ʻAi Pōhaku, Stone Eaters: Affirmation, Defiance, and Kānaka ʻŌiwi Visual Culture Today
Australia and New Zealand Journal of Art | Vol. 23 Issue 2 (2023) Te Ko Te Moananui-a-Kiwa te wahi whakarahi, The Pacific Ocean Joins Us All. Ngarino Ellis and Heather Igloliorte, eds.
Co-authored with Drew Kahuʻāina Broderick.
2023-12
“Through a detailed discussion of the exhibition at UH Mānoa, the ‘flagship’ campus of the UH System, as well as the stakes of the project as a whole, we consider the critical ways in which Indigenous contemporary art, exhibition-making, and public programming have the potential to move through institutional critique and embrace the needs of communities—those established and those in the making.”
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“Kalo, like much of the work in Akamine’s oeuvre, connects communities across the paeʻāina, across time, and generations, in aloha ʻāīna and ongoing resistance to American annexation and occupation in our islands.” ->
Notes from Kahoʻolawe, Ka Paeʻāina o Hawaiʻi, Moananuiākea
for Artlink Australia Issue 40:2 INDIGENOUS_Kin Constellations Lanugages Waters Futures
2020-06
Co-authored with Drew Kahuʻāina Broderick, this essay connects communities land-struggle movement across Ka Paeʻāina o Hawaiʻi – Kahoʻolawe, Kanaloa, Mauna Kea, Mākua – to spaces across Moanauiākea – Ihumātao, Tāmaki Makaurau, and Kaurna Lands.
“In the late 1960s through the 1970s, the second Hawaiian Renaissance was growing, and kapa, considered a lost art form since the 1890s, was being rediscovered by artists like Malia Solomon, Puanani Van Dorpe, Marie McDonald, and Moana Eisele. It was during the Renaissance that Cheng began to develop her own visual language. She celebrates the pattern work of tapa through the use of her native batik process.” ->
Co-written with Drew Kahuʻāina Broderick for Independent Curators International (ICI), Reports from the Field are commissioned texts is a reflections on the impact of the global pandemic on their lives, ways of working, their communities, and how they are adapting as a response. ->
