduates from UH ²Ñ¨¡²Ô´Ç²¹¡¯²õ graphic design program are currently working in the design field, holding positions locally, nationally and internationally.

In 2022, UH ²Ñ¨¡²Ô´Ç²¹’s graphic design program was ranked among the nation¡¯s top 50 graphic design schools by Animation Career Review. It earned the number 12 spot out of the top 25 schools on the West Coast and is housed in the UH ²Ñ¨¡²Ô´Ç²¹ .

Kuchi-e prints are a distinctive genre of Japanese woodblock illustrations that were inserted inside of popular literary magazines during the Meiji and Taish¨­ periods, reflecting the rich cultural landscape of late 19th and early 20th-century Japan. The has recently acquired a unique collection of more than 200 Kuchi-e prints, generously donated by Nanako Yamada, a scholar and collector based in Honolulu.

The Yamada Collection showcases works by renowned ukiyo-e artists such as Hanko Kajita and Toshikata Mizumo, who used traditional techniques to produce stunning frontispieces for early modern magazines, most notably Bungei Kurabu.

An avid collector, Yamada is the author of nine books on Kuchi-e, including Woodblock Kuchi-e Prints: Reflections of Meiji Culture.

Finding a new home

In addition to the woodblock prints, Yamada has also donated dozens of accompanying literary magazines, particularly issues of Bungei Kurabu. These magazines were designed to attract readers, especially women and young adults, with the Kuchi-e illustrations serving as a captivating intersection between visual art and modern Japanese literary history.

“The images by some of the most talented artists of the Meiji-Taish¨­ period, representing iconic scenes in magazine-serialized novels, functioned to draw readers into the tales and fuel their imaginations,” explained Andre Haag, professor of Japanese literature at UH ²Ñ¨¡²Ô´Ç²¹.

The Yamada Collection also highlights the meticulous technique of inserting frontispieces into each novella, which has broader implications for fields such as bookbinding and museum studies. Graduate students across the departments of the will be able to utilize the collection as a new resource for their research this fall.

After considering various possible homes for her rare and unique collection, Yamada chose UH ²Ñ¨¡²Ô´Ç²¹ Library due to the expertise and dedication of Mitsutaka “Mitsu” Nakamura, Japan studies librarian, and Sachiyo Kawaiʻaeʻa, Japanese cataloger.

“The research value of these prints is immense,” said John Szostak, professor and Japanese art historian at UH ²Ñ¨¡²Ô´Ç²¹. “Ms. Yamada did an excellent job in gathering prints by prominent artists and kept them in wonderful condition.”

Plans for digitization, public display

Plans to digitize the Kuchi-e collection are currently being explored through grant opportunities aiming to make the collection accessible to a wider audience. Nakamura was recently awarded the 2024 Karl Lo Award and will receive $7,000 from the to assist with the digitization project.

In the near future, the collection will also be exhibited in the library¡¯s galleries for the public to visit.

The Yamada Collection is housed in Hamilton Library¡¯s Asia Collection. to view the collection.

University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹ alumna Donna Hayashi Smith was appointed as the ninth Curator of the U.S. White House, where President Joe Biden and First Lady Jill Biden live and work. Hayashi Smith is the first Asian-American to hold the position and oversees the stewardship and care of approximately 60,000 objects, ranging from fine art to furniture to china.

She is responsible for working with the President and First Lady¡¯s staff to select furnishings and decorative artworks for display in the iconic rooms at 1600 Pennsylvania Avenue.

“Serving as Curator of the White House is an honor and privilege that I have always considered an ultimate career achievement,” Hayashi Smith said. “After almost 30 years [at the White House], I am excited for the opportunity to lead the talented Curator¡¯s Office team to accomplish new and different goals while serving presidents and their families.”

Guardian of heritage

Hayashi Smith has worked at the White House since 1995 starting as an administrative/collections assistant under the President Bill Clinton administration.

“Donna Hayashi Smith brings years of experience to this position, along with unique perspectives from serving under five administrations. She understands the history and legacy of the White House, as well as the intricate innerworkings of the building itself,” said First Lady Jill Biden.

In her new role as Curator, Hayashi Smith will oversee the acquisition, documentation, research, and interpretation of the White House¡¯s extensive collection. Among the notable pieces her team oversees are the revered paintings of American presidents, such as the stoic portrayal of George Washington and the renowned downward gaze portrait of John F. Kennedy. Also, among the treasures is Georgia O¡¯Keeffe¡¯s Mountain at Bear Lake – Taos oil painting.

“We want everyone who visits the White House to feel a connection to the President¡¯s House while learning about its history, great collection of fine and decorative arts, and the presidents and families who have lived there,” Hayashi Smith said.

Life-changing journey

Hayashi Smith grew up in Wahiaw¨¡ and graduated from Leilehua High School before earning her BA in at UH ²Ñ¨¡²Ô´Ç²¹ in 1990. Hayashi Smith recalls a life-changing moment on the ²Ñ¨¡²Ô´Ç²¹ campus when she stumbled upon a flyer about a study abroad program in London. The overseas experience in 1988 propelled Hayashi Smith to form a deep appreciation for museums, history and culture.

After returning to Â鶹´«Ã½, she relished her time at UH ²Ñ¨¡²Ô´Ç²¹ studying under art professors like Tom Klobe, who still mentors her today. Hayashi Smith said Klobe had a profound impact on her career.

“Just his passion about his work really inspired me,” Hayashi Smith explained. “I didn¡¯t know what my passion was. Just being surrounded by people like him who work so hard, he really stuck with what he really enjoyed and what made him happy. I feel like that’s what I’m doing today.”

When she told Klobe about her new appointment at the White House, he cried.

“For me, what is exciting is to see how she has grown,” said Klobe, a UH ²Ñ¨¡²Ô´Ç²¹ professor emeritus of art and founding director of the UH art gallery. “One of the things for me that is most important as a teacher is when I¡¯m teaching I try to get the students to realize who they are and to build on their abilities and their interests, their own personal experience.”

Senator¡¯s guidance

Her roots in the nation¡¯s capitol were first planted in the early 90s. Prior to graduation, Hayashi Smith contacted Sen. Daniel Inouye¡¯s office about job opportunities at museums on the U.S. continent. The office advised her to apply for an internship at the Smithsonian Institution Fellowship Program. She landed a three-month minority fellowship and eventually secured a museum aide position at the Smithsonian Institution National Museum of American Art and worked in the Registrar¡¯s Office for four years.

A privilege

As she begins this exciting chapter in the nation¡¯s capital, Hayashi Smith considers it an honor to continue the work of preserving the treasures and stories of the White House.

“A relative asked what I would ever do with an art history degree. I replied that I was not sure but that I really enjoyed studying it, and felt it was the right choice for me. I am thankful I followed my interests and pursued a career that continues to bring me happiness,” Hayashi Smith said.

Art energized by rich wisdom and layers of ʻike Â鶹´«Ã½ (Hawaiian knowledge) drawn from kūpuna (ancestors) will fill the at the University of Â鶹´«Ã½ at Mānoa starting November 19. The free exhibit, , will showcase works through February 2024 created by nine kānaka ʻōiwi (Native Hawaiian) artists inspired by intergenerational knowledge.

The core of the exhibit will feature pieces produced by two former UH faculty and revered Â鶹´«Ã½ artisans; retired UH Mānoa and art Professor Ivy Hāliʻimaile Andrade and Sean Kekamakupaʻaikapono Kaonohiokalani Lee Loy Browne, a sculpture lecturer who taught at UH Mānoa and Kapi?olani Community College.

“Both artists were key figures of the Hawaiian Cultural Renaissance of the 1980s,” said Debra Drexler, a painting professor at UH Mānoa and acting gallery director. “Both are internationally recognized artists, who have spread understanding of the Hawaiian culture to venues around the world. These artists are treasures of our community and we are fortunate to see their work in conversation with each other and a younger generation of artists.¡±

holds its opening reception on Sunday, November 19, 2—4 p.m. at the UH Mānoa Art Gallery.

Beyond view

In the gallery, Browne¡¯s 15-foot diameter basalt rock circle, Ka Piko (The Navel) will be displayed at the base fronting ´¡²Ô»å°ù²¹»å±ð¡¯²õ 14-foot kapa (barkcloth) and handmade paper installation, Ascending, which honors ancestors who have ascended.

“The two pieces really play well together,” said Andrade. “I¡¯m hoping when people enter the gallery¡­that they¡¯re drawn in towards that space.”

Andrade draws from cultural practices in fiber arts to make contemporary sculptures and installations. While putting her piece together, Andrade thought about loved ones lost and wanted to exude the feeling of souls lifting.

Ancient art

Browne explores traditional and contemporary approaches to form through bringing a k¨¡naka (Hawaiian) aesthetic to materials such as bronze, limestone, basalt and even styrofoam. A native of Keaukaha on Â鶹´«Ã½ Island, Browne recalls gazing at petroglyphs at Puʻuloa in Puna as a young boy and later learning about how Hawaiians of old carved crevices in lava rock to place piko (umbilical chords) in after childbirth. He kneaded those elements of inspirational ʻike into his Ka Piko basalt rock work.

“So it¡¯s kind of like a thread that can connect us both to our roots, our past and to our future,” Browne said. “It connects not just me to my parents¡­ but everybody else that came before them. And then it can look forward to where we are today and into the future.”

The seasoned artists included several other k¨¡naka ʻōiwi artists that they mentored and developed pilina (relationships) with to also feature pieces at the exhibit: Puni Jackson (MFA, UH Mānoa ), Charlton Kūpaʻa Hee (master of environmental management, UH Mānoa ), Kawika Lum-Nelmida (BA, UH Mānoa Hawaiian studies), Marques Hanalei Marzan (BFA, UH Mānoa art and art History), Abigail Kahilikia Romanchak (MFA, UH Mānoa art and art history), Cory Kamehanaokal¨¡ Holt Taum (BA, UH Mānoa Hawaiian studies) and Maikaʻi Tubbs (BFA, UH Mānoa art and art history).

For more information visit .

Individual artworks created by two alumni and a student from the at the University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹ have been acquired for public viewing. In September, the Â鶹´«Ã½ State Foundation on Culture and the Arts (SFCA) purchased an oil painting that depicts the controversial sport of sabong or cockfighting, and sculptures made out of glass and nylon-laced ceramic for a public art collection that is displayed in hundreds of state government sites across Â鶹´«Ã½, such as schools, libraries and Capitol Modern (formerly Â鶹´«Ã½ State Art Museum).

Artists featured in the SFCA Art in Public Places Collection include UH ²Ñ¨¡²Ô´Ç²¹ alumni Eduardo Joaquin (BFA, UH ²Ñ¨¡²Ô´Ç²¹ art and art history and AA, Kapiʻolani Community College), Jenna Macy (MFA, UH ²Ñ¨¡²Ô´Ç²¹ art and art history) and student Enrico Battan (MFA, UH ²Ñ¨¡²Ô´Ç²¹ art and art history).

Battan is on track to graduate this fall and aspires to show his creations at contemporary galleries around the world. His recently purchased sculpture, ‘Collapse,’ is made from recycled tinted industrial window glass and was cooked in a kiln at more than 1,300 degrees. The Michigan native poured his heart to the piece after experiencing loss and an immense range of emotions.

“Hard times generate great work, the most difficult of things bring the greatest rewards, even when we cannot see how because we are living in the moment, and things seem too difficult to work though, don’t give up,” Battan said. “See things through, never give up.”

This November, Battan will showcase more of his work at the Artists of Â鶹´«Ã½ 2023 exhibition at the Downtown Art Center in Honolulu.

All three artworks were nominated by Acquisition Award Selection Committees during exhibit visits and were approved for purchase by the SFCA Board of Commissioners on September 20.

You could say that reclaiming elements of Native Hawaiian artistry that were nearly lost and forgotten is interwoven into Roen Kahalewai Hufford¡¯s DNA. The University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹ alumna is the leading figure in the traditional art of ka hana kapa (making barkcloth) and this fall, received one of the nation¡¯s highest honors in the folk and traditional arts from the (NEA) for her leadership in the revival of kapa.

• Related UH News story: Reclaiming the art of kapa earns UH ²Ñ¨¡²Ô´Ç²¹ alumna national art fellowship, March 10, 2023

NEA recognized her as a 2023 National Heritage Fellow at the agency¡¯s public ceremony in Washington, D.C. in September. Hufford firmly follows in the footsteps of her mother, expert Kanaka ʻŌiwi (Native Hawaiian) artisan Marie Leilehua McDonald known for her mastery and scholarship in the art of lei-making. McDonald, who died in 2019, was also named a NEA National Heritage Fellow in 1990.

“I was overwhelmed and I cried because my mother was not here to know that I had done this or that somebody even thought to honor me,” Hufford said. “We just go about our lives doing what needs to be done. I like to think of all the kapa makers in my generation who knew my mother, who were inspired by her. I would hope that they share in this with me because we are all colleagues in our different projects.”

From the ground up

For the last 30 years, interest in ka hana kapa has grown with Hufford at the helm. The kapa making process is long and labor intensive. It begins with peeling and cleaning the bast (fibrous material) from 7- to 10-foot stems cut from wauke (paper mulberry) trees. The fiber is soaked in sea water, beaten with wooden mallets into thin sheets, and then felted into larger pieces. In Â鶹´«Ã½, delicate watermarks are imprinted by patterned beaters and the dried kapa is decorated with natural colors derived from flowers, fruits, bark and soil. Dyes are applied with handmade stamps, brushes, bits of wood and even leaf stems.

The renowned kapa artist called Kāneʻohe home as a child before her ʻohana (family) relocated to a 9-acre farm on Hawaiian Homelands in Waimea on Â鶹´«Ã½ Island. Hufford credits her mom for raising them to trust their artistic expression, a skillset she tries to pass down to her own ka hana kapa haum¨¡na (students).

“I don¡¯t ever recall her saying that we had made a mistake. She never said to us, ‘No, that¡¯s not the way.’ She accepted every attempt and encouraged us to self-evaluate. She was exemplary as a teacher in that she saw potential in all of her students,” Hufford explained.

Inspirational impacts

From 1970–73, Hufford attended UH ²Ñ¨¡²Ô´Ç²¹ and earned a bachelor¡¯s degree in art. While studying at the university, Hufford relished the opportunity to soak in the campus¡¯ wide spectrum of courses ranging from music to botany.

“I found it really exciting to take something outside of my major and understand how important plants are to us in the whole scheme of life, so that really impacted me,” Hufford said.

Even today, cultivating and making kapa are inseparable for her. She still resides on her family¡¯s farm in Waimea which is surrounded by hundreds of wauke trees that flourished from three tiny cuttings that were first planted by her mother. Hufford hosts a weekly kapa hui (kapa group) at the farm where students of all ages, backgrounds and skill levels come to learn and share with each other.

On display

This October, the Department of Hawaiian Homelands (DHHL) installed Hufford¡¯s “Lei Hulu” piece inside its headquarters in Kapolei. The Â鶹´«Ã½ State Foundation on Culture and the Arts has six kapa pieces made by Hufford on display in the . Three pieces (“Alaea,” “Ka Papa Honua (strata of earth)” and “Piʻi Ka Mauna”) are also on display at (formerly the Â鶹´«Ã½ State Art Museum) through the end of this year. Admission is free.

The UH ²Ñ¨¡²Ô´Ç²¹ is housed in the .

The University of Â鶹´«Ã½ at Mānoa will showcase the Jean Charlot as Critic: Art in Â鶹´«Ã½, 1950¨C1970 exhibit from August 27 to December 3.

Jean Charlot is best known as a painter and educator, and the exhibition focuses on the local art he wrote about for the Honolulu Star-Bulletin.

Charlot¡¯s account provides some of the only written record of Honolulu¡¯s emergent art scene during the decades following World War II. Many of the artists he wrote about would comprise the first edition of the iconic Artists of Â鶹´«Ã½ (1974), including Isami Doi, Kenneth Bushnell, Juliette May Fraser, Sueko Kimura, Ben Norris, Louis Pohl, Shirley Russell, Tadashi Sato, Edward Stasack and Tseng Yu-Ho.

Charlot moved to Honolulu in 1949 and for 17 years served as a professor of art at UH Mānoa. He remains one of the department¡¯s most significant and illustrious faculty members.

This exhibition will honor Charlot and is curated by Maika Pollack, director and chief curator of the John Young Museum and University Galleries.

The admission for the exhibit is free and open to the public, Wednesday through Sunday from noon to 4 p.m.

To learn more about the exhibit visit the website.

Surprising, unusual and amusing are elements woven into art pieces on display in the newly unveiled “” exhibit at the . Works created by University of Â鶹´«Ã½ artists are among the pieces featured which include five UH ²Ñ¨¡²Ô´Ç²¹ and UH Hilo alumni and seven faculty from UH ²Ñ¨¡²Ô´Ç²¹ and Windward Community College.

The exhibit opened on Friday, August 3, and spotlights creations through a diverse mix of media and artistic approaches such as ink jet prints, bronze and wood.

Brightly colored fabrics dotted with vintage-esque Â鶹´«Ã½ scenes of shady palms and pineapple are featured in artist Brandon Ng¡¯s Aloha Wear(y) photograph print. Ng, who earned a BFA from the department at UH ²Ñ¨¡²Ô´Ç²¹, exposes hidden and disguised psychological ramifications through art.

“I¡¯ve often found that when traveling on the continental U.S. and abroad, I have to explain to people why I am not Hawaiian despite being born and raised in the islands,” Ng said. “Using generic ‘Hawaiian Shirts” and tropical fabric motifs as a stand-in for pervasive ideas about paradise, I call attention to the complication of self-identification through the lens of Â鶹´«Ã½‘s nuanced ethnic dynamic.”

Dark art

Print artist Katya Lee Hutchinson believes her artwork possesses a dark intensity often heavily influenced by literature, examining ideas around escapism, isolation, and social evolution. The alumna poured views about our society into Bessemer Bubbles, her intaglio and monoprint print.

“The industrial cycle of labor/production/consumption has had an immeasurable impact on culture and the environment,” Hutchinson stated. “Haunted by the insidious nature of industry and materialism, Bessemer Bubbles examines my own role as a passive participant within a flawed system.”

Featured UH alumni artists

• Katya Hutchinson, UH Hilo
• Jackie Mild-Lau, UH ²Ñ¨¡²Ô´Ç²¹
• Brandon Ng, UH ²Ñ¨¡²Ô´Ç²¹
• Johannette Rowley, UH ²Ñ¨¡²Ô´Ç²¹
• Fred Roster, UH ²Ñ¨¡²Ô´Ç²¹

Featured UH faculty artists

• Jean Charlot, professor emeritus, UH ²Ñ¨¡²Ô´Ç²¹
• Claude Horan, professor emeritus, UH ²Ñ¨¡²Ô´Ç²¹ (founder of ceramics and glass programs)
• Phil Jung, lecturer, UH ²Ñ¨¡²Ô´Ç²¹ Department of Art and Art History
• Shigeru Miyamoto, professor, Windward Community College Department of Art
• Fred Roster, professor emeritus, UH ²Ñ¨¡²Ô´Ç²¹
• Mamoru Sato, professor, UH ²Ñ¨¡²Ô´Ç²¹ Department of Art and Art History
• Suzanne Wolfe, professor emerita, UH ²Ñ¨¡²Ô´Ç²¹

“Creatures and Characters” will be available for viewing in the Â鶹´«Ã½ State Art Museum through summer 2024. Learn more about the exhibit at the website.

University of Â鶹´«Ã½ artists investigate the “Fear of the Unknown” at an exhibit at the opening July 7. Art pieces by 14 UH ²Ñ¨¡²Ô´Ç²¹ and UH Hilo alumni and five pieces from faculty (three of whom are also alumni) from UH ²Ñ¨¡²Ô´Ç²¹, UH Hilo and Kapiʻolani Community College will be on display.

“Fear of the Unknown” explores enigmatic artworks from the of the , and some recently added artworks are on display to the public for the first time. The exhibit encourages viewers to “take a closer look and find details that help reveal narratives of exploration, change and discovery.”

“Â鶹´«Ã½ was the first state in the U.S. to establish a percent-for-art law, by legislatively accessing one percent of the construction cost of new state buildings to fund the State Foundation on Culture and the Arts (1965) and the Art in Public Places Program (1967),” said Gaye Chan, associate dean of the UH ²Ñ¨¡²Ô´Ç²¹ College of Arts, Languages & Letters, and one of the UH artists in the exhibit. “It is hard to overstate how these initiatives support and encourage Â鶹´«Ã½ artists to stay the course in a city that has few other resources for artists.”

UH alumni artists

• Gaye Chan, UH ²Ñ¨¡²Ô´Ç²¹
• Melissa Chimera, UH ²Ñ¨¡²Ô´Ç²¹
• Calvin Collins, UH ²Ñ¨¡²Ô´Ç²¹
• Nate Ditzler, UH ²Ñ¨¡²Ô´Ç²¹
• Ka-Ning Fong, UH ²Ñ¨¡²Ô´Ç²¹
• Tiana Honda, UH Hilo
• Scott Katano, UH ²Ñ¨¡²Ô´Ç²¹
• Lauren Konecne, UH ²Ñ¨¡²Ô´Ç²¹
• Meleanna Meyer, UH ²Ñ¨¡²Ô´Ç²¹
• Hanae Uechi Mills, UH ²Ñ¨¡²Ô´Ç²¹
• Brandon Ng, UH ²Ñ¨¡²Ô´Ç²¹
• Abigail Romanchak, UH ²Ñ¨¡²Ô´Ç²¹
• Russell Sunabe, UH ²Ñ¨¡²Ô´Ç²¹
• Norman Tanaka, UH ²Ñ¨¡²Ô´Ç²¹

UH faculty artists

• Gaye Chan, professor, UH ²Ñ¨¡²Ô´Ç²¹ Department of Art and Art History
• Charles Cohan, professor, UH ²Ñ¨¡²Ô´Ç²¹ Department of Art and Art History
• Calvin Collins, professor, Kapiʻolani CC Art Department
• Ka-Ning Fong, lecturer, UH ²Ñ¨¡²Ô´Ç²¹ Department of Art and Art History
• Michael Marshall, professor, UH Hilo Art Department

“Fear of the Unknown” will be available for viewing in the Â鶹´«Ã½ State Art Museum ʻEwa gallery (second floor). Learn more about the exhibit at the .

Students and scholars at the University of Â鶹´«Ã½ at Manoa (and worldwide) can now easily access and view the fine details of rare, hand-painted Japanese scrolls, made possible by ¡¯s new state-of-the-art digitization lab. The scrolls titled ¾¨Óãè{Цåh (Geigyo ransh¨­roku), or “A simple overview of whaling” were created in 1819 and gifted to UH in 2020 by Deborah Rudolph to honor the memory of her late husband, John Harvard Hawley. They depict the entire process of whale hunting during Japan¡¯s Edo period (1600–1868).

Previously only viewable in-person and by appointment in the library¡¯s Asia Collection, the scrolls in high resolution, beyond what a user would see in person.

The digitization project was the library¡¯s largest and most challenging to date, with the two scrolls measuring 39 feet and 35 feet, respectively.

“The level of detail we were able to capture was excellent,” said Clem Guthro, UH ²Ñ¨¡²Ô´Ç²¹ Librarian. “If you zoom close enough, you can see the brush strokes in the pigment, the grain of the paper and accumulated damage over the past two hundred years.”

Conservation and digitization

Conservation work on the scrolls began in 2021 and took six months, followed by planning for digitization, which took another few months. The digitization was completed in December 2022, and the showing the display of the scrolls, cataloging and annotation work, was completed in June 2023.

“The care and handling of the scrolls was a collaborative effort, mainly between the Preservation Department and the Digitization Lab,” said Ted Kwok, a geospatial librarian. ¡°Planning was key for effective object handling and digitization, including researching how other institutions handled scrolls, building a scroll carrier system, and establishing a workflow so everyone knew what to expect on the day of digitization.”

The images are provided through the International Image Interoperability Framework, which allows students, faculty and researchers worldwide to examine, compare, annotate and share images and documents.

Cutting-edge lab facility

The library upgraded its digitization lab in August 2022 with new high-quality imaging equipment and lab space configured for camera-based image capture and processing workflow.

“For example, the room was painted with a neutral gray; we have large tables, shelving and carts for the organization of projects; lighting controls; HEPA filters to reduce dust; and powerful computers for processing large and numerous images,” Kwok explained.

“With the library¡¯s many treasures throughout its collections and archives, including historical and rare documents, manuscripts, photographs, maps and artwork, we now have what can easily be considered one of the best cultural digitization labs in the state,” said Guthro. “Our lab is small, but can digitize at a level that traditional scanners can’t come close to.”

The library¡¯s next big digitization project will be 400 volumes of Korean material from the Asia Collection.

The University of Â鶹´«Ã½ at ²Ñ¨¡²Ô´Ç²¹ was a key partner in an international exhibition in Mexico City celebrating the 100th anniversary of the Mexican Muralist Movement.

A major holder of the works of renowned , writer and former UH faculty (1898¨C1979), Hamilton Library staff and students were involved in a year-long process to loan 25 of Charlot¡¯s artworks for , which opened in January 2023 at the Antiguo Colegio de San Ildefonso, M¨¦xico, D.F. The venue is the location of Charlot’s first fresco mural, started October 2, 1922 and completed January 31, 1923.

Being able to play such an active part of the process…will eternally be a highlight for both my academic and professional careers.
—Kate Marsi, LIS student

“This was an incredible opportunity to feature one of the library’s special collections in this international exhibition,” said Art Archivist Librarian Malia Van Heukelem. “It has been a learning experience for all involved, but particularly for students to have the opportunity to learn and contribute. It is also important to our stakeholders—the Charlot Family, the Jean Charlot Foundation, local community members and Charlot scholars—to continue to share his art with the world.”

The exhibition includes 246 pieces featuring works by Charlot, and artists Diego Rivera, Fernando Leal, Ramon Alva de la Canal, Fermin Revueltas, David Alfaro Siqueiros and Jose Clemente Orozo. In 1922, government officials commissioned the artists to create art on the walls of the former Jesuit school of Ildefonso that would educate the population about the country¡¯s history and present a powerful vision of its future.

The collection of easel work, drawings, sketches, photographs, magazines and videos highlights the motivations that moved these young artists (ages 21 to 39 at the time), and delves into the avant garde cultural environment and ideas that animated life in Mexico 100 years ago.

Loaning process

In January 2022, over a dozen library staff and students began working on the loaning process to send off Charlot¡¯s artwork to Mexico, a major undertaking for a library.

Students assisted with cataloging artwork, scanning images for publication, researching insurance replacement values, determining specifications for framing, helping paper conservator Liane Naʻauao with assembling the frames, and packing and sending off the crates that carried the art pieces. Staff were responsible for everything from preparing the loan agreements, working with the Charlot Estate on additional painting loan and copyright clearances and overseeing the logistics of the shipment.

“This opportunity with the Jean Charlot Collection is one of the most interesting things I have ever been able to take part in,” said Library Information Sciences graduate student Kate Marsi. “Being able to play such an active part of the process of preparing and lending pieces for an international exhibition will eternally be a highlight for both my academic and professional careers.”

International conference

In addition to viewing the exhibit, Van Heukelem presented at held April 18–21 in Mexico City, a national conference of art librarians from the U.S., Canada, Mexico and a few other countries. Her two talks covered the process of supporting an international exhibition and the rare photographs of the first Mexican murals found in the Jean Charlot Collection by famous photographers Edward Weston and Tina Modotti.

Van Heukelem said she was thrilled to be able to see the exhibit in person and is proud of all the hard work the Â鶹´«Ã½²Ñ¨¡²Ô´Ç²¹ Library and supporters put into making it happen.

“It was wonderful to see Jean Charlot receive the same recognition as the other Mexican muralists,” said Van Heukelem. “There was a dedicated gallery for his mural and other works, as well as a chapter in the exhibition catalog and booklet. It was rewarding to see all the work we put into supporting the international exhibition finally realized.”

The Spirit of 22: A Century of Muralism in San Ildefonso will be open for public viewing until June 12, 2023.

—by Arlene Abiang

A student-designed mural blending astronomy and tropical flowers now spans the street-facing wall inside the University of Â鶹´«Ã½ (IfA) courtyard. The artist, Cyan Garma, a student in the , collaborated with IfA¡¯s beautification committee to design the mural.

Garma was recommended by art faculty Wendy Kawabata, for his extensive mural work around Oʻahu.

Garma said he wanted to do something that had “a blend of astronomy and tropical flowers. The big flower with the large round part in the middle is supposed to represent the Sun, and some of the other round elements among the flowers represent planets. The stars above are based on the Pleiades, which is the motif in the sculpture on the machine shop wall.”

Garma said he had to take a liberty on the placement of the stars to make the art balance out.

“The idea for a mural started with a general interest in making IfA more ‘beautiful’ by incorporating student art,” said Larry Denneau, a software engineer at IfA and member of the beautification committee. “We gave the artist nearly total freedom in selecting what would go into the mural and it showcases significant talent among Â鶹´«Ã½art students.”

Garma proposed some ideas similar to other mural work he has done, and the proposal was approved by IfA faculty. IfA used donated funds administered by the and private donations for the materials plus some compensation for the artist. Most of the funding went toward paint and scaffolding rental.

Mural reception

IfA held a reception for Garma on March 24, which had more than 50 people attending—from the art department, IfA staff and students, the beautification committee and attendees who were friends and family of Garma.

Bill Unruh, IfA¡¯s physical plant manager and member of the beautification committee, arranged for a reception and explained how the collaboration between the art department and IfA began.

The beautification committee members include: Denneau, Curt Dodds, Karen Meech, Raja Narayanan, Unruh, Roy Gal, Ben Shappee, Dan Huber, Eugene Magnier, Melissa Matsuura, Morgan Bonnet, Jennifer van Saders, Carolyn Kaichi and Alan Tokunaga. The members hope to continue projects to help beautify IfA, including a collaboration with the to design gardens around the building.

Kapa, a barkcloth created by soaking and pounding the inner barks of the wauke (paper mulberry) plant, was an essential part of early K¨¡naka ʻŌiwi (Native Hawaiian) life, once used for clothing, baby swaddles, blankets and more. However, with the introduction of cotton in the 1800s, kapa became less prevalent—at one point, the skills for creating it nearly faded away.

Today, K¨¡naka ʻŌiwi artist and alumna Roen Hufford is a leading figure in carrying on the art of ka hana kapa (making barkcloth). For her leadership in reclaiming this traditional art form, Hufford was recognized as a 2023 National Heritage Fellow by the (NEA).

“It¡¯s a big deal to me that I have the ability and the knowledge to transform the inner bark of a plant into a work of art,” said Hufford. “For me, receiving this recognition and this honor is verification that I’ve done something significant.”

The is the nation’s highest honor in folk and traditional arts. Since 1982, the annual honor has recognized individuals in more than 200 distinct art forms for their artistic excellence, lifetime achievement and contributions to the nation’s traditional arts heritage. Hufford is one of nine artists selected for the 2023 class, and the nineteenth artist to represent the state of Â鶹´«Ã½.

Carrying forth her mother¡¯s legacy

Hufford¡¯s artistic roots run deep—her mother, Marie Leilehua McDonald, was also selected as an NEA National Heritage Fellow in 1990, recognized for her mastery and scholarship in the art of lei-making.

Hufford credits much of her knowledge and beginnings in ka hana kapa to her mother. In the 1970s, McDonald had collaborated with a group of artisans to revitalize the art form. It was around this time at her mother¡¯s encouragement that Hufford began to learn how to pound kapa. While learning the art, Hufford also helped her mother cultivate patches of wauke and dye plants that they used for their kapa creations. Upon her mother¡¯s passing in 2019, Hufford inherited this ka hana kapa legacy and continues to advance the art to this day.

“When I found out that I received the fellowship, I cried,” said Hufford. “It was an emotional thing—an honor that my mother foresaw that I could have to do this.”

In the last 30 years, interest in kapa making has grown, and Hufford has been a leader in the effort. She hosts a weekly kapa hui (kapa group) at her farm in Waimea, where students can learn the art of ka hana kapa. She also takes great care in farming the plants that go into kapa, and shares wauke starters from her farm with other kapa makers in the community.

UH ²Ñ¨¡²Ô´Ç²¹ roots

Hufford holds a BFA in ceramics from UH ²Ñ¨¡²Ô´Ç²¹¡¯²õ . While studying at UH, she was able to take a variety of courses outside her major program, many of which continue to shape her and her work to this day.

“I was learning so much from other disciplines like botany, music or history,” explained Hufford. “That really made an impact on me and my understanding of what I do now.”

Hufford joins several other UH alumni in , an exhibit at the Â鶹´«Ã½ State Art Museum, where three of her kapa pieces are on display through the end of 2023. The museum is open Monday¨CSaturday, 10 a.m.–4 p.m. and admission is free.

For more about Hufford and the National Heritage Fellowship, .

—By Alisha Churma