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“Painted: Our Bodies, Hearts, and Village” Symposium Set for Colby Museum on Nov. 3 & 4

“Painted: Our Bodies, Hearts, and Village” Symposium Set for Colby Museum on Nov. 3 & 4

The Colby College Museum of Art and its Lunder Institute for American Art, located in Waterville, Maine, will host a two-day symposium Friday, Nov. 3 and Saturday, Nov. 4. The symposium was organized in conjunction with the Painted: Our Bodies, Hearts, and Village exhibition, on view through July 28, 2024.

Exhibition collaborators, artists, curators, and scholars will gather for a series of panel discussions on Native American art, American art, and art of the American West. Topics will include how Native artists delve into historical collections to assert visual sovereignty, how to activate museum collections in new and reparative ways, collaborations between institutions and Native communities, and more.

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The symposium will provide an opportunity to participants to reflect on the relationship between art, shared histories, and lived experiences, incubating new paths within art history, art practice, and the museum field. Register here

Friday, November 3

4–5 pm: Viewing of Painted: Our Bodies, Hearts, and Village
Colby Museum, Lunder Wing, lower level

Join us for close looking and informal conversation in the exhibition’s galleries, facilitated by exhibition curators and members of the museum staff.

5–6 pm: Welcome and conversation with project collaborators
Given Auditorium, Bixler Art and Music Center

Opening remarks from Jacqueline Terrassa, Carolyn Muzzy Director, Colby Museum, followed by a conversation moderated by Beth Finch, Head Curator, Colby Museum

Participants:

  • Juan Lucero (Isleta Pueblo), exhibition co-curator, Program Manager for Native Art Professional Development, First People’s Fund
  • Jill Ahlberg Yohe, exhibition co-curator, Associate Curator of Native American Art, Minneapolis Institute of Art
  • Siera Hyte (Cherokee Nation), exhibition co-curator, Manager of Programs and Fellowships, Lunder Institute for American Art and former Assistant Curator of Modern and Contemporary Art, Colby Museum
  • Virgil Ortiz (Cochiti Pueblo), exhibition designer, artist
  • Ron Martinez Looking Elk (Taos Pueblo/Isleta Pueblo), exhibition advisory council member, artist, International Community Development Specialist for Americans for Indian Opportunity, First People’s Fund board of directors
  • Theresa Secord (Penobscot), exhibition advisory council member, artist, founding director of the Maine Indian Basketmakers Alliance, First People’s Fund board of directors, Colby Museum board of governors

6–7:30 pm: Opening reception
Colby Museum lobby

Join us for celebratory food and drinks in the Colby Museum lobby. Free and open to all.

Saturday, November 4

10–10:45 am: Opening address from Brian Vallo (Acoma Pueblo)
Given Auditorium, Bixler Art and Music Center

Brian Vallo served as governor of Acoma Pueblo in 2019–21, formerly directed the Indian Arts Research Center, and was the founding director of the Sky City Cultural Center and Haak’u Museum. He has spent more than thirty years working in museum development, repatriation of ancestors and cultural patrimony, cultural preservation, the arts, and tourism.

11 am–Noon: Artist panel on visual sovereignty
Given Auditorium, Bixler Art and Music Center

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Roots of life: The 2023 Mangrove Photography Award winners

Roots of life: The 2023 Mangrove Photography Award winners

Mangroves may not be the first thing you picture when you think ‘forest’, but they’re both incredible, unique ecosystems and serve as a kind of structural and water-quality coastguard. And while mangrove forests make up about 0.1% of the planet’s surface, they can store up to 10 times more carbon than terrestrial forests.

Found along the coastlines of 123 countries, their enviable position with water views has made them susceptible to clearing for development, However, the rate of loss is stalling, and because they can grow fast and are environmentally resilient, the world has actually seen nearly 1,000 acres (405 ha) of mangrove forests grow in areas they did not exist in 2000.

Celebrating the unique, often otherworldly nature of this aquatic forest and the life-support it provides for a diverse range of species, the winners of the ninth annual Mangrove Photography Awards beautifully capture the wonder of these pneumatophore-peppered landscapes. (Mangroves, unlike terrestrial forest trees, do not have traditional roots, but root-like structures that aid absorption of nutrients and oxygen; while they have a few different kinds of structures, the most comical ones are the famous pneumatophores that spread out from the tree and stick out of the ground like woody snorkels.)

As for the awards, there were winners across six categories, and we’ve picked out some of the best that highlight the animal life that calls these forests home. For more, check out our gallery.

The overall winner for a striking snap of a young Royal Bengal tigress (see pic above) was Soham Bhattacharyya, who captured the endangered big cat candidly in the Sundarbans Biosphere Reserve in India. Titled “The Finest ‘Flower’ of the Mangroves,” it is a stunning portrait of the only tiger adapted to live in a mangrove forest.

Another portrait of a rather different animal earned Katanyou Wuttichaitanakorn of Thailand the Young Mangrove Photographer of the Year award.

'Eye Contact', Katanyou Wuttichaitanakorn, Thailand (Young Mangrove Photographer of the Year Winner)
‘Eye Contact’, Katanyou Wuttichaitanakorn, Thailand (Young Mangrove Photographer of the Year Winner)

Katanyou Wuttichaitanakorn/Mangrove Photography Awards

At just 17, Wuttichaitanakorn has already made a name for himself as a world-class nature photographer.

This young gold-spotted mudskipper (Periophthalmus chrysospilos) was wonderfully captured in Samut Sakorn province in Thailand. This winning photo comes just a year after the teenager took out his age category in the 2022 Wildlife Photographer of the Year awards, for his artistic capture of a Bryde’s whale.

'In the Forest', Phan Thi Khanh, Vietnam (Mangroves & People Runner-up)
‘In the Forest’, Phan Thi Khanh, Vietnam (Mangroves & People Runner-up)

Phan Thi Khanh/Mangrove Photography Awards

This dazzling aerial shot shows the many sides to these landscapes, as a fishing boat slowly navigates through its dense network of wintery branches in the Ru Cha Mangrove Forest in Vietnam. Photographer Phan Thi Khanh’s image titled “In the Forest” earned the runner-up prize in the People & Mangroves category.

“Ru Cha is a mangrove forest that is considered the green lung of Tam Giang lagoon,” he explained, adding that the bare winter branches are reminiscent of a giant spider web.

Mangrove Photography Awards

Mangrove forests have as much happening under the water as above it, as Chien Lee captures in “Hiding in Plain Sight,” taken deep in the Utría National Natural Park, Colombia. This funny character is a common potoo (Nyctibius griseus), doing its best to pretend it’s part of the furniture in order to guard the nest. As nocturnal animals, it’s are to see these birds in daylight.

“As I didn’t want to risk disturbing the potoo into flight, I photographed it with a long telephoto lens some distance away,” Lee said. “It was only after looking through the lens that I realized there was actually a single egg.”

The snap below took out the Mangroves & Wildlife category.

Mangrove Photography Awards

There’s no denying that us humans have had a significant impact on mangrove forests, much like everywhere else we’ve turned up. Emanuele Biggi’s “The Theatre of Plastic,” which captures a lone hermit crab who has made a home out of a plastic deodorant can top, is a stark reminder of how many species have had to adapt, if they can, or die.

Taken close to the resort island Pom Pom in Sabah, Malaysia, it’s a haunting contrast to the aqua waters and beach views usually associated with the region. And it won the photographer the top prize in the Mangroves & Threats category.

“Pom Pom island is a violated paradise,” said Biggi, who added that the area is burdened by tons of plastic flowing in from nearby Borean shores. “When I found this poor hermit crab … I knew I [had] found my sad ambassador for this terrible human problem.”

Mangrove Photography Awards

With a title that spells out exactly what is happening here, “Mating Nurse Sharks” is an action-snap taken by Mark Ian Cook from a helicopter above the aptly named Shark Point in the Everglades National Park, Florida. He snapped this photo while actually conducting a scientific study on waterbirds in the region.

“Sheltered mangrove habitats that are largely free of human disturbance are critical mating and nursery habitats for a number of shark species, and protecting these areas is essential to sustaining shark populations,” he said.

The various kinds of above-ground roots of the mangroves here form a sort of shark ‘lovers’ lane’, with the sheltered and calm waters providing a haven for the animals to go about their business.

Source: Mangrove Photography Awards

Ida Applebroog, feminist artist who shattered taboos, dies at 93

Ida Applebroog, feminist artist who shattered taboos, dies at 93

In 1969, the artist now known as Ida Applebroog was living in San Diego, far from the art scene in her native New York. It was the year she turned 40. She was married with four children and was deeply unfulfilled — “like an empty house,” she said, “inhabited by hungry tenants.”

Fearing that she might turn to suicide, Ms. Applebroog — at the time she went by Ida Horowitz — checked herself into the psychiatric ward at Mercy Hospital in San Diego, where she spent weeks immersed in her sketch pad.

The drawings she made during her hospitalization, many of them abstract in style but some identifiable as self-portraits, did not represent the beginning of her career. She had been attracted to the art world for years, even before that world had fully accepted her. (A male instructor had once praised her work as being “as good as a man’s.”)

But Ms. Applebroog’s hospital drawings marked a rebirth of sorts. In the early 1970s, she attended a conference of feminist artists at the California Institute of the Arts. She soon returned to New York, shed her married name and adopted a variation on her maiden name. As Ida Applebroog, she made her entrance on an art scene that finally, it seemed, was ready to receive her.

Ms. Applebroog, a widely exhibited artist whose disquieting, sometimes graphic work challenged taboos in its exploration of the female body, female experience and the power structures that govern society, died Oct. 21 at her home in Manhattan. She was 93. Barry Rosen, a friend and adviser, confirmed her death but did not cite a cause.

“To me she was one of the most important artists of the 20th century, mainly because she had such an uncompromising feminist vision,” Julia Bryan-Wilson, a professor of contemporary art at Columbia University, said in an interview, describing Ms. Applebroog as “incisive and lacerating [in] thinking through questions of gender and power in artistic from.”

During a career that spanned half a century, Ms. Applebroog created sculptures, drawings, paintings, films and installations. She was an early member of the Heresies collective, a group of feminist artists in the 1970s, and her work frequently depicted women and domestic life. But she resisted her frequent designation as a feminist artist.

“I don’t want to be placed in that crack,” Ms. Applebroog told the publication Art21. Such a label “ghettoizes the entire way of thinking about who’s making art, how art is made,” she continued. “You can make art from today until doomsday, and if they only place you in a show that is about women artists … we’re in trouble. It feels like tokenism again. And it really distresses me.”

Ms. Applebroog produced the core elements of one of her most noted works shortly after her hospitalization. Day after day, she ensconced herself in her bathroom. With the aid of a mirror, she made more than 150 drawings of her vagina using India ink and crow-quill pen. The drawings were not sexual, she said, but rather an attempt to find pieces of herself that had been “hidden away.”

Those drawings were physically hidden away for decades before Ms. Applebroog recovered them from storage and repurposed them for an installation, called “Monalisa,” that opened at the Hauser & Wirth gallery in New York in 201o.

Enlarged on translucent paper, the drawings formed the exterior of a house-like structure that invited viewers to gaze inside.

Within the house was a portrait of a dissolving figure called Monalisa, an apparent play on the Mona Lisa, Leonardo da Vinci’s portrait of an enigmatic woman that is one of the most celebrated works in Western art. On the outside of the structure was the image of a menacing, vaguely male figure.

“The home is not a stable location but an unfixed nexus of sexist violence, perversion and thwarted safety, as well as tenderness, secret stolen moments, bodily pleasure and honest labor,” Bryan-Wilson wrote in an essay about the installation.

Another exhibition, “Modern Olympia (after Manet),” presented at the Ronald Feldman Gallery in New York in 2002, featured paintings inspired by Édouard Manet’s 1863 work “Olympia,” a portrait of a courtesan that scandalized Paris in its time. Ms. Applebroog’s paintings, many of them nudes, fought against prevailing notions of female beauty, sexuality and shame.

Ms. Applebroog said she did not wish to be known as a political artist — she rejected labels of all kinds — but she frequently engaged with current affairs.

She painted a portrait of the violinist Isaac Stern after he made international news in 1991 by remaining onstage to perform before Israeli listeners who were forced to don gas masks during an Iraqi Scud missile attack in 1991.

In another painting by Ms. Applebroog, a child wields a semiautomatic weapon.

In recent years, she created a series called “Angry Birds of America,” an evocation of John James Audubon’s ornithological paintings that was motivated by her ire over the election of President Donald Trump.

“There was a lot of anger, not just me, but all over America,” she said. “I feel like I’m living in a world where we’re all very, very angry.”

Ms. Applebroog received honors including a 1998 MacArthur Foundation fellowship, popularly known as a genius grant. Her works were exhibited at institutions including the Metropolitan Museum of Art, the Museum of Modern Art and the Whitney Museum of American Art, all in New York City, and at the National Gallery of Art in Washington.

Ida Applebaum or Appelbaum — her maiden name was recorded both ways — was born in the Bronx on Nov. 11, 1929, one of three daughters in an ultra-Orthodox Jewish family. Her father, a furrier who at various points also sold salt and groceries, and her mother, a seamstress, were immigrants from Poland.

Ms. Applebroog grew up in a tenement where her home life, she recalled, was unhappy and at times even repressive. “I learned very early on,” she said, “how power works.”

Over the objections of her father, she studied graphic design at what was then the New York State Institute of Applied Arts and Sciences. She found work at an advertising agency but was driven out by what she described as flagrant sexual harassment.

“It was horrible,” she told the New York Times. “I dreaded even getting up out of bed every morning. I didn’t last a year.”

She later did freelance illustration and design work and worked in the New York Public Library’s art division.

In 1950, she married Gideon Horowitz, a Viennese-born psychotherapist. They had four children and lived in Chicago, where Ms. Applebroog attended the school of the city’s art institute, before moving to San Diego.

She formally changed her surname to Applebroog in 1975, later saying that she had “no idea” where she got the “broog.”

In New York, she joined the Heresies feminist collective, which also included Lucy Lippard, an influential critic and curator, and artists such as Joan Snyder, Pat Steir and Miriam Schapiro. Ms. Applebroog increasingly drew the interest of the city’s artistic community, in part by distributing small, self-published artist books to hundreds of writers and artists.

Many of the books were composed of drawings rendered in a cartoonlike manner, a style that would recur throughout her later work. Her exhibit “Happy Families,” shown at the Contemporary Arts Museum Houston in 1990, featured comic book-like scenes of couples, parents and children, and doctors and patients in an examination of power.

Ms. Applebroog’s husband died in 2015. One of her daughters, a filmmaker known as Beth B, made the 2016 documentary “Call Her Applebroog,” about her mother’s artistic career.

Besides her daughter, survivors include three other children, Paul Horowitz, Ned Horowitz and Debra Dodd; a sister; five grandchildren; and a great-granddaughter.

While some viewers might have been challenged by Ms. Applebroog’s art, she said that she did not regard her work as “particularly tough.”

“But we live in a world that’s tough, and this is what happens,” she told the Times. “It just comes out of my head, and it’s here.”

Adventure wedding and elopement photography captures hearts in western Wisconsin

Adventure wedding and elopement photography captures hearts in western Wisconsin
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From Willow River to Taylors Falls, western Wisconsin and its neighboring regions offer plenty of scenic destinations for weddings and elopements. Local wedding adventure photographers are taking full advantage.

When Samantha Burke started working her first job after graduation, she grew frustrated with having to ask for time off. Burke said she didn’t get paid time off for her first year at a company, so she took an unpaid absence when the opportunity to go to Italy arose.

She quickly realized that a more conventional work experience wasn’t for everyone — her included. And now, Burke has a full-time career in what she calls “wedding and elopement adventure photography.” How does Burke describe her line of work?

“Adventure weddings and elopements, it’s kind of fun, because adventure can mean different things for different people,” Burke said. “I like to think of it as taking a wedding experience and making it intentional and full of connection and things that make you happy. Just starting your marriage off with an adventure — with a bang.”

Couples also like to incorporate hobbies that they enjoy, such as canoeing and camping. The photographer can often help plan the experience, booking things and suggesting locations that match what the couple is looking for in an experience.

Cassandra Oldenburg of Narrow Leaf photography describes it as an “unconventional approach to weddings,” whether that’s hiking, kayaking or even helicopter elopements.

For Oldenburg, her favorite place she’s been to for photography is Iceland. And she said her most popular spots in the local region are the St. Croix River Valley and the North Shore.

Burke couldn’t narrow down her favorite destination to take photos while on assignment, so she listed three: Hawaii, Utah and the North Shore in Minnesota. In Hawaii, Burke traveled to O‘ahu and photographed a couple on a lesser-known beach. The couple went into the water with their wedding clothes on and climbed up on rocks.

Anna Scheunemann, along with her husband, Richard, hired Burke for adventure elopement photography as well. They all went out to Capitol Reef National Park in Utah. Scheunemann said she and her husband are pretty outdoorsy and wanted a more private elopement ceremony, which led to them choosing the adventure photography experience.

“I loved the way she was able to capture the essence of the wilderness wherever different couples were,” Anna said. “Along with the photos of the wedding, I wanted to be able to look in my house, have different scenery from the area that we had eloped and I thought that a lot of her photos, yes, captured the couple, but also captured really cool backdrops.”

The Knot, a wedding planner site, conducted a 2022 survey that found 83% of its Gen Z correspondents said photo or video is the most important element of a wedding. And as couples pursue less conventional wedding experiences, Oldenburg brings up a good point.

“The way of getting married used to be this very structured [method of] ‘this is what you did, this is how you spend, this is a societal norm,’” Oldenburg said. “And I think, nowadays, people are really starting to appreciate more experiences over maybe social norms or stuff. … We’re seeing this sort of change in the industry.”

Home For Creators

Home For Creators

Pictured is Erica Rose, owner of Rose and Grace Studio, 316 Cherry St., Jamestown. The studio is open for local creators in the community.
P-J photos by Sara Holthouse

A community space for different kinds of creators has opened in Jamestown.

Rose and Grace Studio, located at 316 Cherry St., Suite 105, is owned by Erica Rose and is a studio meant to give community creators a place to explore. These creators can include anyone from photographers to yoga instructors.

Rose said she opened the studio because during her own creative process she found there were not a lot of spaces in the area for things like photography.

“We have event centers, which are all very business and corporate like, but there are no places or studios like this for photographers,” Rose said. “It’s part of the Jamestown area.”

While Grace Studio is set to be used for any kind of creator, Rose said it will lean heavily toward photography. There will be five or six backdrops for photographers, and the studio will also be open for style shoots for places such as bridal boutiques and influencers. Rose said anything from someone working on their brand for social media to training, business meetings, art galleries, or yoga and pilates classes can be held in the studio. She is also opening it for pop up classes and exclusive pop up classes for fundraisers.

Rose and Grace Studio, 316 Cherry St., Jamestown. The studio is open for local creators in the community.
P-J photo by Sara Holthouse

Rose is also a social media manager under the name XO Erica Rose LLC. The studio is an extension of that.

“My clients often need headshots and a place to work on their brands, and this is a place where they can take those,” Rose said. “I like to say the two shake hands, but they are still separate. I mostly want to give back to the community by allowing them to use the space.”

Rose said she is here to be part of the local community.

“I’m a big believer that we have a collection of creators with skills out there in the community, and I want to create a platform to help get the word out about them and to let people know that they exist,” Rose said. “I want to put a spotlight on the hidden gems in Chautauqua County.”

Rose said being able to open her own studio is a big achievement because she has previously been with another company for 15 years, which recently shut its doors so Rose recently lost her job. It has also meant a lot to be able to achieve this with her daughter — Ryleigh Grace.

Rose and Grace Studio, 316 Cherry St., Jamestown. The studio is open for local creators in the community.
P-J photo by Sara Holthouse

“To be able to open this on my own is a huge accomplishment and as a mother of a girl I can show her that whatever you think you want to do can be done, and she can learn to follow her dreams,” she said.

Rose encouraged those who need a studio to come and use her space.

“A really great source of advertisement is talking and word of mouth,” she said. “You don’t have to use the space yourself, but tell your friends and family who might and we can have a collaboration. When collaboration happens beautiful things come.”

Rose and Grace studio can be booked online at https://XoEricaRoseLLC.as.me/. Bookings are available hourly, quarterly — four hours — and daily — eight hour — slots. The studio is open from 9 a.m. to 9 p.m. Sunday through Saturday.

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‘This is Shepherdstown’: Photography book celebrates local beauty found during pandemic

‘This is Shepherdstown’: Photography book celebrates local beauty found during pandemic

Mike Chalmers, of Shepherdstown, signs a copy of his book, “This is Shepherdstown,” for Lucien Lewin, of Martinsburg, at Saturday night’s book launch party in Evolve. Tabitha Johnston

SHEPHERDSTOWN — “This literally is Shepherdstown — every part of the book! There’s pictures of German Street covered in snow, there’s pictures of local houses. Mike did a really good job of capturing what it is to be in Shepherdstown and what Shepherdstown is,” said Shepherdstown resident Katelyn Chambers at the book launch party for Michael “Mike” Chalmers’ recently released photography book, “This is Shepherdstown,” in Evolve on Saturday evening.

According to Chalmers, this book would have never come into being, if not for the COVID-19 Pandemic.

“I was looking for a way to do my part, during COVID — to use my skill sets to help. Everyone felt there was a sense of discomfort at that time,” Chalmers said.

“I wanted to do something attainable for the public, that was relatable and didn’t devour my time,” Chalmers said of the project, which started with him posting photographs of Shepherdstown on social media in Aug. 2021. “So I decided that I could take these pictures of Shepherdstown, I could put them up every few days, I could write a little something about them and maybe people would take notice. And so, as often happens with digital endeavors, it took off, to the point that thousands of people are following on Facebook and Instagram. They started really engaging with the ‘This is Shepherdstown’ pages after about a year — talking and sharing. A lot of people then started asking about a book. About six months ago, I seriously started thinking about it.”

Over the summer, Chalmers then proceeded to narrow down his favorite photographs on the “This is Shepherdstown” social media pages, from over a thousand down to 160.

Katelyn Chambers, of Shepherdstown, chats with Shepherd University alumni Patrick Shunney at the “This is Shepherdstown” book launch party in Evolve on Saturday. Tabitha Johnston

“I put it together and shopped it around,” Chalmers, who previously created and published “The Observer” periodical, said. “I had several publishers that wanted to do it, but they were going to take too long [in getting it to print] and were going to wrestle away a decent amount of the creative control, so I said, ‘No thanks! I’ll go ahead and invest in myself and publish it myself.’”

Choosing to go the self-published route has, over the month since it first came out, proven to be the right call for the Shepherd University Class of 1997 graduate.

“There’s a distinct layout to this book that, if you have a familiarity with publishing, you’ll see that a publisher wouldn’t have given all of this attention to one book, because it would cost a lot and you just don’t know if you’re going to get that return [on the cost], as a publisher,” Chalmers, who mainly works in marketing and advertising, said. “I knew that, so I took the pressure off of everybody and decided to take the financial risk of doing this myself. It’s been extremely well-received. Tonight has been a huge success!”

Copies of “This is Shepherdstown” can be purchased at Four Seasons Books or by visiting https://www.thisisshepherdstown.com/. Fifteen percent of the book proceeds will be donated to Shepherdstown Shares, which played a major part in local relief efforts during the COVID-19 Pandemic.

Comments from community members of all ages share the things they love about Shepherdstown at the book launch party in Evolve on Saturday night. Tabitha Johnston

Equine Photographer Katey Barrett Passes Away

Equine Photographer Katey Barrett Passes Away

Photographer Katey Barrett, long associated with artful images of Santa Anita, passed away Sunday, Oct. 22 after a bout with cancer. She was 91.

Barrett’s images, often easy to identify due to her unique style, were part of Santa Anita’s opening day Winter Meet souvenir calendar for over 30 years. A Minnesota native, Barrett came to California in the 1950s and worked on several TV shows, as well as on a movie with Don Knotts.

“Katey had been on hospice and was diagnosed with cancer a couple of months ago,” said her sister, Jane Barrett. “She was at Santa Anita and took beautiful pictures for more than 40 years. She received many awards and she was dedicated to serving animals, all animals. A lot of people have been calling and expressing what she has done for them personally, in their lives.”

Barrett is survived by her sister and two brothers, David and Jim. At her request, there will be no memorial services. Donations in her honor can be made to Wild Horse Sanctuary, P.O. Box 30, Shingletown, CA, 96088.

New grant program prioritizes visual arts, Native Hawaiian values

New grant program prioritizes visual arts, Native Hawaiian values
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The nonprofit Puʻuhonua Society is aiming to promote visual art and Native Hawaiian values through a new grant program.

The group has announced a two-year grant program, called Hoʻākea Source, that will prioritize projects by visual artists, collaboratives and collectives living and working on Oʻahu.

Puʻuhonua Society aims to create opportunities for Native Hawaiian and Hawaiʻi-based artists and cultural practitioners.

Emma Broderick, Puʻuhonua Society’s executive director, said in a press release that “maintaining a local and Native Hawaiian identity through the arts in a contemporary context is an active form of disrupting a long history of systemic racism, and ensures that the unique identity of this place persists now and in the future.”

Hoʻākea Source will offer six to twelve grants ranging from $5,000 to $10,000.

It is a Regional Regranting Program Partner of the Andy Warhol Foundation for the Visual Arts, which partners with cultural organizations around the country

The new grant program launches on Nov. 28. It coincides with Lā Kūʻokoʻa, or Hawaiian Independence Day.

More information can be found at hoakeasource.org.