SUMMER 2017 The Asian Art Museum Members’ Magazine
We’re constantly striving to be a museum for all. On Dec. 31, we invited a group of visitors with visual disabilities to participate in our popular annual bell-ringing ceremony. Not only did they get to ring the bell, they had a chance to touch its surface to explore its texture (hence the white gloves), as Jennifer Westbrook does in this image. Photograph by Quincy Stamper.
TABLE OF CONTENTS
SUMMER 2017 /// VOL. VII, ISSUE 2 The Asian Art Museum Members’ Magazine MAGAZINE STAFF Tim Hallman, Editor-in-Chief Kate Johnson Lafferty, Director of Membership and Guest Experience Kate Ritchey, Creative Director Sheng Moua, Art Director / Graphic Designer Beth Tagawa, Writer Nina Lewallen Hufford, Editor Meghan Lee, Member Engagement Manager Published by the Asian Art Museum Chong-Moon Lee Center for Asian Art & Culture 200 Larkin Street, San Francisco, CA 94102 415.581.3500 · www.asianart.org · magazine@asianart.org Copyright © 2017 Asian Art Museum of San Francisco
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MUSEUM HOURS: Tue–Sun. . . . . . . . . . . . . . . . . . 10 AM–5 PM Thurs (through Sep 28) . . . . . 10 AM–9 PM Fri (Jun 23–Sep 29) . . . . . . . 10 AM–9 PM Mon. . . . . . . . . . . . . . . . . . . . . . . . . . Closed Visit www.asianart.org for additional closings and special hours.
Front Cover: The Moving Garden, 2009, by Lee Mingwei (American, b. Taiwan, 1964). Installation view of “Lee Mingwei and His Relations” at the Mori Art Museum, Tokyo, 2014. Stainless steel, granite, water, and fresh flowers. Collection of Amy and Leo Shih, Taichung, Taiwain. © Lee Mingwei. Photograph © Yoshitsugu Fuminari, courtesy of Mori Art Museum. Back Cover: Lidded cup in the shape of a chrysanthemum, 1776. China; Qing dynasty, reign of the Qianlong emperor (1736– 1795). Lacquer. Asian Art Museum, The Avery Brundage Collection, B60M446.a-.b. Photograph © Asian Art Museum.
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FROM THE DIRECTOR JAY XU — Last year, we celebrated our 50th anniversary.
This year, we recognize the 50th anniversary of an unforgettable chapter in the city’s history: the Summer of Love. In 1967, hippies flocked to Haight-Ashbury by the thousands, and San Francisco became the center of the counterculture movement.
Speaking of the Summer of Love, we’ve got lots going on this summer that you’ll love. This includes the unprecedented launch of a fashion line inspired by our collection — by none other than RZA, leader of iconic hip-hop group Wu-Tang Clan. We’re also offering ikebana workshops, a Studio Ghibli film festival, a tea seminar and chances to mingle with artists. Now more than ever, we’re proud to say that, whatever your taste, we’ve got something for you. We are truly a museum for all. SEE YOU AT THE MUSEUM!
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Hippies adopted the flower as a symbol of peace, a notion with roots in Buddhist art. This idea inspires our latest special exhibition (see page 4), which introduces the hidden meanings behind flowers in art from across Asia over thousands of years. We hope that you’ll not only appreciate the beauty of these exquisite objects, but that you’ll gain insight about floral motifs that will enhance your overall appreciation of Asian art.
ART BITES
NEWS FROM THE ASIAN ART MUSEUM
KICK OFF THE WEEKEND WITH FRIDAY NIGHTS AT THE MUSEUM If you’re not visiting museums regularly, we might know why: You don’t have time. According to the National Awareness, Attitude & Usage Study of Visitor-Serving Organizations, schedule conflicts are the main reason people don’t visit cultural institutions — approximately 60 percent of respondents who hadn’t visited a museum or other cultural organization in the previous two years cited their work schedule as the primary reason. So this summer, we’re going to fit into your schedule with Flower Power Fridays. The entire museum will be open until 9 PM on Fridays between June 23 and Sept. 29. Stop by after work to spend time among the roses, lotuses, chrysanthemums and cherry blossoms of Flower Power (see page 4) and peruse our other exhibitions. “When we talk about barriers to entry, we often think about ticket prices or programming, but data shows that it’s actually about scheduling,” says Kate Lafferty, director of membership and guest experience. “If we’re only open when people are working or on weekends when there’s a lot of competition for their time, it can be challenging for our audiences.” Even if your weekdays are wide open, we think you’ll love spending summer evenings at Flower Power Fridays, viewing art in a festive ambiance. “With the longer summer nights and this stunning, interactive exhibition on view, we think an
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Photograph © Asian Art Museum.
energizing museum visit is a great way to start the weekend,” Lafferty says. n
ART BITES
HAYDN WILLIAMS’ LEGACY KEEPS CURATORS CONNECTED In addition to presenting fascinating exhibitions and stewarding one of the world’s finest collections of Asian art, our institution produces groundbreaking scholarship. Since 2007, a special fund has supported curatorial research, thanks to the generosity and big-picture thinking of former Asian Art Commissioner Haydn Williams, who passed away last year. Williams was elected founding commissioner in 1969 following a distinguished military career, and he served until 1991. A former ambassador to Micronesia and Mariana Islands, Williams was also the longtime president of the Asia Foundation. Managed by the Asia Foundation, the Margaret Williams Memorial Fellows in Asian Art program (named after Haydn's beloved wife) enables our curators to interact with scholars from museums across Asia, with an emphasis on East Asia. Once or twice a year, curators from Asia visit the museum to share expertise and provide insight about works in our collection. This April, for example, Li Zebin, deputy director of the archaeology department at Nanjing Museum, visited to collaborate on our spring exhibition Tomb Treasures. The fund also allows our curators to travel abroad to explore other museums’ holdings and develop plans for future collaborations. “The formal part of the scholarly exchange of information is of course valuable,” says Forrest McGill, Wattis Senior Curator of South and Southeast Asian Art. “But the informal part of getting to Haydn Williams. Photograph courtesy of The Asia Foundation.
know people and having curators at other museums become familiar with us is also very important. The next time we want to work with a museum, we already have a connection with its curators." n
MEMBERS’ SWEEPSTAKES WINNERS GO TO TAIWAN This January, Bill and Jan Collins took what they describe as “the journey of a lifetime” to Taiwan. But unlike most glamourous international voyages, theirs was free. They were the lucky winners of a sweepstakes for museum members that sent them to “the beautiful isle.” Bill and Jan toured tranquil temples, bustling open-air markets and, of course, the National Palace Museum, Taipei. As vegetarians, one favorite memory was falling in “love at first bite” with stinky tofu (a popular fermented snack) after initially being put off by its, ahem, “unforgettable odor.” The trip deepened their knowledge and appreciation of Taiwan’s history and culture. “We were struck by the long succession of countries that influenced TaiSUMMER 2017 /// 3
wan during its history,” Bill says. “The global perspective and tolerance of cultures from around the world seems to be reflected in the internationalism of Taipei.” Being exposed to other cultures and artistic traditions (without having to leave the country) is the couple’s favorite aspect of museum membership — in addition to, we imagine, winning free trips. “The museum has opened our eyes to millennia of fine arts and crafts from some of the oldest and most storied cultures on the planet,” Bill says. Travel was sponsored by My Taiwan Tour and China Airlines. n
Bill and Jan Collins, winners of a trip to Taiwan through a museum sweepstakes, visit Dalongdong Baoan Temple in Taipei. Photograph courtesy of Bill and Jan Collins.
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THE ART THAT INSPIRED A MOVEMENT JUN 23 – OCT 1 BY DANY CHAN, ASSISTANT CURATOR, EXHIBITION PROJECTS
Above: Antiwar demonstrators tried flower power on MPs blocking the Pentagon Building in Arlington, VA, on October 26, 1967. (Photo by Bernie Boston/The Washington Post via Getty Images). Below: The Buddha overcomes the demon Mara and his forces, and the Earth Goddess creates a flood (detail), approx. 1800–1850. Thailand. Opaque watercolors and gold leaf on wood. Asian Art Museum, Gift from Doris Duke Foundation's Southeast Asian Art Collection, 2007.77. Photograph © Asian Art Museum.
of the 50th anniversary of the Summer of Love with Flower
The cry of “Flower Power” echoes through the land. We shall not wilt. Let a thousand flowers bloom. — ABBIE HOFFMAN, 1967
Power, showcasing more than 50 compelling artworks that explore Asian art’s enduring floral symbolism. From gloriously gilded folding screens, unusually modern lacquers, rare porcelains and religious sculptures to contemporary installations of living plants and sense-igniting multimedia, discover how artists have used the language of flowers. The exhibition uncovers the specific meanings of six flowers — lotus, plum, cherry, tulip, rose and chrysanthemum — while also celebrating the universal understanding of flowers as
One of the most powerful images to come out of the 1960s
symbols of love, harmony and all that is good in humanity.
counterculture was the flower as a symbol of peace and love, poignantly captured in the iconic photograph above. Taken at a protest of the Vietnam War, it shows a young man inserting a flower into the barrel of a gun. His action exemplified “flower power” by symbolically combating war (gun) with love (flower). The flower as a potent symbol of peace and love, so
central to hippie culture, originated in Asia 2,500 years ago. When the armies of the demon Mara attacked the Buddha, the Earth Goddess created a flood to wash away the soldiers; in a monumental Thai painting representing the tale (right), the defeat of Mara is shown by the transformation of the demons’ weapons into lotus flowers. Flower power in action.
The museum joins in San Francisco’s commemoration
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Lotus The lotus is a truly amazing flower: It produces seeds that can remain viable for over a thousand years and it regulates its temperature. Yet the lotus’s greatest power lies in its ability to bloom out of the depths of muddy waters and remain pristine. This quality accounts for its frequent use as a symbol of purity and transcendence in both sacred and non-religious imagery. The mighty lotus is also associated with peace, love, compassion, fertility, creation and renewal.
Plum and Cherry In East Asia, plum blossoms are hailed for their short-lived 6 /// ASIAN ART MUSEUM
beauty and represent the transience of life. The plum is the first flower to bloom, making it a favored seasonal symbol of spring with auspicious meanings for the New Year. The plum’s early blooming also evokes many lauded virtues such as purity and perseverance.
The one-week blossoming of cherry trees is celebrated
every spring in Japan, where the flower’s fragility suggests the ephemerality of life. Yet, due to human intervention and climate change, cherry trees are blooming earlier and earlier, a phenomenon that contemporary artist Ayomi Yoshida explores in her installation Yedoensis (page 9).
Tulip and Rose During the 16th and 17th centuries, the tulip became a symbol of the power, wealth and sophistication of Turkey’s Ottoman Empire. This association fueled the tulip’s popularity abroad; both the plant and the tulip as a motif created a sensation in Europe, epitomized by the infamous “tulipomania” craze that swept the Netherlands in the 1630s.
The rose has long been celebrated as a symbol of
sophistication and refinement in Persian and Indian art. In this portrait of a Mughal prince, his two ideal qualities as a ruler are represented by the sword (military might) and the rose (cultural sophistication). The rose was associated with both worldly and spiritual love, much as the flower is today.
The damask rose with beauty gleams, Its face all bathed in ruddy light, And shines like some bright star that beams From out the somber veil of night. — EXCERPT FROM HAFEZ (PERSIAN, 1325–1389),
“THE LESSON OF THE FLOWERS”
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Left, top to bottom: The Buddhist deity White Tara (detail), 1800–1900. Tibet. Colors on cotton. Asian Art Museum, Gift from the Paul and Kathleen Bissinger Collection, 2016.92. Flowers of the twelve months (detail), by Yun Bing (Chinese, 1670–1710). Ink and colors on silk. Asian Art Museum, The Avery Brundage Collection, B65D49.a-.l. Footed dish with design of cherry blossoms, baskets, and stream, 1700–1800. Japan; Saga prefecture, Edo period (1615–1868). Porcelain with underglaze cobalt and overglaze enamel decoration. Asian Art Museum, The Avery Brundage Collection, B62P23. Above: Dish with tulip and other floral motifs, approx. 1575–1600. Turkey, Ottoman period (1281–1924). Compositebody ceramic with multicolor decoration under clear glaze. Asian Art Museum, Gift of the Menke family in memory of their parents and grandparents Betty and John Menke, 2015.26. Right: A Mughal prince (detail), approx. 1675–1710. Northern India, Mughal period (1526–1857). Opaque watercolors and gold on paper. Asian Art Museum, Gift of Dr. and Mrs. David Buchanan, 2007.36.a-.b. Photographs © Asian Art Museum.
Chrysanthemum In East Asia, the chrysanthemum is considered a flower of autumn — a season of transition and reflection. Partly due to its long blooming season, the chrysanthemum is celebrated in China for its legendary power to prolong life; it continues to be consumed today in the form of tea. In Japan, the chrysanthemum is a symbol of the nation and the imperial household, and it is the focus of a passionate gardening culture that celebrates the flower every year during the Chrysanthemum Festival.
Flowers in Contemporary Art The six contemporary works in this exhibition demonstrate the flexibility of floral images to convey both timely and timeless 8 /// ASIAN ART MUSEUM
themes. Though rooted to the past, flowers in contemporary art provoke questions about our present and our future. They offer ways of thinking about a range of topics — the natural environment in which we live, the commodities we buy and the communities we build.
This year’s commemoration of the Summer of Love offers
an opportunity to celebrate the ongoing potential of flowers to Robe (kosode) with landscape and literary designs (goshodoki) (detail), approx. 1800–1850. Japan; probably Kyoto, Edo period (1615–1868). Silk crepe (chirimen) with embroidery. Asian Art Museum, Gift of Joan and William Larkin, 2007.15. Lidded cup in the shape of a chrysanthemum, 1776. China; Qing dynasty, reign of the Qianlong emperor (1736–1795). Lacquer. Asian Art Museum, The Avery Brundage Collection, B60M446.a-.b. Photographs © Asian Art Museum.
express the best of human character and action. The artworks on view in Flower Power show that flowers in art continue to offer much more than just beauty — they continue to embody our dreams, they continue to inspire hope. n
visitors will help Yoshida place each blossom individually, by hand. The project demonstrates, she says, how small acts can add up to something meaningful.
“The art is not only the completed work,” she says. “The
process and the progress are part of the artwork. I can give some feeling through the installation, but I can also work with other people and have conversations during the process — that’s very important.”
Yoshida is a member of a prominent family of artists. Her
artistic lineage stretches back over 200 years and includes a number of women — notable in a country where the art world has traditionally been dominated by men. The Asian Art Museum holds in its collection works by Yoshida’s grandfather, uncle, mother and father, all of whom were active in both Japan and the United States. Yedoensis, by Ayomi Yoshida (Japanese, b. 1958). Installation view at the Northern Illinois University Art Museum, 2008. Mixed media. Lent by the artist. © Ayomi Yoshida.
A Family Tradition in Bloom Ayomi Yoshida’s Yedoensis Every spring in Japan, sakura trees suddenly explode with cherry blossoms. Then, within days, they go from flowerfilled to desolate, petals scattering in the breeze.
A visit to Flower Power offers a taste of that experience
Born into this exceptional family, Yoshida says she often
felt alienated as a child — from friends, from Japanese society as a whole. But she eventually embraced art as her calling, which has often brought her, as it did her family members, to the United States.
“It’s important for me to not only follow tradition, but to
bring in new elements that allow my work to become more relevant,” Yoshida say. “In a way, you might call this the Yoshida family creed, and the destiny of one who is born into it.”
as filtered through the mind and hands of artist Ayomi Yoshida. Her installation Yedoensis re-creates the blossoming and decline of sakura, filling the space with life-size “trees.”
To create Yedoensis, Yoshida first sketches the trees,
which are fabricated in vinyl and adhered to gallery walls. Thousands of reflective paper blossoms are then applied to the branches to simulate their springtime abundance.
Changing the Universe, One Flower at a Time Lee Mingwei’s The Moving Garden
Mirroring nature, these blossoms eventually fall at the end Yes, those are real flowers. And, yes, you can really take
one. But there’s a catch.
“When cherry blossoms are fully in bloom, people feel
Like much of artist Lee Mingwei’s work, The Moving
very happy and get energy from them. The next day, they fall
down,” Yoshida says. “I want to give that to the audience: a
Garden is all about connection. Lee is known for experiential
short period of beauty and energy and happiness.”
installations that explore ideas of trust, intimacy and self-
One significant feature of Yedoensis, which takes its
awareness. Sometimes, Lee himself is the one doing the
name from a specific species of cherry tree, is the group
connecting, as in one project for which he slept next to a
effort involved in its creation. Volunteers and museum
different stranger every night for 20 nights.
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of the exhibition.
The Moving Garden, 2009, by Lee Mingwei (American, b. Taiwan, 1964). Installation view of "Lee Mingwei and His Relations" at the Mori Art Museum, Tokyo, 2014. Stainless steel, granite, water, and fresh flowers. Collection of Amy and Leo Shih, Taichung, Taiwain. © Lee Mingwei. Photograph © Yoshitsugu Fuminari, courtesy of Mori Art Museum.
With The Moving Garden, you’re invited to investigate this sometimes bumpy emotional terrain. Just pick one of the brightly colored blooms (which sprout almost magically from granite). Then, when you leave the museum, present it to a complete stranger. Lee says that while that may seem like a simple act, it can actually be quite challenging to initiate this kind of encounter.
“You can see it as a dangerous thing,” he says.
“That’s what makes it so poetic — there’s a sense of danger there. Hopefully in a beautiful way.”
The recipient must be a stranger, Lee emphasizes, to
achieve the intended moment of reflection and connection.
“You are standing there with this flower, thinking:
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Should I give it to this gentleman, this young lady, this child?” Lee says. “All three are viable decisions, however the outcome is going to be extremely different. It changes the fate of this flower, of you, and the person who receives this flower. In that way, the universe is different already, depending on which one you choose.”
So go ahead. Pick a flower, pluck up your courage,
and change the universe.
Ephemeral Beauty Megan Wilson’s Flower Interruption: San Francisco Summer of Love 2017 Megan Wilson’s work routinely disrupts the status quo. Through murals, installations and performance pieces (like one in which she dressed in a fuzzy pink pig costume to represent corporate criminals), she brings art, and often progressive ideas, to the people.
Her latest installation, Flower Interruption: San
Francisco Summer of Love 2017, will brighten the cold concrete of the Civic Center with giant, popinspired blooms, some painted directly on sidewalks. The artwork is on a Living Innovation Zone (LIZ), one of several throughout the city.
Wilson’s flowers will also infiltrate the museum, to
resonate with Flower Power’s connection to the 1967 Summer of Love. This link is important to Wilson, as her work is inspired by the ’60s counterculture movement. In addition to her own activist art, she oversees the Mission District’s famed Clarion Alley Mural Project, which has become an ever-changing public art space with over 700 murals since 1992.
Like most of Wilson’s work, Flower Interruption is
temporary, a conscious choice that concurs with her practice of Buddhism and meditation.
“I often create art that is conceptually rooted in
elements of these practices and that is intentionally ephemeral or that I give away,” Wilson writes. “Much
Share the Love Our special exhibitions allow you to travel through Asia’s rich history without leaving San Francisco. Each exhibition represents an opportunity to discover something new and deepen your understanding of Asian art.
Our eleven curators, each an expert in his or
her field, spend years researching and developing these exhibitions, and their passion and dedication is inspirational. Going above the call of duty and showing her commitment to Flower Power, curator Dany Chan vowed to wear floral fashions every day for over a year as she planned the exhibition!
Please consider supporting future exhibitions
with a fully tax-deductible gift to the Museum Fund before the fiscal year ends on June 30, 2017. One fun way to give? Make a donation in someone’s honor, and we will mail that person a postcard with a special message from you. The postcard features flowers by contemporary artist Megan Wilson, as well as a promo code for $2 off admission to the museum. What a wonderful way to support the museum AND reward someone special in your life. These postcards are available at the museum’s admission desk; the suggested donation is $10.
of my work is no longer in existence because it was never meant to be permanent.” Hurry to the Civic Center and see how Wilson’s
art interrupts blandness with bursts of life — before the flowers vanish forever.
Left: Flower Interruption: San Francisco Summer of Love 2017 (detail), 2017, by Megan Wilson (American, b. 1969). Mixed media. Courtesy of the artist. © Megan Wilson.
Flower Power is organized by the Asian Art Museum. Presentation is made possible with the generous support of Doris Shoong Lee and Theodore Bo Lee, The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, Phoebe Cowles, Warren Felson and Lucy Sun, and Cathy and Howard Moreland. Media sponsors: Wall Street Journal, NBC Bay Area, KQED. Presentation of The Moving Garden is made possible by support from the California Association of Flower Growers & Shippers and by Taiwan Academy in Los Angeles. Presentation of Yedoensis is made possible with support from the Japan Foundation. Above: Vase with “one hundred flowers” motif (detail). China; Jingdezhen, Jiangxi province, Qing dynasty, reign of the Qianlong emperor (1736–1795). Porcelain with overglaze enamels. Asian Art Museum, The Avery Brundage Collection, B65P13. Photograph © Asian Art Museum.
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PUBLIC PROGRAMMING
TASTING MENU:
FLOWERING TEAS JUN 29 | 7–9 PM | $5
Donna Lo breathes in the scent of fresh tea leaves during a 2015 tea-buying trip to Fujian, China. Photograph courtesy of Donna Lo.
Last year, we launched Tasting Menu, a series that invites local
touch the ceramics, smell and taste the tea. In this way, you can put
food-world luminaries to serve up connections between art, culture
yourself into a different zone from wherever you were before.”
and edible traditions. For one of the events this second season, a
beverage rather than a food is on the menu, one that’s a fitting choice
present several varieties of leaves (with a focus on florals, in keep-
for a museum dedicated to Asian art and culture: tea.
ing with our special exhibition Flower Power), and explain how she
comes up with custom blends. You’ll then be invited to create your
On Thursday, June 29, from 7 to 9 PM, Donna Lo, founder of
At the Tasting Menu event, Lo will outline her tea philosophy,
Berkeley’s Far Leaves Tea, shares the philosophy of mindful tea she
own signature blend to take home.
has cultivated since launching her teashop in 1998. Lo encourages
the daily practice of preparing and drinking tea as a calming escape
leave with something more. “With Tasting Menu, we want people to
from our modern plugged-in, stressed-out existence.
learn something, like a philosophy or a technique, not necessarily
“Enjoying tea forces you to slow down,” she explains. “You have
about the food itself, but broader ideas,” she says. “This event is
to wait for the water to boil, for the leaves to open. It also engages
not just about tea as a drink, it’s about the traditions and values it
the five senses: You look at the teapot, listen to the boiling water,
represents in Asia.” n
Silvia Chang, educator for public programs, hopes you’ll also
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The Asian Art Museum’s Tasting Menu series is made possible with lead support from Kaiser Permanente. Thursday Nights are supported in part by The Hearst Foundations, Inc., The Joseph & Mercedes McMicking Foundation, and Dodge & Cox.
Tour Flower Power with Friends and Family PRIVATE TOUR FOR UP TO 20 PEOPLE $100 FOR MEMBERS $125 FOR NON-MEMBERS
Bring your friends and family to explore Flower Power with a private, docent-led tour and discover the transcendence of the swamp-dwelling lotus, the sophistication of the globe-trot-
“If you have two pennies, spend one on a loaf and one on
ting tulip, the transience of the ephemeral cherry blossom and
a flower. The bread will give you life and the flower a
more. For more information, please call 415.581.3620 or email
reason for living.” —Chinese proverb
groupvisits@asianart.org.
PUBLIC PROGRAMMING
Every week, a group of volunteers makes original art to display in the museum. It’s not the kind of work that hangs on walls or gets propped up behind glass. For one thing, it’s alive. This summer, the museum’s Flower Committee, which has existed in some form for decades, will have a moment in the spotlight. A video installation in Flower Power will introduce ikebana, the Japanese art of flower arrangement, and recognize the committee’s efforts.
THE MUSEUM’S OWN FLOWER POWER
OUR IKEBANA COMMITTEE
On Monday mornings, volunteers stalk the bustling aisles of San Francisco’s Flower Mart. They’re on the hunt for blooms that not only inspire them, but can also survive a week without wilting and, ideally, have some connection to the special exhibition on view. The selected flowers undergo a rigorous inspection before they can be brought into the museum; sometimes a conservator will even use a magnifying glass to search the blooms for signs of insect infestation or mold. (Bugs are the enemy of artworks made of organic material, like wood, paper, silk and other fibers.) The volunteers then create four striking arrangements, snipping stems and coaxing dramatic shapes. Their work is placed strategically throughout the museum, including at the information desk and in the cafe. “It’s wonderful to have something alive here in addition to things that are rare and locked in a case and untouchable,” says Sally Ketchum, longtime leader of the committee. “But of course,” she adds with a smile, “people shouldn’t touch our flowers either.” A retired training manager, Ketchum is well suited to the task of juggling the schedules of the 27 committee members; in over a decade, only two Mondays have been missed on her watch. She’s been studying ikebana and creating arrangements for museums for almost 25 years, but she says the medium still challenges her. “I love the fleeting nature of ikebana,” she says. “It’s a piece of art that might be wonderful, or it might not have turned out as you wanted, but in a few days it will be gone.” Next time you visit, make a point to admire the creativity and dedication of our volunteers, as embodied in an art form as fleeting as it is beautiful. n
Try Your Hand at Ikebana
$40 FOR MEMBERS $65 FOR NON-MEMBERS* Learn the basics of flower arrangement from Kayoko Suiyo Fujimoto, leader of the local Ohara School of Ikebana. From 1:30 to 2:30 PM, Fujimoto presents a public demonstration of five flower arrangements in Samsung Hall, open to all museum guests. From 3 to 4:30 PM, she leads a seminar on ikebana basics for 15 visitors, where you can create Sign up in advance online at www.asianart.org/events/1193. *Includes admission to Flower Power and all materials including vase and flowers.
Ivy Leung inserts artfully bent leaves into an original flower arrangement that rests on the museum’s information desk. Photograph © Asian Art Museum.
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your own arrangement to take home.
ON VIEW
PHILIPPINE ART:
COLLECTING ART, COLLECTING MEMORIES
Philippine Art: Collecting Art, Collecting Memories explores the Philippines’ diverse artistic practices: traditional carving, weaving and metalwork; Christian art from the colonial period; and modern and contemporary painting and mixed-media artworks. The variety of works on view demonstrates how the Philippines — an island nation positioned along ancient trade routes between China and India — has for centuries been a center for artistic exchange and innovation.
JUL 14, 2017 – MAR 11, 2018 2ND FLOOR | TATEUCHI GALLERY
The San Francisco Bay Area is home to one of the largest communities of people of
Filipino ancestry outside of Asia, yet art from this island nation was not represented in the Asian Art Museum during its early decades. The core of our collection comes from Avery Brundage’s 1960s donations, which did not include any art from the Philippines, and donations since the museum’s founding have rarely included any Philippine material. It was quite common in the mid-20th century for U.S. museums with Asian holdings to collect predominately East and South Asian art, with notable exceptions for Khmer (Cambodian) material. The Philippines’ colonial history and Christian artistic legacy placed much of its art outside familiar storylines of Hinduism or Buddhism, which may have led to its exclusion. Over the past decade the museum has been working to address this gap by actively collecting art from the Philippines, increasing our collection sixfold from 10 artworks in 2000 to over 60 today. This summer, in this dazzling exhibition in Tateuchi Gallery, you can explore our progress to date.
Filipino artists excelled at indigenous artistic traditions like carving, jewelry-making
and textile production. In the late 1300s Muslim traders arrived in the Philippines, and by 1500 several Islamic sultanates had been established in the southern islands of the archipelago. These centers became known for metalwork and woodcarving. The Spanish arrived in the early 1500s, and the Philippines lived under Spanish rule until the 20th century. The conversion of the majority of the population to Christianity deeply impacted the country’s art and culture. Peoples in converted regions largely abandoned or were forced to give up early artistic traditions. Instead, the production of santos (wood or ivory devotional statues) as well as paintings of religious scenes filled new cultural needs. The establishment of art schools, modeled on European conservatories, further encouraged artists, especially painters and sculptors.
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After a period of American colonial rule and Japanese occupation during World War II, the
Philippines gained independence in 1946. The artistic culture of the Philippines has been marked by this history of invasion, revolution, innovation and adaptation, and contemporary Philippine Art: Collecting Art, Collecting Memories is organized by the Asian Art Museum. Presentation at the Asian Art Museum is made possible with the generous support of Dinny Winsor Chase and Glenn Vinson and Claire Vinson. Above: Ceremonial deity (bulul), approx. 1930. Philippines; Luzon, Ifugao people. Wood and shell. Asian Art Museum, Filipino Fund for Acquisitions and Museum Purchase, 2013.2. Right: Native Song, 1999, by Santiago Bose (Filipino, 1949–2002). Oil on canvas with mixed media. Asian Art Museum, Gift of Malou Babilonia, 2007.80. © Estate of Santiago Bose. Photographs © Asian Art Museum.
artists draw upon aspects of this complex legacy to create new works.
The exhibition is divided into three sections. The first focuses on art with roots in
precolonial culture. The second centers on the impact of Christianity on Philippine art, displaying two newly acquired statues of Jesus and Mary. The final section of the exhibition shows modern and contemporary art, from early masters like Fernando Amorsolo and Anita Magsaysay-Ho, to activist art during the rule of Ferdinand Marcos, to mixed-media works by Santiago Bose and Noberto Roldan. n BY NATASHA REICHLE, ASSOCIATE CURATOR OF SOUTHEAST ASIAN ART
ON VIEW
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COMING SOON
COUTURE KOREA
Like the exquisite layers of hanbok (traditional Korean clothing), culture and history overlap in this first U.S. exhibition dedicated to Korean fashion. Couture Korea considers traditional Korean clothing and its enduring influence, which has resulted in exciting modern reinterpretations.
NOV 3, 2017 – FEB 4, 2018 FIRST FLOOR SPECIAL EXHIBITION GALLERIES
The exhibition features more than 120 works, ranging from re-creations of garments from the Joseon dynasty (1392–1910) to contemporary designs from Karl Lagerfeld of Chanel, Seoul-based Jin Teok, and two younger Korean designers. Couture Korea delves deeper than the clothing’s formal beauty and superb craftsmanship to show that these garments, as works of art, are not only intimate objects but also cultural expressions. Relatively unknown outside of Korea, the country’s traditional clothing speaks volumes about its moral codes, customs, celebrations and social systems. Fashion created during the Joseon dynasty for the upper class was dictated not only by the tenets of the state ideology, Neo-Confucianism, but also by the season, occasion, and the wearer’s age and status. The basic layers of hanbok consist of a jacket (jeogori), pants (baji), skirt (chima) and outer coat (po), with men wearing baji and women chima. Social status was signified through form, material, aesthetic, color and accessories. The garments in the exhibition are not mere copies of hanbok but precise reconstructions based on references found in tombs or other surviving records. Couture Korea includes works by two established designers who take a fresh look at Korean fashion. Jin Teok (b. 1934), one of Korea’s most respected designers, has incorporated historical motifs and styles into contemporary fashion throughout her career. One design, for example, is a variation of a bridal robe, intricately embroidered with typical floral imagery — but cut as a long vest and paired with a flashy denim skirt. Karl Lagerfeld’s designs for Chanel’s 2015/16 Cruise Collection, which debuted in Seoul, reflect the international influence of Korean fashion. The line includes pieces inspired by Korean arts such as bojagi (wrapping cloth) and mother-of-pearl lacquerware; examples of both art forms from the Asian Art Museum’s collection are included in the exhibition. The exhibition introduces to a San Francisco audience the work of two younger contemporary Korean designers. Im Seonoc (b. 1962) and Jung Misun (b. 1984) reinterpret, through vastly different approaches, the application of materials and techniques of the past.
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Couture Korea is the first in a series of three thematic exhibitions planned in partnership with Arumjigi Culture Keepers Foundation, a South Korean nonprofit dedicated to protecting and preserving Korean culture and creativity. n BY HYONJEONG KIM HAN, ASSOCIATE CURATOR OF KOREAN ART
Couture Korea is co-organized by the Asian Art Museum of San Francisco and the Arumjigi Culture Keepers Foundation, Korea. Presentation is made possible with the generous support of Korea Foundation, Sulwhasoo, The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, Warren Felson and Lucy Sun, Anne and Timothy Kahn, and Stephanie and James Marver. Above: Woman’s jacket (jeogeori) and skirt (chima), 2016. Ramie. Arumjigi Culture Keepers Foundation. Right: King Yeongjo’s outer robe (dopo), 2015. Silk. Arumjigi Culture Keepers Foundation. Photographs © Arumjigi Culture Keepers Foundation.
COMING SOON
SUMMER 2017 /// 17
THURSDAY NIGHTS
THE PHOTOGRAPHER IN FOCUS You’ve seen his work before. You may even recognize his name from this magazine, or the man himself from one of our events. (Hint: He’s the one with the fancy camera.) As the museum’s go-to event photographer, Quincy Stamper has chronicled many of its major events for the past several years, including every Artists Drawing Club since 2012. On Sept. 14, he will step out from behind the camera to take on the role of presenting artist. Celebrating its fifth year, the Artists Drawing Club was conceived by Marc Mayer, senior educator of contemporary art, to give local artists a platform to present projects inspired by the museum’s collection, exhibitions and neighborhood. Once a month on Thursday nights (when we’re open until 9 PM for $10), these events transform the museum into a buzzing hub of creativity and exploration. Mayer is proud of the series’ accomplishments. In the past five years, he says, the Club has encouraged the museum to embrace a more experimental nature and forge strong ties with local artists — some of their work has even entered our collection, a huge accomplishment for an artist. Inviting Stamper to lead an event offered a chance to reflect on the series and also to take it in a new direction. “Knowing that Quincy had a unique perspective after documenting 30 projects over five years made me wonder what would happen if we changed his role and asked him to Teacher and photographer Quincy Stamper will lead an Artists Drawing Club program this September. Photograph by Ana Laura Nicolau, a high school student in Stamper’s class.
participate as an artist,” Mayer says. When he first started photographing the series, Stamper says, he didn’t know what to expect, but he was immediately “blown away.” “I’ve never been to an event with artists coming together and picking
18 /// ASIAN ART MUSEUM
Check out other Artists Drawing Club events this summer! Ryan Tacata THURSDAY, JUL 20 | 6:30–9 PM
Victoria Fu THURSDAY, AUG 10 | 6:30–9 PM
Shiva Ahmadi THURSDAY, AUG 24 | 6:30–9 PM
each others’ brains and inviting others to do the same,” he says. “A lot of the artists really shook me. If this is their idea, then what’s my perspective? My camera became a blank canvas to capture their vision.” Stamper has one main goal for his iteration of the Artists Drawing Club, which will feature his photographs of previous events: to maintain the network of artists that has been created. As a high school photography teacher by day, he is focused on keeping the creativity flowing for future artists. “I didn’t go to a lot of museums when I was younger,” he says. “It always felt like you had to have a big name to be in a museum. If we keep this alive, there will be opportunities for others to come after us and do it again, and we can fill in some of the pieces that museums don’t. We need more artists to be able to show their work in museums, to be able
Thursday Nights are supported in part by The Hearst Foundations, Inc., The Joseph & Mercedes McMicking Foundation, and Dodge & Cox.
to shine.” This summer, Stamper will be one of them. n
THURSDAY NIGHTS
36 Chambers’ Mustafa Shaikh sketching at the museum wearing the label’s Year of the Rooster jersey, which was released in late April. Photograph by Allen Walker.
HIP-HOP ICON RZA FINDS FASHION INSPIRATION IN ASIAN ART
SEPTEMBER 21 | 7–9 PM | $10
Asian philosophy and arts have been longtime passions for RZA
wear line, which includes such pieces as a velour mandarin jacket
(pronounced “Rizza”), the driving force behind revolutionary New
and a satin jacket embroidered with a golden dragon. “The Chinese
York rap collective Wu-Tang Clan. In the twenty-plus years since
interpretation of the dragon is different from the American’s,” notes
the group’s breakout first album, which introduced their distinctive
RZA in a recent Billboard interview. “Parts of the dragon can be
East Coast hardcore hip-hop sound, RZA has branched out into
graceful, but then also destructive to the enemy.”
producing, acting, composing film scores, and even fashion design.
Art lovers, hip-hop devotees and style enthusiasts are invited
to see the fruits of this collaboration between the museum and 36 Chambers on Sept. 21, when we present RZA’s designs as part of
and the sounds of kung fu infiltrate his music — RZA is also deeply
the Thursday evening TAKEOVER series.
influenced by other aspects of Asian culture, from Buddhist sutras
to Chinese calligraphy.
influence new creations and reach new audiences, and how those
“This is an amazing opportunity to see how historic works can
When we heard that our 2016 exhibition Emperors’ Treasures
audiences can begin to think more about art,” says Marc Mayer,
inspired some of RZA’s designs for his contemporary streetwear
senior educator of contemporary art, who organizes TAKEOVER.
label 36 Chambers, we invited him and co-creator Mustafa Shaikh
to explore our collections. The result is their 2017 fall/winter mens-
awaken the past to inspire the future.” n
“This is exactly what we mean when we talk about wanting to
SUMMER 2017 /// 19
A devotee of martial arts films — the name of the group
derives from the 1983 Hong Kong movie “Shaolin and Wu Tang”
DIGITAL TRANSFORMATION
MAKING ART MORE ACCESSIBLE THROUGH TECHNOLOGY Over the past few years, you’ve probably noticed more modern
making art come alive in ways that are meaningful to you.
objects alongside our millennia-old works — and we’re not just
talking about contemporary art.
the museum just over two years ago, after working in advertising
The museum is in the midst of a digital transformation. Tablet
and marketing for 15 years, building marketing campaigns, websites
devices offer 360-degree views of our masterpieces. A wayfinding
and mobile apps. But he got restless in the corporate world. A lover
touchscreen in the William K. Bowes, Jr. Foundation South Court
of museums who studied art history and literature, Lee is excited to be
provides step-by-step directions to any location in the museum. And
using his skills to reimagine your museum visit. Expect to see some
Tomb Treasures, our most recent special exhibition, gave visitors
of his ideas become reality in the museum over the next two years.
the chance to virtually explore a 2,000-year-old tomb and play a
Han-dynasty bell set.
ital experiences, and we’re trying to push it further,” Lee says. “For us,
it’s looking at how to invest in digital in a way that builds long-lasting
But it’s not all about flashy gadgets. The ultimate goal of our
“All museums are struggling with ways to create meaningful dig-
relationships with visitors. You visited us once. Now what?”
20 /// ASIAN ART MUSEUM
technology upgrades is to customize your museum experience,
Just ask Jonathan Lee, director of digital experience. Lee joined
Jonathan Lee (director of digital experience), Mel Chang (digital producer), Kevin Conley (director of information technology) and Lorraine Goodwin (interpretive media specialist) interact with a digital touchscreen display that will help bring masterpieces to life, planned for implementation next year. Photograph by Quincy Stamper.
DIGITAL TRANSFORMATION
Apple recently completed indoor mapping of the museum,
museum for all.’ ”
which will allow for the delivery of personalized content to visitors
through mobile devices. That means that if you’re looking at the
We’ve upgraded our website and added new features.
museum app on your smartphone at home, it will recognize that you
aren’t on-site and promote current exhibitions and online ticketing.
Information Technology and Digital departments are implementing
Once you arrive, it can show you the day’s programming or suggest
new digital asset and content management systems, which will
specific artworks tailored to your tastes. It can even send a reminder
help staff access information more easily. Such systems, Lee says,
that a program you plan to attend will start in 15 minutes and call
are essential to enable staff to produce great visitor experiences.
up directions to Samsung Hall from wherever you’re standing.
Digital innovations also help make the museum more accessible.
— technology will be used as a tool to enhance your experience
Visitors with visual or hearing disabilities, Lee says, will eventually
at the museum, and you can choose to opt out in favor of a more
be able to use smartphones and tablets to read labels in a larger
traditional visit.
font or hear text read to them. And content will be available in
multiple languages.
so as to not be intrusive to the artwork,” Lee says. “We don’t want
the gallery to look like a video arcade.”
“We are creating a diverse set of features, so there is some-
Other improvements are taking place outside the galleries. The transformation is also happening behind the scenes. The
Rest assured, the galleries will always remain focused on art
“There’s a really delicate balance for how to approach digital
thing for everyone,” Lee says. “We don’t want to appeal to a single
type of audience. This effort directly supports our vision of ‘a
your time with us more special. n
But a digital device here and there, we’re hoping, will make
IN REMEMBRANCE: WILLIAM (BILL) K. BOWES, JR. William (Bill) K. Bowes, Jr., who passed away late last year, was a rare breed: a native San Franciscan and an immensely successful venture capitalist who dedicated decades to actively supporting Bay Area institutions such as the Asian Art Museum.
Bill had served on the museum’s board since 1992,
where he oversaw some of our greatest successes. In 2012, The William K. Bowes, Jr. Foundation underwrote our three-year plan to update our digital strategy and technology.
Last year, in thanks for his decades of leadership,
we officially renamed the museum’s south court the William K. Bowes, Jr. Foundation South Court, to honor Bill and his wife, Ute.
Asian Art Museum Director Jay Xu and philanthropist Bill Bowes in front of Dragon Fortune in 2016. Photograph © Asian Art Museum.
SUMMER 2017 /// 21
infrastructure, enhancing and innovating visitor-facing
MUSEUM STORE
FILL YOUR HOME WITH FLOWERS Looking to perk up your walls with flowers that have character?
in yuzen dyeing, a traditional technique often used to create the
enchanting patterns of kimono. An eye for bold color and striking
We’ve recently acquired dozens of mid-century woodblock
prints by various artists produced by Unsodo, a noted printer
lines immediately comes through in his designs.
based in Kyoto. They feature a veritable garden of blossoms —
camellias, chrysanthemums, wisteria, orchids, roses, azaleas and
your wall into a bouquet. Best of all, these vintage items are
many more — in vibrant colors, each stamped with an artist’s seal.
hard to find elsewhere — this is not your garden-variety art. And
Choose your favorite, or pick a few flowers and transform
Unsodo has operated continuously in Kyoto since 1891, and
after seeing our summer show Flower Power, you’ll be able
is still run by the same family. The bulk of these floral prints are
to recognize the deeper meaning expressed by some of these
by artist Shodo Kawarazaki (1889–1973), who started his career
beautiful blooms. n
ROSE
SHODO KAWARAZAKI (1889–1973) Woodblock Print, 14 ½” x 9 ½” $175 (member price $157.50)
WILD CHERRY
SHODO KAWARAZAKI (1889–1973) Woodblock Print, 14 ½” x 9 ½” $175 (member price $157.50)
SUMMER 2017 /// 23
MEMBERSHIP
INTRODUCING THE CONTEMPORARY COUNCIL PREFER THE AVANT-GARDE TO THE ANCIENT? OUR NEW CONTEMPORARY COUNCIL IS FOR YOU. Launched in September 2016, the Contemporary Council is our
to better tell the story of modern and contemporary Asian art
newest add-on membership option, open to members at the Jade
and culture. Additionally, site-specific installations invite you to
Circle and Nexus levels. Members of the Contemporary Council
engage with contemporary art and global issues in unexpected
provide support for the acquisition, exhibition and study of contem-
and meaningful ways. Join us on the cutting edge of contemporary
porary art at the Asian Art Museum and enjoy bespoke programs
Asian art!
and privileged museum access.
The museum is committed to presenting contemporary exhibi-
open to Jade Circle and Nexus members. For more information, please
tions, working with living artists and growing the collection
contact ContemporaryCouncil@asianart.org or 415.581.3792. n
The Contemporary Council is a $2,000 add-on membership
Contemporary Council Benefits • Invitations to dynamic programs and events throughout the year • Opportunities to meet emerging artists, curators and collectors who are influenced by global perspectives, culturally diverse communities and technological advancements
24 /// ASIAN ART MUSEUM
• Meet like-minded contemporary art enthusiasts
“It’s a chance to see works of art from all angles. This includes getting to know artists and, in some cases, making art with them!” — Karin Oen, Assistant Curator of Contemporary Art Above: Members of the newly launched Contemporary Council enjoy opportunities to interact with contemporary art at local galleries, like the visit pictured here. Photograph by Jason Smith. Below: Members of the newly launched Contemporary Council will enjoy special curator-led tours of contemporary art exhibitions. Here, curator Allison Harding introduces 28 Chinese. Photograph by Quincy Stamper.
MUSEUM NEWS
LOTUS LIVE
BE PART OF THE LARGEST HUMAN FLOWER JUL 15 | CIVIC CENTER PLAZA Lotus Live — part human be-in, part artwork, part celebration of
transcendence. (Learn more about the symbolic meaning of the
Flower Power and all fun: help us break the current Guinness World
lotus and other flowers in this summer’s Flower Power exhibition
Record for the Largest Human Flower.
— see page 4.)
If you are interested in creating something larger than yourself,
What better way to commemorate this year’s anniversary of the
become one of the 3,000 bodies needed to break the current
Summer of Love than by linking with thousands of strangers to form
record, set by the Rochester Lilac Festival in 2014. Our goal is
a lotus flower, demonstrating the uplifting power of community and
to recreate the petals, stem and leaves of a lotus flower, which
compassion for all?
in many Asian cultures signifies peace, love, compassion and
Visit www.asianart.org for details on how to participate. n
A BRILLIANT SUCCESS On March 2, we welcomed more than 850 guests to the museum’s Annual Gala and After-Party celebrating Art + Technology. Gala Co-Chairs Cori and Tony Bates and the Gala committee worked passionately behind the scenes to bring in longtime museum supporters as well as new friends from Silicon Valley. With major tech firms and industry leaders serving as sponsors, the evening, in Cori’s words, “felt like a tech summit!”
Thanks to Cori and Tony’s leadership, the Gala raised
over $1.8 million for our education programs, one of the most important aspects of the museum’s mission.
Guests were dazzled by moments that highlighted the
connection between art and technology, including a projection twinkling LED lights, iPad centerpieces and dancers from iLuminate performing in electrified glow-in-the-dark suits, the dinner tent was transformed into a digitally glowing pavilion.
Director Jay Xu, thrilled by the evening’s success, noted
“the Art + Technology Gala was the perfect occasion to focus on harnessing the power of technology to contextualize Asian art’s global relevance and vast cultural connections.” n Top to bottom: Gala Co-Chairs Cori and Tony Bates. Yuan Yuan Tan and Gorretti Lui at the Gala. Photographs by Drew Altizer Photography.
SUMMER 2017 /// 25
by Tokyo-based teamLAB and interactive technology. With
SCENE AT THE ASIAN
A participatory performance installation — D(ance) D(ance) R(epublik) — led by artist Ma Li at the Afterlife party. Photograph by Jay Jao.
Lunar Society members at the Afterlife party. Photograph by Jay Jao.
Nexus members visit Chambers Fine Art during Asia Week New York. Photograph by JasonSmith.com.
Lunar New Year. Photograph by Quincy Stamper.
MJ’s Brass Boppers at the Afterlife party. Photograph by Jay Jao.
Chef Corey Lee discusses Korean dining and ceramic traditions with Lucia Cho of Kwangjuyo. Photograph by Quincy Stamper.
SCENE AT THE ASIAN
Cambodian Classical Dance. Photograph by Quincy Stamper.
Members at the Opening Reception for Tomb Treasures. Photograph by Quincy Stamper.
FASHIONABLE AT 50
We ended our 50th anniversary year (and ushered in 2017) with a bang — our annual New Year’s Bell Ringing. The months that followed have been filled with festivities, including our lively Mochi Pounding, fun-filled Lunar New Year Celebration, and a giant party celebrating life, the afterlife and our major exhibition Tomb Treasures. n
New Year’s Eve Bell Ringing. Photograph by Quincy Stamper.
Mochi Pounding. Photograph by Quincy Stamper.
#AsianArtMuseum @sarahmhull
PUBLIC PROGRAMMING CALENDAR
SUMMER 2017 EVENT CALENDAR
JUNE Target First Free Sunday Sunday, Jun 4 Bamboo Weaving Demonstration and Workshop by Honma Hideaki Thursday, Jun 22 Join us for a demonstration of various types of weaving. Tasting Menu: Flowering Teas Thursday, Jun 29 7–9 PM See page 12
JULY
AUGUST
SEPTEMBER
Target First Free Sunday Sunday, Jul 2
Target First Free Sunday Sunday, Aug 6
TAKEOVER Thursday, Jul 13 With comedian Dhaya Lakshminarayanan
Artists Drawing Club Thursday, Aug 10 6:30–9 PM With Victoria Fu
Target First Free Sunday Sunday, Sep 3 Learn about Flower Power and make origami flowers.
Premiere of Across Generations Season 2 Saturday, Jul 15 Listen to stories of immigrants documented through videos produced by high school students.
Tasting Menu: Philippine Cuisine Thursday, Aug 17 6:30–9 PM See page 14
Family Fun Day Sunday, Jul 16 10:30 AM–2:30 PM Join us for Family Fun Day with Deepa Natarajan, a local educator who will teach you about floral essences and petal crafting. Artists Drawing Club Thursday, Jul 20 6:30–9 PM With Ryan Tacata Ikebana Demonstration and Workshop Saturday, Jul 22 1:30–4 PM See page 13
Family Fun Day Sunday, Aug 20 10:30 AM–2 PM Join us for Family Fun Day with Deepa Natarajan, a local educator who will teach you how to make Balinese flower offerings (canang sari). Artists Drawing Club Thursday, Aug 24 6:30–9 PM With Shiva Ahmadi
Artists Drawing Club Thursday, Sep 14 6:30–9 PM With Quincy Stamper. See page 18 Family Fun Day Sunday, Sep 17 10:30 AM–2 PM Join us for Family Fun Day to learn about Flower Power and make origami flowers. TAKEOVER Thursday, Sep 21 With 36 Chambers and RZA See page 19 Filipino American History: In Focus Thursday, Sep 28 7–8:30 PM See page 14
FLOWER POWER FRIDAYS
The museum is open until 9 PM on Fridays from Jun 23 to Sep 29.
Help 37,000 school kids visit the Asian Art Museum for free this year. To give $10, text CULTURE to 20222 now
20222 CULTU
RE
CALENDAR
FEATURED MEMBER EVENTS ALL MEMBERS Tour, Talk & Tea: The Beauty and Mystique of Jade Tuesday, Jun 6 2–4 PM New Member Welcome Tour Wednesday, Jun 7 10:30–11:30 AM Tour, Talk & Tea: The Beauty and Mystique of Jade Saturday, Jun 10 11 AM–1 PM Flower Power Preview Day Thursday, Jun 22 12–9 PM
Tour, Talk & Tea: Chinese Ceramics, Transformation by Fire Tuesday, Aug 8 2–4 PM Tour, Talk & Tea: Chinese Ceramics, Transformation by Fire Saturday, Aug 12 2–4 PM Tour, Talk & Tea: Japanese Ceramics Tuesday, Sep 5 2–4 PM New Member Welcome Tour Wednesday, Sep 6 10:30–11:30 AM
RHINO CLUB Enjoy storytelling in the galleries followed by arts & crafts. Free for Rhino Club Members.
Member Shopping Days Friday, Jul 7–Sunday, Jul 9 10 AM–5 PM
stART Tour Sunday, Jun 18 10:30–11:30 AM
Tour, Talk & Tea: Flower Power Tuesday, Jul 11 2–4 PM
stART Tour Sunday, Jul 16 10:30–11:30 AM
New Member Welcome Tour Wednesday, Aug 2 10:30–11:30 AM
stART Tour Sunday, Aug 20 10:30–11:30 AM stART Tour Sunday, Sep 17 10:30–11:30 AM
1966–2016
Flower Power Opening Reception Wednesday, Jun 21
Asian Art 101 Thursday, Jul 20 7–8 PM Enjoy a special tour of Flower Power with curator Dany Chan Tales & Cocktails Thursday, Aug 24 7–8 PM Scintillating stories in the galleries followed by drinks and discourse
5:30–7:30 PM Open to Jade Circle ($3,000) and Nexus ($25,000) 7:30 PM Early access for Friends ($500) and Patrons ($1,000) 8–10 PM Doors open to Premium members ($179) Contact us at 415.581.3740 or members@asianart.org for more information.
Movie Nights
FEATURING STUDIO GHIBLI FILMS
FREE AND JUST FOR MEMBERS Enter the entrancing world of Hayao Miyazaki, Japan’s most beloved animator, with three feature films. Bring your own pillow or cushion to get cozy. Popcorn provided!
RSVP today by contacting members@asianart.org or 415.581.3743. The Tale of Princess Kaguya
FRIDAY, AUG 4 | 7 PM
When Marnie Was There
FRIDAY, SEP 29 | 7 PM
Only Yesterday
FRIDAY, SEP 8 | 7 PM
FIRST FRIDAYS | 9:30–10:30 AM $10 FOR MEMBERS, $25 FOR NON-MEMBERS FOR PARENTS AND CAREGIVERS WITH BABIES TWO YEARS OLD AND YOUNGER Babies, even fussy ones, are welcome on our new Stroller Tours! Join other parents and caregivers with children two years old and younger for these docent-led tours highlighting museum masterpieces or the current special exhibition. Perfectly paced for families with young children, Stroller Tours are held on Friday mornings when the museum is closed to other visitors. Consult our Group Experience concierges to book Stroller Tours and other unique events, including Sunday Storytelling and specially customized group visits. For more information, please call 415.581.3620 or email groupvisits@asianart.org.
SUMMER 2017 /// ASIAN ART MUSEUM
Stroller Tours CELEBRATING 50 YEARS
DELUXE LEVELS
Craft Night Thursday, Jun 1 6–8 PM Meet artist Jenny Fong and learn the art of modern shibori (a Japanese manual resist dyeing technique)
Tour, Talk & Tea: Japanese Ceramics Saturday, Sep 9 2–4 PM
New Member Welcome Tour Wednesday, Jul 5 10:30–11:30 AM
Tour, Talk & Tea: Flower Power Saturday, Jul 15 2–4 PM
LUNAR SOCIETY
ASIAN ART MUSEUM Chong-Moon Lee Center for Asian Art & Culture www.asianart.org 200 Larkin Street San Francisco, CA 94102 USA
Non-Profit Organization U. S . Po s t a g e P A I D Asian Art Museum of San Francisco