![]() Honolulu Museum of Art, Gift of the Hawaii Community Foundation, Keiji Kawakami Art Foundation Fund, 1992. Quite a few are fervently admired local celebrities, but are not widely known elsewhere although they should be. This one, told from the perspective of the mid-Pacific, draws the greater part of its energy and appeal from its Asian-American artists, many of whom eventually returned to Hawaii. It is a story that is more nuanced than has been acknowledged, and one that excited Papanikolas’s curiosity as she adds another intriguing chapter to the history of the New York School. © 2017 The Franz Kline Estate / Artists Rights Society (ARS), New York. ![]() The Museum of Fine Arts, Houston, Bequest of Caroline Wiess Law. This connection and its visual reverberations are what drives Abstract Expressionism: Looking East from the Far West, curated by Theresa Papanikolas, the museum’s recently appointed deputy director of art and programmes.įranz Kline (American, 1910‒1962). They might easily have rubbed shoulders with each other at exhibitions and in the bars and cafes favoured by artists at a time when the art world was much smaller. Even less often are they shown – if at all – in tandem with their Asian-American counterparts, several of whom lived and worked in New York in the movement’s heyday and beyond. Although these masters of abstract expressionism seem ubiquitous, they are not often shown in Hawaii in full force. The works of Philip Guston, Franz Kline, Willem de Kooning, Robert Motherwell, Barnett Newman, Jackson Pollock, Mark Rothko and Clyfford Still, among others, appear somewhat anomalous off the palm-planted courtyard of the Honolulu Museum of Art (HoMA). Abstract Expressionism: Looking East from the Far West This exhibition considers abstract expressionism through its Asian-American practitioners, with a focus on Hawaii’s artists, as it brings them together with their US counterparts, such as Willem de Kooning, Mark Rothko and Jackson Pollock
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