Ka Wai Ola - Office of Hawaiian Affairs, Volume 4, Number 10, 1 October 1987 — Makaku [ARTICLE+ILLUSTRATION]

Makaku

By Rocky Ka'iouliokahihikolo 'Ehu Jensen

Of Hawaiian Art

For the last 15 years I have been working on educating our loeal developers, interior designers, architects, etc., on the subject of Hawaiian art . . . primarily that art whieh is created by a native Hawaiian artist. My main focus has been to elevate the financial potential for the serious native Hawaiian artist. We have hundreds of hotels, condominiums, business plazas, restaurants, private homes, that more than often, request Hawaiian art to be displayed in their newly designed establishments. What usually happens is that the developer in Hawai'i licenses someone out of state, primarily Califomia, who then tums around and locates "Hawaiian" art for their buildings. These professional people don't have a elue as to what is Hawaiian art or what will better express the imagery of Hawai'i to the visitor. Unfortunately, they think that everyone who lives here is Hawaiian and that all they produce is Hawaiian art. Or, even worse, they think that you ean piek up authentic ancient artifacts for a few dollars . . . or make them for a few dollars. So, we often get a hodgepodge collection of art that reflects that confusion. I have worked with at least six art consultants who were contracted by designers in California to collect impressive island work. Many of them didn't know where to start and consequently picked from this one and that one to complete there overall impression. I have yet to convince a designer, architect or consultant [other than the wonderful people at McDonald's] that it would be awesome to exhibit works by native artists on themes that would boggle the human mind. Themes that would depict our history, our magic and our aloha, from our eyes and mana'o. So far I haven't been successful.

Even Christopher Hemmeter who boasted in spending hundreds of thousands of dollars for his Kaua'i development . . . used these methods in obtaining art for his resort. In that collection, whieh nears a quarter of a million dollars, there are only two native representatives.

Auwe! The people here who have the inclination towards our work should look into their ranks. Our promotional. package, including art from various members of Hale Naua, was sent to three different places and finally, after a year, I received a letter from California saying they weren't looking for esoteric Hawaiian things. Knowing Hemmeter, that is hard to believe. He is a strong traditionalist and would certainly have chosen more of those type of works for his hotels. The mainland galleries or designers usually get 50 percent off the top, whieh means that the commission price given the artist is very low. Or sometimes they have one overall budget price and so try to squeeze as many things into that stipulated cost, leaving a sizeable profit for themselves. I have tried to influence our people here that native artists ean supply the necessary work and leave the developer a profit, plus allow the individual artist to make a little more from the commission himself. Art is a necessary in the national seduction market. It is used to subliminally influence the visitor's market. The hotels spend fortunes in purchasing just the right art for their establishment, most of whieh is bought by individuals who don't know the difference between a kahili and a Lagunero. This is a lucrative market for the native artist and craftsperson. Our loeal entities must become apprised of our existence, excellence and worth. Architects and interior designers must educate themselves and courageously use our works in some of the more imposing arenas. Mai Ka Po Mai Ka 'Oia'I'O. Truth is before time!

This is 'Aumakua o Hawai'i in the collection of Alu Like lnc.'s Holomua program.