The Painted King: Art, Activism, and Authenticity in Hawai'i
The famous statue of Kamehameha I in downtown Honolulu is one of the state's most popular landmarks. Many tourists-and residents-however, are unaware that the statue is a replica; the original, cast in Paris in the 1880s and the first statue in the Islands, stands before the old courthouse in r...
Gespeichert in:
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Honolulu
University of Hawaii Press
[2011]
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| Schlagworte: | |
| Online-Zugang: | DE-1043 DE-1046 DE-858 DE-859 DE-860 DE-739 DE-473 URL des Erstveröffentlichers |
| Zusammenfassung: | The famous statue of Kamehameha I in downtown Honolulu is one of the state's most popular landmarks. Many tourists-and residents-however, are unaware that the statue is a replica; the original, cast in Paris in the 1880s and the first statue in the Islands, stands before the old courthouse in rural Kapa'au, North Kohala, the legendary birthplace of Kamehameha I. In 1996 conservator Glenn Wharton was sent by public arts administrators to assess the statue's condition, and what he found startled him: A larger-than-life brass figure painted over in brown, black, and yellow with "white toenails and fingernails and penetrating black eyes with small white brush strokes for highlights. . . . It looked more like a piece of folk art than a nineteenth-century heroic monument."The Painted King is Wharton's account of his efforts to conserve the Kohala Kamehameha statue, but it is also the story of his journey to understand the statue's meaning for the residents of Kapa'au. He learns that the townspeople prefer the "more human" (painted) Kamehameha, regaling him with a parade, chants, and leis every Kamehameha Day (June 11). He meets a North Kohala volunteer who decides to paint the statue's sash after respectfully consulting with kahuna (Hawaiian spiritual leaders) and the statue itself. A veteran of public art conservation, Wharton had never before encountered a community that had developed such a lengthy, personal relationship with a civic monument. Going against the advice of some of his peers and ignoring warnings about "going native," Wharton decides to involve the people of Kapa'au in the conservation of their statue and soon finds himself immersed in complex political, social, and cultural considerations, including questions about representations of the Native Hawaiian past: Who should decide what is represented and how? And once a painting or sculpture exists, how should it be conserved?The Painted King examines professional authority and community involvement while providing a highly engaging and accessible look at "activist conservation" at work, wherever it may be found |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jul 2021) |
| Beschreibung: | 1 online resource (232 pages) 77 color illus |
| ISBN: | 9780824861087 |
| DOI: | 10.1515/9780824861087 |
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| 520 | |a The famous statue of Kamehameha I in downtown Honolulu is one of the state's most popular landmarks. Many tourists-and residents-however, are unaware that the statue is a replica; the original, cast in Paris in the 1880s and the first statue in the Islands, stands before the old courthouse in rural Kapa'au, North Kohala, the legendary birthplace of Kamehameha I. In 1996 conservator Glenn Wharton was sent by public arts administrators to assess the statue's condition, and what he found startled him: A larger-than-life brass figure painted over in brown, black, and yellow with "white toenails and fingernails and penetrating black eyes with small white brush strokes for highlights. . . . It looked more like a piece of folk art than a nineteenth-century heroic monument."The Painted King is Wharton's account of his efforts to conserve the Kohala Kamehameha statue, but it is also the story of his journey to understand the statue's meaning for the residents of Kapa'au. | ||
| 520 | |a He learns that the townspeople prefer the "more human" (painted) Kamehameha, regaling him with a parade, chants, and leis every Kamehameha Day (June 11). He meets a North Kohala volunteer who decides to paint the statue's sash after respectfully consulting with kahuna (Hawaiian spiritual leaders) and the statue itself. A veteran of public art conservation, Wharton had never before encountered a community that had developed such a lengthy, personal relationship with a civic monument. | ||
| 520 | |a Going against the advice of some of his peers and ignoring warnings about "going native," Wharton decides to involve the people of Kapa'au in the conservation of their statue and soon finds himself immersed in complex political, social, and cultural considerations, including questions about representations of the Native Hawaiian past: Who should decide what is represented and how? And once a painting or sculpture exists, how should it be conserved?The Painted King examines professional authority and community involvement while providing a highly engaging and accessible look at "activist conservation" at work, wherever it may be found | ||
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| illustrated | Illustrated |
| index_date | 2024-07-03T17:55:39Z |
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| institution | BVB |
| isbn | 9780824861087 |
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| spelling | Wharton, Glenn Verfasser aut The Painted King Art, Activism, and Authenticity in Hawai'i Glenn Wharton Honolulu University of Hawaii Press [2011] © 2011 1 online resource (232 pages) 77 color illus txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jul 2021) The famous statue of Kamehameha I in downtown Honolulu is one of the state's most popular landmarks. Many tourists-and residents-however, are unaware that the statue is a replica; the original, cast in Paris in the 1880s and the first statue in the Islands, stands before the old courthouse in rural Kapa'au, North Kohala, the legendary birthplace of Kamehameha I. In 1996 conservator Glenn Wharton was sent by public arts administrators to assess the statue's condition, and what he found startled him: A larger-than-life brass figure painted over in brown, black, and yellow with "white toenails and fingernails and penetrating black eyes with small white brush strokes for highlights. . . . It looked more like a piece of folk art than a nineteenth-century heroic monument."The Painted King is Wharton's account of his efforts to conserve the Kohala Kamehameha statue, but it is also the story of his journey to understand the statue's meaning for the residents of Kapa'au. He learns that the townspeople prefer the "more human" (painted) Kamehameha, regaling him with a parade, chants, and leis every Kamehameha Day (June 11). He meets a North Kohala volunteer who decides to paint the statue's sash after respectfully consulting with kahuna (Hawaiian spiritual leaders) and the statue itself. A veteran of public art conservation, Wharton had never before encountered a community that had developed such a lengthy, personal relationship with a civic monument. Going against the advice of some of his peers and ignoring warnings about "going native," Wharton decides to involve the people of Kapa'au in the conservation of their statue and soon finds himself immersed in complex political, social, and cultural considerations, including questions about representations of the Native Hawaiian past: Who should decide what is represented and how? And once a painting or sculpture exists, how should it be conserved?The Painted King examines professional authority and community involvement while providing a highly engaging and accessible look at "activist conservation" at work, wherever it may be found In English HISTORY / United States / State & Local / West (AK, CA, CO, HI, ID, MT, NV, UT, WY) bisacsh Public sculpture Conservation and restoration Hawaii Kapaau Citizen participation https://doi.org/10.1515/9780824861087 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Wharton, Glenn The Painted King Art, Activism, and Authenticity in Hawai'i HISTORY / United States / State & Local / West (AK, CA, CO, HI, ID, MT, NV, UT, WY) bisacsh Public sculpture Conservation and restoration Hawaii Kapaau Citizen participation |
| title | The Painted King Art, Activism, and Authenticity in Hawai'i |
| title_auth | The Painted King Art, Activism, and Authenticity in Hawai'i |
| title_exact_search | The Painted King Art, Activism, and Authenticity in Hawai'i |
| title_exact_search_txtP | The Painted King Art, Activism, and Authenticity in Hawai'i |
| title_full | The Painted King Art, Activism, and Authenticity in Hawai'i Glenn Wharton |
| title_fullStr | The Painted King Art, Activism, and Authenticity in Hawai'i Glenn Wharton |
| title_full_unstemmed | The Painted King Art, Activism, and Authenticity in Hawai'i Glenn Wharton |
| title_short | The Painted King |
| title_sort | the painted king art activism and authenticity in hawai i |
| title_sub | Art, Activism, and Authenticity in Hawai'i |
| topic | HISTORY / United States / State & Local / West (AK, CA, CO, HI, ID, MT, NV, UT, WY) bisacsh Public sculpture Conservation and restoration Hawaii Kapaau Citizen participation |
| topic_facet | HISTORY / United States / State & Local / West (AK, CA, CO, HI, ID, MT, NV, UT, WY) Public sculpture Conservation and restoration Hawaii Kapaau Citizen participation |
| url | https://doi.org/10.1515/9780824861087 |
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