Hawaiian artist Solomon Enos
Photo: Supplied
For 30 years native Hawaiian, Solomon Enos has been creating art using a wide variety of mediums including oil paintings, book illustrations, murals and game designs to explore themes such as collective-consciousness, ancestry and identity.
His clients have included Google and Disney.
In early March, Solomon Enos was in Aotearoa NZ as part of the Exodus Exhibitions, from there he travelled to the Marshall Islands.
He spoke with Pacific Waves host Susana Suisuiki.
KINGSTON — The Center for Photography at Woodstock (CPW) is partnering with Magnum Foundation to announce the opening of an extraordinary group exhibition of contemporary photographers.
The exhibition, titled Counter Histories, was organized by Magnum Foundation and includes artists Tamara Abdul Hadi, Alan Chin, Naomieh Jovin, Billy H.C. Kwok, and Qiana Mestrich. The installation, coordinated by CPW curator Marina Chao, will be open at CPW, 474 Broadway, Kingston, March 23 through May 26.
The international artists in this exhibition confront difficult histories by reconstructing perspectives that have been omitted from previously accepted or official accounts. Their deeply personal visual narratives are reconstructed out of found images derived from family photo albums, books, magazines, or community archives.
The works in Counter Histories ask probing questions about our construction of the past, such as, What new meanings are suggested by the absences and silences one finds in archives and historical records? How can artists engage with histories that are not photographed? How can these revisionist archives contribute to fuller understandings of the past and future?
Tamara Abdul Hadi’s Re-Imagining Return to the Marshes (2020–ongoing) juxtaposes her own photographs of the Iraqi marshes, along with those taken by her father and other Iraqis, with photographs of the same landscape in a book by a Western author. She asks, Can histories be colonized even in imagination?
Alan Chin’s Chinese American Photo Album (2023) assembles photographs and ephemera he retrieved via an ongoing open call for Chinese New Yorkers to share family histories that document the role of Chinese Americans in the history of US immigration.
Naomieh Jovin’s Gwo Fanm (2017-ongoing) uses images from her Haitian-American family photo albums, as well as original photography and voice memos to show her female relatives’ lives, even as they grieve the loss of their collective history through migration.
Billy H.C. Kwok’s work For So Many Years When I Close My Eyes (2023) documents the story and archive of Yu Lai Wai-Ling, a mother in search of her autistic son Yu Man-Hon, whose disappearance from Hong Kong in 2000 was national news. Her archive includes letters and portraits sent to her by men who claimed to be her lost son.
Qiana Mestrich began @WorkingWOC: Towards a History of Women of Color in the Workplace (2022–ongoing) when she could not find visual images of Black American women workers. Her collages reinsert Black women into this gap in the histories of global capitalism.
The opening reception for Counter Histories will take place 5-7 p.m. March 23 at CPW’s gallery, 474 Broadway, Kingston.
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All eyes are on Kensington Palace, with many confused by Kate Middleton’s whereabouts. The wife of Prince William has not made an official public appearance since Christmas Day. On January 16, the palace stated that she had been admitted to the London Clinic for “planned abdominal surgery.”
©GettyImagesWith jokes, conspiracies, and discourse taking over social media surrounding the situation, things got more confusing on March 10th when the Prince and Princess of Wales social media accounts shared a photo of her with their children George, Charlotte, and Louis.
©@princeandprincessofwalesThings quickly went awry when people noticed it was edited. When the Associated Press and other photo agencies issued “kill notices,” because the image appeared to have been manipulated, it added fuel to the fire.
The next day, on March 11, another tweet came from the account, signed off by Kate, admitting it was edited, apologizing. “Like many amateur photographers, I do occasionally experiment with editing. I wanted to express my apologies for any confusion the family photograph we shared yesterday caused. I hope everyone celebrating had a very happy Mother’s Day. C” it read.
©@princeandprincessofwalesThe apology has sparked even more debate, fueling conspiracy theories, but there is one person who is not concerned, Whoopi Goldberg. For “The View” host, she says she doesn’t see a difference between editing photos and adding a filter, which is a common practice.
“I’m sorry, I know very few people who don’t manipulate their own photos. I mean all you gotta do is swipe. Those editors swipe, God knows people look how those photos look,” Goldberg said on Monday’s episode.
After Sara Haines said there’s a difference between filters and Photoshop, Goldberg argued, “She’s doing the same thing, she’s doing the same thing!” “You know what, I have to tell you, she may be the future queen, she’s still an amateur photographer,” Goldberg said.
Following the apology, Kensington Palace said it would not be reissuing the original unedited photograph. Kate was later photographed sitting next to William in a chauffeured car leaving Windsor Castle. The side of her face was visible.
