Title: Artist, Professor Emeritus
Company: University of Hawaii
Location: Prescott, Arizona, United States
Edward Stasack, Artist and Professor Emeritus at the University of Hawaii, has been recognized by Marquis Who’s Who Top Artists for dedication, achievements, and leadership in visual art and printmaking.
Mr. Stasack joined the staff of the University of Hawaiʻi Mānoa in 1956 as an instructor in the Department of Art, served as Chairman of the Department from 1969 to 1973, and served as program chairman in printmaking from 1973 to 1986. Due to decades of affiliation with the University of Hawaiʻi, Mr. Stasack has earned the title of Professor Emeritus in 1988 and enjoys the privileges afforded to him from this appointment. He first exhibited his paintings at the Downtown Gallery in New York City in 1960 in a special show of artists from Hawaiʻi. He was retained by the gallery and in 1965 was given a solo exhibition of paintings he created in Mexico in 1964-65. He remained affiliated with the gallery until 1980.
Mr. Stasack served in the U.S. Army from 1952 to 1954. He was awarded a Rockefeller Foundations Grant in 1959. He was named a MacDowell Colony Fellow in 1971 and 1975, a Hawaii State and U.S. Bicentennial Communications Fellow in 1975, and a Tiffany Foundation Fellow in 1958 and 1962. Furthermore, he has been a grantee of the McInerny Foundation in 2003 and the Hawaii Community Foundation from 1997 to 2001 and has won prizes from esteemed organizations such as the Society of American Graphic Artists, the Honolulu Printmakers, and the Society of American Archaeology, among others. Mr. Stasack’s artistic prowess has afforded him membership to groups such as the Society of American Graphic Artists, the Australian Rock Art Research Association, the American Rock Art Research Association, the Society of Hawaiian Archaeology, the Sharlot Hall Museum, and he and Diane Stasack received the Crabtree Award from the Society for American Archaeology for “their meticulous recording of more than 80 Hawaiian rock art sites and for their commitment to the larger community and future generations.”
Mr. Stasack’s creative works are vast and include, but are not limited to, the co-authored books “Hawaiian Petroglyphs” in 1970 and “Spirit of Place: Petroglyphs of Hawaiʻi” in 1999; 50 volumes of rock art recording reports for the petroglyphs of Hawaiʻi Island completed between 1989 and 2019. His solo art exhibitions include Honolulu Academy of Arts (1961, 1966, 1969, 1976 and 1977) and ten others in New York, Istanbul, Turkey, Cleveland Art Institute of Art, Bucharest, Romania and Hawaiʻi. Mr. Stasack’s work appears in 50 permanent collections, including the Museum of Modern Art in New York, the New York Metropolitan Museum of Art, the Chicago Art Institute, the Honolulu Academy of Arts, the Library of Congress, and the Philadelphia Museum of Art, among many others.
At the age of 10 years old, Mr. Stasack already knew that he would spend his life pursuing art. He lived in northwest Chicago, came upon the cultural center of Chicago and discovered the Chicago Art Institute. For the first time in his life, Mr. Stasack saw real art and was deeply moved by the intrinsic value of the pieces.
The three paintings in the Art Institute of Chicago which inspired Mr. Stasack were George Seurat’s “Sunday Afternoon on the Island of La Grande Jatte,” Edward Hopper’s “Nighthawks” and Rembrandt’s “Young Woman at an Open Half-Door.” These masterpieces ignited his creative interest, and saw him dedicate his career to art and reveling in the unseen forces that manifest in the greatest works of art. Mr. Stasack formally pursued his passion at the University of Illinois at Urbana-Champaign, where he graduated with a Bachelor of Fine Arts with high honors in 1955; was presented the University of Illinois Award for Merit; a plaque for being the outstanding student in printmaking; and a graduate fellowship to complete his Master of Fine Arts in 1965. As part of a study of creativity by the Smithsonian Institution, he was interviewed in an 88-page study housed in the Archive of American Art in 1961.
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