Hawai‘inuiakea Book Launch for ‘Ike Ulana Lau Hala

IkeUlanaFlier

BOOK LAUNCH


UPDATE: Due to weather, the launch date has been postponed to November 9, 2:00 to 4:00 p.m. at Native Books/Nā Mea Hawai‘i in Ward Warehouse to celebrate the publication of the third volume in the Hawai‘inuiākea series, ‘Ike Ulana Lau Hala: The Vitality and Vibrancy of Lau Hala Weaving Traditions in Hawai‘i. The free event will feature short presentations and readings by the contributing authors; hands-on activities, including lau hala weaving and hala lei making; and educational displays set up in the store.

See also the new release post.

Chinese painter Qi Baishi, new volume and exhibit at Honolulu Museum of Art

EricksonModernInk
NEW RELEASE and EVENT


Modern Ink: The Art of Qi Baishi
written by Britta Erickson, Craig Yee, and Jung Ying Tsao

2014 | 144 pages, 109 color illustrations
Paper | ISBN: 978-0-8248-4766-1 | $38.00
Published in association with Marquand Books and the Mozhai Foundation

Buy-Now-Button

Coinciding with today’s opening of Qi Baishi’s work at the Honolulu Museum of Art, UH Press is releasing an impressive new volume filled with color illustrations of his work.

Born into a poor farming family and coming of age during China’s century of civil strife, Qi Baishi transformed the elite brush art of China’s literati scholars into a universal art form appreciated by people of all social backgrounds. His distinctly modern art language breaks through class and cultural barriers through use of expressive “carved” brushwork, juxtaposition of vibrant colors against deep and rich ink tones, poetic economy in form and composition, and choice of emotionally resonant subject matter. For these reasons, Qi Baishi’s art is the ideal gateway through which art lovers of any class or culture can learn about the millenia-old tradition of Chinese brush painting.

The exhibition closes on January 25, 2015.

Coordinating history through East Asia’s maps // China, Korea, and Japan revealed

peggCartographic
NEW RELEASE


Cartographic Traditions in East Asian Maps
written by Richard A. Pegg

2014 | 140 pages | 130 color illustrations
Cloth | ISBN 978-0-8248-4765-4 | $40.00
Published in association with MacLean Collection

 

Cartographic Traditions in East Asian Maps is focused on a group of maps from the MacLean Collection, one of the world’s largest private collections of maps. Included are are eighteenth and nineteenth-century maps from the late Qing dynasty in China, the Joseon dynasty in Korea and the Edo and Meiji periods in Japan illustrating late traditions in the region’s history. This book provides some of the particular practices and relationships between text and image in East Asian map making that are unique in world cartography. Often particular map making characteristics are not recognized as unique within their own cultural contexts, and so it is only through the process of comparing and contrasting that these qualities emerge. This survey of selected maps proves extremely useful in revealing certain similarities and distinctive differences in the representations of space, both real and imagined, in early modern cartographic traditions of China, Korea and Japan.

Expressions of place through adornment in Australia and New Zealand

SkinnerAHistofContemp
NEW RELEASE


A History of Contemporary Jewellery in Australia and New Zealand: Place and Adornment
written by Damian Skinner and Kevin Murray

2014 | 248 pages | 228 color illustrations
Cloth | ISBN 978-0-8248-4687-9 | $50.00
Published in association with David Bateman Ltd
Not for sale in New Zealand

 

“While connections in contemporary jewellery practice have been identified from time to time between Australia and New Zealand, this book is the first to investigate in detail their shared influences and values and evolving expressions of place and identity. Informative and at times provocative, Place and Adornment provides both a history and a valuable platform for thinking about contemporary jewellery from Australasia in an international forum.” —Dr. Grace Cochrane, AM, independent curator, writer, consultant.

“A wonderful contribution to a brilliant field, this book is an unexpected and welcome breakthrough. Packed with information, images and insights, its crucial innovation is to consider contemporary jewellery from Australia and Aotearoa New Zealand, neighbouring countries with very different cultural histories.” —Julie Ewington, Head of Australian Art, Queensland Art Gallery

From Fu Manchu to Kung Fu Panda: Images of China in American Film

GreeneCOVER1.inddThroughout the twentieth century, American filmmakers have embraced cinematic representations of China. Beginning with D.W. Griffith’s silent classic Broken Blossoms (1919) and ending with the computer-animated Kung Fu Panda (2008), author Naomi Greene explores China’s changing role in the American imagination. Taking viewers into zones that frequently resist logical expression or more orthodox historical investigation, the films suggest the welter of intense and conflicting impulses that have surrounded China. They make clear that China has often served as the very embodiment of “otherness”—a kind of yardstick or cloudy mirror of America itself. It is a mirror that reflects not only how Americans see the racial “other” but also a larger landscape of racial, sexual, and political perceptions that touch on the ways in which the nation envisions itself and its role in the world.

In the United States, the exceptional emotional charge that imbues images of China has tended to swing violently from positive to negative and back again: China has been loved and—as is generally the case today—feared. Using film to trace these dramatic fluctuations, From Fu Manchu to Kung Fu Panda relates them to the larger arc of historical and political change. Suggesting that filmic images both reflect and fuel broader social and cultural impulses, the author argues that they reveal a constant tension or dialectic between the “self” and the “other.” Significantly, with the important exception of films made by Chinese or Chinese American directors, the Chinese other is almost invariably portrayed in terms of the American self. Placed in a broader context, this ethnocentrism is related both to an ever-present sense of American exceptionalism and to a Manichean world view that perceives other countries as friends or enemies.

Greene analyzes a series of influential films, including classics like Shanghai Express (1932), The Bitter Tea of General Yen (1933), The Good Earth (1936), and Shanghai Gesture (1941); important cold war films such as The Manchurian Candidate (1962) and The Sand Pebbles (1966); and a range of contemporary films, including Chan is Missing (1982), The Wedding Banquet (1993), Kundun (1997), Mulan (1998), and Shanghai Noon (2000). The author’s consideration makes clear that while many stereotypes and racist images of the past have been largely banished from the screen, the political, cultural, and social impulses they embodied are still alive and well.

Written by Naomi Greene

2014 | 280 pages | 31 illustrations
Paper ISBN: 978-0-8248-3836-2 | $25.00
Cloth ISBN: 978-0-8248-3835-5 | $65.00

Critical Interventions Series