FALL 2018 MEMBERS’ MAGAZINE
TENDERLOIN SUNDAY STREETS, SARI DRESS TENT Visitors to the Village Artist Corner on May 6, 2018, encountered this 11-foot-tall Sari Dress Tent designed by artists Robin Lasser and Adrienne Pao. Commissioned to commemorate the 10th anniversary of Tenderloin Sunday Streets, Sari Dress Tent was the latest version of the duo’s ongoing project of Dress Tents, wearable living-sculpture installations that comment on current events. The form of this dress tent was inspired by temples and minarets from India as well as the dome of San Francisco City Hall. Photograph by Justin Yee.
TABLE OF CONTENTS
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FROM THE DIRECTOR 28
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CONTENTS 2
News from the Asian Art Museum
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Special Thanks
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Painting Is My Everything: Art from India’s Mithila Region
24
Desert Encounters: Arts, Cultures and Kingdoms of the Silk Road
10
Haroon Mirza: The Night Journey
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Sunday at the Museum
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Public Programming
28
In the Museum Store
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Transformation
30
Scene at the Asian
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Behind the Scenes
32
Event Calendar
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Coming Soon
MAGAZINE STAFF
FALL 2018 VOL. VIII, ISSUE 2 Members’ Magazine
Editor-in-Chief
Tim Hallman
Deputy Chief of Philanthropy
Nada B. Perrone Creative Director
Kate Ritchey
Art Director / Graphic Designer
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 Copyright © 2018 Asian Art Museum of San Francisco
Sheng Moua
Nina Lewallen Hufford Museum Photographer
Kevin Candland
Jay Xu
SEE YOU AT THE MUSEUM!
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Front: Women’s Power (detail), 2017, by Shalinee Kumari (Indian, b. 1985). Ink and colors on paper. Asian Art Museum, Museum purchase, MortimerHarvey Fund, 2018.8. © Shalinee Kumari. Photograph © Asian Art Museum. Back: Prime Minister Modi arriving in a village via helicopter (detail), 2015, by Dulari Devi (Indian). Ink and colors on paper. Asian Art Museum, Acquisition made possible by the George Hopper Fitch Bequest, 2016.123. © Dulari Devi. Photograph © Asian Art Museum.
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Writer / Editor
As I write this in the late spring of 2018, our transformation project is beginning to gain momentum. Our new cafe opened in April (page 26), bringing us a refreshed dining experience that reflects contemporary Asian American culture and cuisine. And we are looking forward to welcoming you to the updated third-floor galleries early next year, which will mark the debut of Masterpieces in Context (page 16). It is gratifying to see our vision of transforming the visitor experience — of finding new ways to make Asian art and culture accessible and meaningful to everyone — begin to take shape. This fall brings us two very different special exhibitions that suggest directions in contemporary art in South Asia and the South Asian diaspora. Painting Is My Everything: Art from India’s Mithila Region (page 4) showcases artists who are innovating within a traditional style to express personal experiences and perspectives on global issues. Haroon Mirza: The Night Journey (page 10) offers us an immersive experience that draws on the London-based artist’s interests in Sufi mysticism, meditation and consciousness-altering practices. On a personal note, thank you to the community, board and staff members who have encouraged and supported me over my past ten years as director of the Asian Art Museum. I am so proud of our accomplishments and the foundation we have set for an exciting future.
ART BITES
NEWS FROM THE ASIAN ART MUSEUM
New Book Devoted to Museum Treasures It has been nearly 25 years since we last published a book surveying the gems of our collection, so we are thrilled to announce the release of Asian Art Museum of San Francisco: Collection Highlights. Two hundred and thirty key works are presented in beautiful color photographs accompanied by new texts that reflect the latest scholarship and offer fresh interpretations. The book is organized into chapters corresponding to the breadth of our world-renowned collection: The Persian World and West Asia, South Asia, Southeast Asia, The Himalayas and the Tibetan Buddhist World, China, Korea and Japan. In-depth explorations of 14 especially rare, beautiful or important works punctuate the chapters. Among these masterpieces are the earliest known dated Buddha produced
Jay Xu celebrates his 10th anniversary as director and CEO with a custom-made chocolate cake in the shape of his favorite artwork, a 3,000-year-old vessel in the shape of a rhinoceros. Photograph © Katelyn Tucker Photography.
in China; an ewer with a lotus-shaped lid that represents the pinnacle of Korean celadon production; a drinking cup from Samarqand that is one of only two known artworks in white
A Decade of Dedicated Leadership
jade from the Timurid period; and, of course, our beloved
Can you believe it has been 10 years? This summer marks
rhinoceros), rare both for its animal shape and inscribed text.
Jay Xu’s 10th anniversary as director and CEO of the Asian
Art Museum. When he arrived in 2008, he made history as
your library or a meaningful gift for any art lover. n
Chinese bronze Reina (aka Ritual vessel in the shape of a Collection Highlights would be a wonderful addition to
the first Chinese American director at a major American art museum. Since then, his inclusive vision of making Asian art and culture essential to everyone has guided the museum from success to success.
Under Xu’s leadership, the museum has presented more
than 80 critically acclaimed special exhibitions, including China’s Terracotta Warriors: The First Emperor’s Legacy (2013), Gorgeous (2014) and The Rama Epic: Hero, Heroine, Ally, Foe (2016), and thousands of public programs that have reached more than 2.9 million visitors, including 280,000 students and teachers. It has produced more than two dozen
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scholarly publications, added more than 1,100 artworks to the collection and integrated contemporary art into its programs.
Xu has ably balanced institutional growth and financial
sustainability over the past decade, and we will soon see the result of his bold plan to transform the museum's Civic Center home and the visitor’s experience of Asian art. We are thankful for his energy and wisdom as he steers us into this exciting new phase of our history. n
Available at the museum store or online at www.store.asianart.org.
ART BITES
Avery Brundage celebrating the founding of the Asian Art Museum with Society for Asian Art members, 1958. Photograph © Asian Art Museum.
Happy Diamond Anniversary, Society for Asian Art! “Without the Society for Asian Art (SAA), the Asian Art Museum wouldn’t be here,” says Director Jay Xu. This year marks the 60th anniversary of the society, a group of generous, civic-minded art lovers who came together to encourage Avery Brundage to donate his spectacular collection of Asian art to San Francisco and worked with city leaders to build a facility to house it.
An independent, member-supported nonprofit organization, SAA continues to be a vital partner. The society provides financial
support to the museum and sponsors programs that engage connoisseurs and the general public alike, from the ever-popular Arts of
In 2016, SAA commissioned Liu Jianhua’s Collected Letters, the contemporary installation gracing the Loggia, to mark the museum’s
50th anniversary. This year, the society pledged $60,000 to the museum's endowment fund in honor of its 60th anniversary — adding to the more than $3.6 million that SAA has contributed to the museum over the past 60 years. Happy anniversary, SAA — here's to many more years together! n
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Asia Lecture series (page 24) to the annual book sale.
PUBLIC PROGRAMMING
SHALINEE KUMARI ARTIST IN RESIDENCE WED, OCT 17–SUNDAY, OCT 21
Mithila Painting: A Living Tradition Shalinee Kumari sees herself as working within the centuries-old tradition of Mithila painting, but she doesn’t hesitate to inject her own experiences and distinctly modern point of view. Born in 1985 in a rural Mithila village, she studied geography before attending Mithila Art Institute. “I took the fine art skills I had learned and my thoughts of the world and I combined them,” Kumari explains.
Now based in Hyderabad, India, Kumari is one of the young
female artists who is pushing the boundaries of the Mithila
Artist Shalinee Kumari, Indian Institute of Technology, Hyderabad, India. Photograph courtesy of the artist.
painting tradition by using the style for personal self-expression. Her work focuses on topics of global concern that are also
KUMARI WORKSHOPS AND DEMONSTRATIONS
pressing issues in her life and community, including climate change, terrorism and gender equality.
“I draw on the aesthetics, techniques and iconography
[of both ancient and modern Indian art traditions] to express original visions, personal struggles and critiques of international politics,” the artist says. “My main focus has been on feminist issues, including dowry, bride burning, patriarchy and the sexual exploitation of women.” In October, in conjunction with the exhibition Painting Is My
Everything (page 4), the museum welcomes Kumari for a short
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residency. At two public events, on Oct. 17 and 18, Kumari will demonstrate her artistic process and talk about her background and training, the Mithila painting tradition and the themes she explores in her work. For those interested in learning the basics of Mithila style, Kumari will lead a series of hands-on workshops, one for general audiences, one for teachers and one for families (pre-registration required).
Don’t miss this rare opportunity to meet an artist who is part of
a living tradition going back hundreds of years. n
Wed, Oct 17 | 11 AM–3 PM Mithila Painting Demonstration Thu, Oct 18 | 11 AM–3 PM Mithila Painting Demonstration Fri, Oct 19 | 1–4 PM Mithila Painting Lecture Demonstration Sat, Oct 20 | 9:30 AM–12:30 PM Mithila Painting Workshop for Teachers $10, Pre-registration required. Space is limited. Sun, Oct 21 | 11 AM–12: 30 PM & 1–2:30 PM Mithila Painting Workshop for Families Free with museum admission, pre-registration required. Space is limited. Visit www.asianart.org/events for more information.
PUBLIC PROGRAMMING
PAL / PILIPINX AMERICAN LIBRARY AT THE ASIAN ART MUSEUM AUG 1–31
RESOURCE ROOM
Voices of the Filipino Diaspora
PAL / Pilipinx American Library. Photograph courtesy of Tongue Tide, Flux Factory.
For the month of August, the museum’s Resource Room
transforms into a branch of the Pilipinx American Library (PAL),
Filipino diaspora is part of the museum’s ongoing commitment
a mobile, non-circulating library celebrating the Filipino diaspora.
to engaging with the local Filipino American community. Learn
This pop-up reading room at the Asian Art Museum showcases
more about PAL and co-founders PJ Gubatina Policarpio and
writers who embody the struggle, joy and promise of Filipino
Emmy Catedral at www.weareyourpals.net. n
American life in the Bay Area: feminist experimental poet Barbara Jane Reyes; the late poet, activist and oral historian Al Robles; and poets associated with the Kearny Street Workshop.
The Pilipinx American Library at the Asian Art Museum launches
This month-long focus on the voices and narratives of the
PILIPINX AMERICAN LIBRARY EVENTS Thu, Aug 2 | 6:30 PM Opening Reception
on Aug. 2 with an opening party where you can browse through PAL’s collection of Filipino-authored books in the reading room and grab a drink at the cash bar while listening to DJs spin in North Court. Reyes, author of “Invocation to Daughters” (City Lights) and four other poetry collections, reads from her work alongside other Filipino American poets.
The PAL reading room hosts dynamic Thursday Night events
throughout the month, including a presentation of contemporary prose and poetry organized by TAYO Literary Magazine (Aug. 9), an oral history workshop facilitated by Christine Abiba (Aug. 23) and an evening of readings by participants in Kearny Street Workshop’s Interdisciplinary Writers Lab (Aug. 30).
On Aug. 16, we screen filmmaker Curtis Choy’s portrait of Robles,
“Manilatown Is in the Heart Time Travel with Al Robles,” introduced Kearny Street Asian American Writer’s Workshop, was known as the “poet laureate of the Filipino community.” The film documents his commitment to telling the stories of the elderly manong generation and
Sat, Aug 11 | 11 AM PAL Artists Retreat
Thu, Aug 16 | 6:30 PM Screening: “Manilatown Is in the Heart Time Travel with Al Robles” Thu, Aug 23 | 6:30 PM What is Pinay Liminality? Conversation and Oral History Workshop
Sat, Aug 25 | 11 AM & 2 PM The Rule Is, Do Not Stop: A Filipino Literary Symposium
Thu, Aug 30 | 6:30 PM Kearny Street Workshop’s Interdisciplinary Writers Lab 2018 Visit www.asianart.org/PAL for more information.
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captures his dynamic poetry reading performances.
Thu, Aug 9 | 6:30 PM TAYO Literary Magazine Presents
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by poet Tony Robles. Al Robles (1930–2009), co-founder of the
Sat, Aug 4 | off-site 41st Anniversary of I-Hotel Eviction: Commemoration at Manilatown Heritage Center
PUBLIC PROGRAMMING
PLANET CELADON
OUR RECEIVER IS OPERATING SEP 6, 8 & 9
SAMSUNG HALL
“I was looking at a moon jar in the museum’s Korean collection and wondered, where is the moon’s planet?” To answer her own question, artist Genevieve Quick created Planet Celadon, a world in which to stage her latest video work and Busby Berkeley–inspired dance. The Celadonian Dancers perform the 30-minute narrative dance alongside the video twice daily on Sep. 6, 8 and 9.
Influenced by film classics such as “Metropolis,” questions of
representation raised by Asian Futurism, works in the museum collection and Carl Sagan’s recordings for the 1977 Voyager mission, Quick began to think of Planet Celadon as the place where she, as an Asian American, might come from. “Being Asian in America is like being from another planet,” she says.
Planet Celadon is part of Quick’s larger project of grappling with the
challenges of communicating to another place or time, whether that place is one’s own cultural heritage or another world.
Quick’s studio, littered with sources, props and costumes for Planet
Celadon, is a testament to her expansive curiosity and talent for meticulous fabrication. The walls are papered with photocopied images of armor — European, Korean, Japanese — spacesuits past and present, Victorian deepsea diving helmets and stills from sci-fi movies. Papier-mâché replicas of celadon ceramics from the Asian Art Museum collection are so finely formed they could fool a connoisseur, at least before they spring to life with lights that blink in time to a recording of 1980s Japanese electronica.
The star of the Planet Celadon video and dance is the Asianaut, a
character clad in a futuristic version of the celadon-hued hanbok featured in the museum’s recent Couture Korea exhibition. Quick has silkscreened iconography derived from traditional Korean sources onto the outfit alongside scuba and emergency aviation symbols. Can the Asianaut, a character who
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links past, present and future, become a point of communication between planet Earth and Planet Celadon? n
Schedule of Performances Thu, Sep 6 7 and 8 PM
Sat, Sep 8 1 and 2:30 PM
Sun, Sep 9 1 and 2:30 PM
Genevieve Quick performing Planet Celadon, 2018. Photograph courtesy of the artist.
PUBLIC PROGRAMMING
VILLAGE ARTIST CORNER BANGKIT/ARISE SEP 2018–JAN 2019
CORNER OF FULTON AND LARKIN STREETS
Indonesian Street Art Comes to San Francisco San Francisco and Yogyakarta, Indonesia, are remarkably alike
have continued to travel back and forth to add their handiwork to
when it comes to their exuberant street-art cultures. In fact, some
the ever-changing urban mix.
of the murals that enliven the public spaces of each city are the
fruit of an ongoing collaboration between artists associated
long-term international exchange, CAMP artists developed public
with San Francisco’s Clarion Alley Mural Project (CAMP) and
art in a suburb of Yogyakarta impacted by a cycle of gentrification
Yogyakarta-based artists. This fall, seven artists from Indonesia
and displacement familiar to San Franciscans. Now, it is the
bring their particular brand of public art to the museum’s Village
Indonesian artists’ turn to come here and use their paintbrushes
Artist Corner for a new project, Bangkit/Arise.
to creatively address social justice concerns, threats to the
environment and other issues that resonate across cultures.
United by a belief that art in the public sphere can have a
In the first part of Bangkit/Arise, the latest iteration of this
positive impact on communities, artists from the two cities have
been engaged in a 15-year cross-cultural exchange. They began
over the Village Artist Corner mural wall in September and will
working side by side and learning from each other in 2003 with
be on-site all month for discussions, poster-making sessions with
the project Sama-Sama/Together. American artists traveled to
San Francisco Poster Syndicate and community art-making. A live
Yogyakarta to paint large-scale murals across the city, and then
webcast on Sep. 20 will connect us to Yogyakarta in real time,
artists from Indonesia came here to create work. You can still spot
introducing us to its community of artists and giving us a glimpse
a mural from this project on the facade of Rainbow Grocery in
of some of its vibrant street art. n
The Indonesian artists and their CAMP counterparts take
the Mission District. In the years since, artists from the two cities FA L L 20 18
The Village Artist Corner is funded through the generosity of The Family of Tania Vonelleese Seymour. Founding program support was made possible by Housing-Related Park Program from the State of California, facilitated by San Francisco Recreation and Parks Department; The Hearst Foundations; California Arts Council; San Francisco Grants for the Arts; and The NFL Foundation and 50 Fund, the legacy fund of the Super Bowl 50 Host Committee. Above: Air Sumber Kehiduan, Bukan Untuk Kerakusan! (Water Is for Life, not for Greed!), 2015, by Nano Warsono (Indonesian, b. 1976) and Christopher Statton (American, b. 1977). Mural, Special Region of Yogyakarta, Indonesia. Photograph by Megan Wilson.
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TRANSFORMATION
MASTERPIECES IN CONTEXT UNVEILED REFRESHED THIRD-FLOOR GALLERIES COMING SOON
TRANSFORMATION
Artworks can tell us many stories, about materials and environments, artists and rulers, religious beliefs and social structures, cultural values and economic systems. Ultimately, art can tell us stories about ourselves. When Masterpieces in Context debuts with the reopening
introductions to a particular gallery, revealing themes that you
of our third-floor galleries, you will find nine of the most
will encounter in the surrounding artworks.
significant works in our collection presented in ways that
amplify the stories they tell. Another six key artworks will
work highlighted, but all share some common elements. Spotlight
receive similar treatment when the second-floor collection
colors and special lighting beckon, benches encourage lingering,
galleries are transformed next year.
tablets provide multimedia interpretive information and newly
written panels and labels address the work in artistic, historical,
Curators have reimagined the installation and supporting
Each Masterpiece in Context experience is as unique as the
materials for each of the museum’s designated masterpieces
religious or cultural contexts.
to give you deeper insight into these particular works and the
museum’s collection as a whole, as well as into Asian history
experience of our collection even more powerful than before.
and culture.
We also anticipate that Masterpieces in Context will help
orient new visitors and provide meaningful encounters for
Selected for their rarity, beauty, historical importance or
We believe that these new approaches will make your
cultural impact, these objects will serve as points of light that
those with only a short time to spend in our galleries.
punctuate your visit with moments of repose and reflection.
They also serve as case studies, giving you useful tools for
ways our curators are reinserting artworks into broader contexts to
interpreting other works in the collection. Many function as
tell compelling stories that will transform your museum experience.
From Temple to Streets GALLERY 4
Below and in the following pages, we preview a few of the
A Rare Jade Vessel GALLERY 5 When perusing Gallery 5 on previous visits, you may have
in an architect's rendering) that tells stories about art, Hindu
missed one of the most important works in our collection,
belief and religious practice in South India. Stone sculptures
a diminutive cup with elegant calligraphic inscriptions.
arrayed around the perimeter of the gallery suggest one type
This Timurid period jade cup, just 1.38 inches tall and 1.25
of energy in Hindu philosophy — a contained, still energy.
inches in diameter, will now have pride of place in the room.
As religious objects, they are considered rooted, permanent,
A new installation isolates and spotlights the rare vessel,
integral to their architectural settings. The bronze sculptures
one of only two known white jade objects from this period.
at the center of the room, in contrast, embody a kinetic energy
The work is inscribed with the names of its two royal patrons,
that radiates outward into the world. These latter works,
a Timurid prince and the Mughal Emperor Jahangir (1569–
including Shiva, are placed on open table-like platforms,
1627). A new text panel considers the cup as a work of personal
suggesting their portability. A video clip of a religious festival
expression and family prestige and provides translations of its
in Madurai, India, reveals the ritual use of the two types of
delicate calligraphy.
statues. Worshippers dress and decorate the stone statues that remain in the temple, while they take the adorned bronze sculptures out of the temple, parading them through the streets
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in a festive religious procession.
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Shiva becomes the centerpiece of a gallery (shown opposite
TRANSFORMATION
A Throne for a Cosmic King
Buddhism Arrives in China
GALLERY 11
GALLERY 16
A Burmese throne for a Buddha image takes center stage in a
When you enter this gallery, you will be greeted by the earliest
new ensemble designed to evoke the object’s original setting
known dated East Asian Buddha statue: the seated Buddha
and meaning. Back on view after a four-year absence from the
from 338. In its new installation, the sculpture is presented in
galleries, the impressive 11-foot-tall gilt shrine has been joined
a dedicated space at the beginning of the gallery, serving as
together with eight other works from Thailand and Myanmar
an introduction to the story of the rise of Buddhist art in China.
in a pyramidal composition reminiscent of arrangements
in the interiors of Southeast Asian temples. The crowding
surface of this statue, whose exquisite radiance reflects the elite
together of objects on a stepped platform, the juxtaposition
pursuit of religious glory at the time when the first Buddhist
of ornate objects of various sizes and styles and the richness
statues were made in China. A narrative panel situates the
of the stencil-patterned backdrop suggest the “more is more”
seated Buddha in religious, artistic and cultural contexts,
aesthetic of a temple interior rather than the minimalist setting
outlining the development of Buddhist art in China, while a
of a museum. The new installation points toward the Buddhist
wall projection suggests its now lost physical context, as the
understanding of throne sculptures like this one as analogous
central figure in an assembled altar shrine.
The wall behind the Buddha is painted gold like the gilded
to royal thrones, reinforcing the understanding of Buddha as a cosmic king in a cosmic palace whose glory and message far outstrip that of any earthly ruler.
A Friendly Rhino
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GALLERY 14
A Bodhisattva of Compassion GALLERY 16
This wine container in the shape of a rhinoceros, a rare
Gallery 16 has been redesigned to bring to light the religious
Bronze Age example of an animal-shaped vessel, is getting a
function of the Song dynasty Bodhisattva Avalokiteshvara
new home: a case that gives the impression that the rhino is
(Guanyin, in Chinese), or bodhisattva of compassion. The entire
suspended in mid-air. You will be able to get a close look at
gallery now resembles a religious hall, where individual objects
the amazingly naturalistic rhino from every angle, and children
are displayed in side niches to evoke cave temples. The platform
will be able to engage with the friendly creature at their eye
for the once-painted wood statue of Guanyin has been rotated
level. Nearby wall projections place the work in the context
90 degrees from its previous orientation, so that it confronts
of Bronze Age culture and compare it to other animal-shaped
you and makes you stop as you enter the gallery. It has also
vessels. Projections also situate this artwork in an ecological
been raised four inches to facilitate eye contact with Guanyin,
context — 3,000 years ago, rhinos like this one would have
enabling you to make a personal connection with the figure as
been plentiful in China’s jungles — as a springboard to address
a worshipper in a temple might. New texts focus on the story
topics such as climate change and habitat conservation.
of later Chinese Buddhism and the increasing importance of approachable deities like this one in popular religion. n
Images: Masterpiece in South Asia Gallery, concept design by wHY, 2017. Renderings © wHY and Asian Art Museum. The Hindu deity Shiva, approx. 1300-1500. India; Tamil Nadu state. Bronze. Asian Art Museum, The Avery Brundage Collection, B69S14. Cup with calligraphic inscriptions, probably 1447–1449. Probably Uzbekistan; Samarqand, Timurid period (1370–1507). Nephrite. Asian Art Museum, The Avery Brundage Collection, B60J619. Throne for a Buddha image, 1860–1880. Myanmar; Mandalay area. Lacquered and gilded wood and iron with mirror inlay. Asian Art Museum, Gift from Doris Duke Charitable Foundation's Southeast Asian Art Collection, 2006.27.1.a–.t. Ritual vessel in the shape of a rhinoceros, probably 1100–1050 BCE. China. Bronze. Asian Art Museum, The Avery Brundage Collection, B60B1+. Seated Buddha, 338. China; Later Zhao dynasty (319–350). Gilded bronze. Asian Art Museum, The Avery Brundage Collection, B60B1034. The bodhisattva Avalokiteshvara (Guanyin), 1100–1200. China; Song dynasty (960–1279). Paulownia wood with pigments. Asian Art Museum, The Avery Brundage Collection, B60S24+. Photographs © Asian Art Museum.
BEHIND THE SCENES
IN THE PHOTO STUDIO MASTERPIECES COME ALIVE
The photography studio set up for rotational photography. Photograph by Kevin Candland. Photograph © Asian Art Museum.
The temporary closure of the collection galleries is giving Museum
we are creating images that allow you to pan and zoom to see
Photographer Kevin Candland and Digital Image Processor
extremely fine details.
Robert Warren the rare opportunity to document many of the museum’s major artworks with a powerful new camera. Using modern digital imaging techniques, they are capturing these works in ways that will enhance scholarship and engagement.
“Many of these works of art have not been photographed in
a generation,” says Dr. Forrest McGill, senior curator of South and Southeast Asian art. “The large sculptures in particular are difficult to de-install and move to the photography studio. These new images are going to be outstanding resources for curators as well as the public, who will be able to access them on our website and in publications.”
Candland is currently focused on photographing the museum’s
masterpieces to create interactive web-based experiences; he will then shoot many other large works being temporarily de-installed from the galleries. He recently talked to us about this project. What is your approach to photographing these works?
What impact will these images have on the way people experience these artworks? The interactivity allows for an intimate experience. With 3-D photography, for example, you can manipulate the image on the screen in any direction; you can look underneath the ancient seated Buddha [Buddha dated 338, page 18] or inside Reina, our bronze ritual vessel in the shape of a rhinoceros [page 18]. What challenges have you encountered so far? In most instances, we can put the work on a turntable and keep the camera, background and lights fixed to capture the 360-degree view. But we couldn’t put the heavy four-armed stone sculpture of Vishnu [Cambodia, 940–965] on a turntable — the safety of the work is paramount. I came up with the idea of using a track from a movie equipment rental company and rigging it so that the camera moved around the artwork, rather one for the camera and one for the background, both with lights
Google Earth, to generate a 3-D model that users can manipulate
attached. We had to move them both together exactly for each
on a screen. For others, we are using rotational photography,
shot. We took 180 photos of Vishnu, going all the way around.
creating a 360-degree view. For two-dimensional masterpieces,
It was a bit of a production. But it worked! Vishnu was happy. n
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than vice-versa. We actually had to get two dollies on one track,
For some, we are using photogrammetry, the method used for
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We are selecting the technique that is right for each masterpiece.
COMING SOON
NARA YOUR DOG
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ARRIVING AT OUR FRONT STEPS SEP 25
Puppy Love
Aawwww! Look at that cute white puppy, wobbly legs splayed,
hopeful tail standing straight up, eyes half-closed as if waking
sculptures stationed at entrances of Shinto shrines, but it also
from a nap. Yoshitomo Nara’s Your Dog sculpture looks like it
reminds us of how big a dog can seem when you are small.
just ran out the front doors of the museum to welcome you home.
By enlarging a puppy to the size of an Asian elephant, Nara
Nara is one of Japan’s best known neo-pop artists. Influenced
complicates its inherent cuteness with a sense of menace. He
as much by punk rock as by Disney movies and Japanese cartoons
adopts a seamless, glossy surface for his whimsical forms,
like “Astro Boy,” Nara has developed a readily identifiable style
blending high and low and grown-up and childlike in ways that
of figurative work, both two and three dimensional. His cartoon-
remind New York Times critic Roberta Smith of Jeff Koons and
like images of girls and animals, simultaneously adorable and
Keith Haring. Nara’s outdoor sculptures — like Haring’s graffiti
disturbing, adorn everything from cell-phone covers to ashtrays
babies and Koons’ shiny public art — are instantly engaging.
to alarm clocks. His blending of cute, creepy and vulnerable
Beginning Sep. 25, stop by and celebrate the Year of the Dog
— drawn from his memories of the loneliness, pain, joy and
with Your Dog. n
innocence of childhood — strikes a chord and has earned him a cult following in Japan and beyond.
The surreal scale of Your Dog evokes the large guardian
Tag your selfies with #NaraDog.
Your Dog, 2017, by Yoshitomo Nara (Japanese, b. 1959). Painted aluminum. © Yoshitomo Nara, courtesy Blum & Poe, Los Angeles/New York/Tokyo and Pace Gallery. Photograph © Kerry Ryan McFate.
MEMBERSHIP
NEW BENEFITS
RHINO CLUB
JUST FOR MEMBERS
A KID’S PASSPORT TO ART
During the transformation project, the Asian Art Museum will remain open and you will continue to enjoy all the benefits you’ve come to love — such as free tickets to special exhibitions, discounted parking and discounts in the museum store and new cafe— as well as NEW limited-time perks! n
ALL MEMBERS ENJOY THESE CORE BENEFITS:
•
NEW! Invitation to a grand unveiling celebration
Longtime member Kathleen Cross just made sure that
•
NEW! Priority reservation window for the Asian
the children in her life will have ongoing access to fun
Architecture Today lecture series
•
NEW! Members-only architecture tours
•
NEW! Exclusive previews of collection
gallery reinstallations
•
NEW! Special members-only programming
throughout the construction period
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Unlimited, free admission to all special exhibitions
•
Members-only line for quick and easy entry
•
Private Member Preview Days before exhibitions
open to the public
•
Invitations to the monthly Tour, Talk & Tea,
just one perk of Rhino Club. For $50, you can add
a special docent-led tour followed by tea, treats
Rhino Club to your annual membership and receive free
and engaging discussion
admission for all kids in your family under age 18, a
•
Discounted parking at the UC Hastings Parking
guest pass for a caregiver, invitations to exclusive Rhino
Garage (376 Larkin St.)
Club events and a subscription to our Family E-News
•
Subscriptions to the members’ magazine and
highlighting programming such as storytelling tours, art-
monthly Member E-News
•
10% discount at Sunday at the Museum,
the Asian Art Museum’s new cafe
•
10% discount at the museum store
(20% during Member Appreciation Days)
and enriching experiences with art: She purchased Rhino Club memberships for her great-nephews, ages 1 and 3. Kathleen recently upgraded her own membership to Jade Circle, which she says is “absolutely rewarding.” She wanted to share her love for the museum with her great-nephews and make sure that cultural experiences were part of their regular schedule of activities. “I know they are going to love the Explorer’s Backpack,” she says.
The Explorer’s Backpack, featuring a kid’s passport,
activity guides, Reina buttons and other fun items, is
making workshops and cultural celebrations. Best of all, when kids come to the museum, they can use their art treasures in our galleries.
To join Rhino Club or learn more about other
membership add-ons, call us at 415.581.3740 or visit
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us at the membership desk. n
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Explorer’s Backpacks to discover a trove of fascinating
DONORS
SPECIAL THANKS
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ASIAN ART MUSEUM
We are grateful to the following board members and their families for supporting the Asian Art Museum in fiscal year 2017. Their gifts help sustain our world-class institution. Bank of America
Fred Eychaner
Maura and Robert Morey
Betty and Bruce Alberts
Warren Felson and Lucy Sun
Nanci Nishimura and Joseph Cotchett
Atsuhiko and Ina Goodwin
Virginia and Timothy Foo
Hiro Ogawa*
Tateuchi Foundation
Mimi Gardner Gates
Suno Kay Osterweis
Yat-Pang and Helina Ying-Fan Au
James and Mary Powell Grossman
Carl F. Pascarella
Cori and Tony Bates
Martha Sam Hertelendy
David Chun-Yee Pong,
Thomas and Ellen Bauch
Ron and Dianne Hoge
Yiqingzhai Foundation
Richard Beleson and
Huang Pacific Foundation
Allison and Dan Rose
Kim Lam Beleson
Sung Jin and Frank Ingriselli
Leslie T. Schilling and
Patricia and Edwin L. Berkowitz
Anne and Timothy Kahn
Alexander H. Schilling
Kathy and Paul Bissinger
Stephen and Choongia Kahng
Merrill Randol Sherwin and
Mr.* and Mrs. William K. Bowes, Jr.
Bill and Mary Kim
Dr. Stephen Sherwin
The Brayton Wilbur Foundation
Mr. and Mrs. Chong-Moon Lee
Rosina and Anthony Sun
William Mathews Brooks
Linda and David Lei
Ann Tanenbaum,
Mr. and Mrs. Alexander D. Calhoun
Alexandra and Dennis Lenehan
The Mary M. Tanenbaum Fund
Eliza and Dean Cash
Fred Levin & Nancy Livingston,
Jane Chang Tom
Jamie and Steve Chen
The Shenson Foundation
Robert and Vivian Tsao
Julia K. Cheng
Gorretti Lo Lui
Nicholas and Elizabeth Unkovic
Chen Family Foundation
John Maa, M.D.
Wells Fargo
Lloyd* and Margit Cotsen
Kumar and Vijaya Malavalli
Ken and Ruth Wilcox
Joan L. Danforth
Kevin and Monita Martin
Penelope L. Wong and
Dixon and Carol Doll
Stephanie and James Marver
S. Timothy Kochis
Family Foundation
Constance C. Miller
Akiko Yamazaki and Jerry Yang
Judith and Robert L. Duffy *deceased
DONORS
DONORS TO THE COLLECTION Through gifts of art and funds for acquisitions, donors strengthen and shape the museum’s greatest resource — its priceless holdings of art, history and heritage. We thank the following for contributing to the museum’s collection in fiscal year 2017. Gifts of Art Betty and Bruce Alberts Ms. Christine E. Angeles Dr. and Mrs. Bruce Bartholomew China Art Foundation C. Diane Christensen Ms. Sookee Chung Robert T. Coffland Katharine Comstock Gary and Laura Crawford Dr. Robert J. Del Bonta and Mr. Michael Morrissey
Mr. Robert J. Dolezal and
Mr. and Mrs. James A. Spudich
Ms. Barbara Dolezal
Ms. Masako Takahashi
Father Robert Allen Duston
Glenn Vinson and Claire Vinson
Walter Jared Frost
Dr. John C. Weber
Dr. Phyillis A. Kempner and
Brenda J. and William L. Winston
Dr. David D. Stein
Max W. Yeh and Yeh Tung
Mr. Larry Ketcherside Youngmin Lee
Funds to Support Acquisitions
Ms. Pearl S. Lin
Jerome L. and Thao N. Dodson
Mrs. Betty Klausner
Ms. Julia Meech Taylor and Julia Moore
Denise Fitch Frederic S. Whitman Trust
Making an Impact Richard and Fukan Yen believe in the importance of world-class art experiences. They have a deep interest in Chinese culture, from literature and antiques to music and art. While living in Taipei when Richard was head of the Far East engineering and manufacturing group for Digital Equipment Corporation, the Yens became avid fans of the Palace Museum and visited many other remarkable museums on their travels in China.
When Richard retired in 1990, the Yens moved to the Bay Area. They became
members of the Asian Art Museum and Richard attended docent-training classes. When they heard last year about the museum’s plan to expand, they knew that they wanted to play a larger role. “We could see that the museum needed more space for special exhibitions and we wanted to help make that a reality,” says Richard.
The Yens’ leadership gift of $1 million to For All, the Campaign for the Asian FA L L 20 1 8
Art Museum, will have a major impact on the ways visitors encounter the artistic achievements of Asia. “We have had the opportunity to visit great museums in China, and we want to give similar experiences to people in the Bay Area.” The Yens to enjoying many wonderful exhibitions in the transformed museum. n
Richard and Fukan Yen at the Couture Korea opening reception, Nov. 1, 2017. Photograph © Natalie N Photography.
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are excited that construction on the pavilion is underway and are looking forward
SAA
DESERT ENCOUNTERS ARTS, CULTURES AND KINGDOMS OF THE SILK ROAD AUG 17–NOV 16
Fall 2018 Arts of Asia Lecture Series This fall, “steppe” into the past on a cultural journey covering half the globe and spanning more than 2,000 years. Explore the art styles, cultural legacies and religions of lost kingdoms and mercantile communities along the so-called Silk Road. See how encounters along trading networks from the first millennium BCE to China’s Qing period spread ideas and spawned artistic innovation. Fourteen lectures by prominent scholars will dig into Achaemenid Persian and Bactrian golden hordes from the Oxus river valley; some of the oldest knotted carpets and embroidered silks from Pazyryk’s Iron Age culture; early Buddhist images from Gandhara; the Eurasian trade in incense and spices; and Tocharian cave murals near Kucha along the northern edge of the Taklamakan Desert. In addition, speakers will decode Central Asian textile designs, illuminated Uighur manuscripts of the Manicheans of northwest China and tantric murals of the Dalai Lama’s private meditation chapel. They will follow Sogdian merchants along their routes, chart the trade in
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jade boulders from the Kunlun Mountains and more.
This popular lecture series takes place on Fridays, Aug. 17
to Nov. 16, from 10:30 a.m. to 12:30 p.m. For ticket information, location and a full list of lecturers and topics, please visit the Society for Asian Art’s website, www.societyforasianart.org. n Head of a Buddhist deity (detail), approx. 600—700. China; Kucha, Xinjiang Province, Tang dynasty (618—907). Mural fragment, tempera on plaster. Asian Art Museum of San Francisco, B79D2. Photograph © Asian Art Museum.
COMING SOON
KIMONO REFASHIONED FEB 8–MAY 5, 2019 OSHER AND HAMBRECHT GALLERIES
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Kimono Refashioned is co-organized by the Kyoto Costume Institute and the Asian Art Museum of San Francisco. Presentation is made possible with the generous support of The Bernard Osher Foundation, The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, Michele and Joseph M. Alioto, Joan L. Danforth, Warren Felson and Lucy Sun, and Allison and Dan Rose. Image: Dress (detail), from the Iris van Herpen Haute Couture Collection, Autumn/Winter 2016, by Iris van Herpen (Dutch, b. 1984). Polyester monofilament organza, shibori tied, and cotton/elastane-blend twill. Collection of The Kyoto Costume Institute. Photograph © Takashi Hatakeyama.
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The impact of kimono on modern fashion
CAFE
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ASIAN ART MUSEUM
SUNDAY AT THE MUSEUM For Chef Deuki Hong, the custom-made black-oak communal table
at the center of the updated cafe embodies the philosophy behind
diverse audiences around the cultures of Asia.
Sunday at the Museum. Hong teamed up with Andrew Chau
and Bin Chen of Boba Guys to create a dining experience that
But as you would expect from a chef with his background —
evokes memories of relaxed weekend meals with their families.
he cooked in the kitchens of David Chang and Jean-Georges
“The communal table is inclusive,” says Hong. “It’s like being with
Vongerichten — he puts his own twist on familiar dishes, like his
family, it promotes interaction.”
“bunh” mi sandwich on a steamed bao bun.
In its energy, inclusiveness, authenticity and quality, Sunday
Like the museum itself, the new cafe aims to bring together Hong’s menu draws on culinary traditions from across Asia.
The menu changes seasonally but always includes vegan,
at the Museum is a perfect match for the Asian Art Museum. “The
vegetarian and gluten-free options, along with small rice bowls
new cafe is a welcoming space that captures the dynamism of Asia
just for kids. You will be able to find some of the more popular
today,” says Director Jay Xu. “It aligns with our mission and our
items on the menu year round, including fragrant jasmine tea leaf
vision of a transformed visitor experience.”
salad and chewy garlic prawn noodles.
CAFE
Local vendor Craftsman and Wolves supplies morning pastries,
sweet treats like dark chocolate sea-salt cookies and banana bread
Be sure to stop by on your next museum visit and experience
the hospitality of Sunday at the Museum. n
with toasted coconut, and the Japanese milk bread that Hong uses in his take on avocado toast, with miso and charred tomatoes. The Mission District’s Garden Creamery, known for Asiainspired concoctions, delivers two flavors of ice cream each week. Recent offerings have included black sesame, mango sticky rice and and pandan leaf that is often used in Singaporean desserts.
Open 10 AM to 4 PM Open late Thursdays for dinner from 4 to 8 PM with Happy Hour Specials from 4 to 6 PM 10% discount for members
As an outpost of Boba Guys, Sunday at the Museum is now
the go-to spot in the neighborhood for quality artisanal bubble milk
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tea. Just choose your milk and sweetness level.
Left: Chef Deuki Hong presides over the open kitchen at Sunday at the Museum. Photograph Š Asian Art Museum. Above: A custom-designed communal table is the focal point of the updated cafe interior. Photograph by Jennifer Yin.
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ube pandan, made from a purple sweet potato from the Philippines
SUNDAY AT THE MUSEUM
RETAIL
IN THE MUSEUM STORE CONTEMPORARY CRAFT FROM KOREA This fall in the museum store, you will find subtly elegant ceramics and handmade paper by artisans from Korea who are pushing the boundaries of traditional forms and techniques.
Jiwoon Yang creates breathtakingly beautiful tableware using
novel shapes, textures, colors and patterns. She has developed her own modern interpretation of Korean sanggam, or inlay technique, embedding shimmering gold and varied hues of dried clay into her pieces. The results are cups, saucers, dessert plates and platters whose visual and tactile pleasures will elevate your morning coffee klatch or afternoon tea party. “I want to evoke what machines cannot do, to convey emotion,” says Yang of her handmade pieces. “They
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ASIAN ART MUSEUM
are traditional Korean crafts but with a modern twist.”
RETAIL
Ceramic artist Insoo Park decided to make animal figures after seeing the
film “March of the Penguins,” and since then has taken on penguins, foxes, cats and above all dogs. Park adds warmth to his ceramics by creating textures using unusual materials such as coffee grounds and adding scarves and hats made from wildflowers and yarn to his dogs. You will notice that Park’s dogs all look upward, noses in the air. He says that all of his creatures, which he makes by pouring liquid clay into custom molds, are waiting for something. Are they waiting for you?
Heeseung Ji combines the techniques of traditional Korean handmade paper
with patterns drawn from historical bogaji wrapping cloths to create modern paper art. She is drawn to hanji, paper handcrafted from the inner bark of the mulberry tree, both for its properties — it is silky soft yet extremely durable — and its connection with traditional Korean craft. She uses digital techniques to transfer bogaji patterns onto her handmade paper, creating a contemporary way to offer gifts “with courtesy and fortune.” But her papers are so exquisite that you may not want to give them away: instead, you might be tempted to use them as visually stunning wall hangings or table mats. n
SAVE THE DATE FA L L 20 1 8
Left Page: Tableware from Jiwoon Yang’s Cerastone collection. Handmade paper art by Heeseung Ji. Above: Ceramic dogs by Insoo Park. Photograph © Daguat LLC.
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Wednesday, Nov 28 Holiday Artisan Market Kick off your holiday shopping at our second annual Holiday Artisan Market, where you will find one-of-a-kind gifts by local artists for everyone on your list.
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SCENE AT THE ASIAN The pulse of hip-hop was palpable this spring at the Village Artist Corner, where Today’s Future Sound taught us the ins and outs of sampling and chopping. Earlier in the year, we gathered at the corner to launch our feelings into the air — in the form of balloons — as part of the Floating Garden of Emotions. Our members got out of town and into art with a Jade Circle Silver trip to the Windy City and a Nexus gathering in New York for Asia Week. The evening of Mar. 1 sparkled as friends came together to celebrate the transformation at our annual gala and after-party and raise more than $1.6 million for the museum’s education programs. n
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Floating Garden of Emotions at the Village Artist Corner, Feb. 4, 2018. Photograph by Justin Yee.
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Jade Circle travel participants captivated by a curator-led tour at the Art Institute of Chicago. Photograph © Asian Art Museum.
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Assistant Curator of Contemporary Art Dr. Karin G. Oen in conversation with artist Koon Wai Bong and Henry H. Au-yeung, director of Grotto Fine Art in Hong Kong, during a Nexus artist talk program. Photograph by Quincy Stamper.
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Growing Up Asian in America Awards Ceremony, May 5, 2018. Photograph by Andrew Bonifacio.
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Gala Chairs Lucy Sun and Kulapat Yantrasast welcomed more than 800 guests for a transformation-themed annual gala and after-party on Mar. 1, 2018. Photograph © Drew Altizer Photography.
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Member gazing at a work by Pamela Singh during the opening reception for Divine Bodies. Photograph © Drew Altizer Photography.
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Nexus members enjoy a private viewing at the Brooklyn Museum during Asia Week New York. Photograph © Jason Smith Photography.
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Namrata R. Loka in front of Collected Letters (detail), 2016, by Liu Jianhua (Chinese, b. 1962). Porcelain, steel, and monofilament. Asian Art Museum, Acquisition made possible by the Society for Asian Art in honor of the Asian Art Museum’s 50th Anniversary, F2016.2. © Liu Jianhua. Photograph © 2017 Sindhura Gaddamanugu.
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StreetBeats: An Exploration of Culture Through Hip-Hop at the Village Artist Corner, May 2018. Photograph by Justin Yee.
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CALENDAR
FEATURED PUBLIC PROGRAMS AUGUST 2 / THURSDAY The Pilipinx American Library at the Asian Art Museum: Opening Reception 6:30–9 PM Celebrate the opening of PAL with a party featuring readings by Barbara Jane Reyes and other local poets 5 / SUNDAY Family Fun Day 10:30 AM–2 PM Kick off the new school year with hands-on art making inspired by Liu Jianhua’s Collected Letters, kid-friendly gallery tours and immersive storytelling Mirrored Systems at the Village Artist Corner 11 AM–2 PM Fulton and Larkin streets Experience an interactive spatial experience that acts as a microcosm of San Francisco 9 / THURSDAY TAYO Literary Magazine Presents 6:30–9 PM A showcase of contemporary prose and poetry
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A Guided Tour of Hell: An Evening with the Merola Opera 7–8:30 PM $5 + General Admission 2018 Merola Opera artists in residence sing opera excerpts that evoke the underworld 11 / SATURDAY PAL Artist Retreat 11 AM Samsung Hall A day-long convening to foster dialogue within the Filipino community and the broader contemporary art world 16 / THURSDAY Screening: “Manilatown Is in the Heart Time Travel with Al Robles” 6:30–9 PM
19 / SUNDAY Family Fun Day 10:30 AM–2 PM Kick off the new school year with hands-on art making inspired by Liu Jianhua’s Collected Letters, kid-friendly gallery tours and immersive storytelling 23 / THURSDAY What is Pinay Liminality? Conversation and Oral History Workshop 6:30–8:30 PM A workshop focusing on collecting Filipino narratives 25 / SATURDAY The Rule Is, Do Not Stop: A Filipino Literary Symposium 11 AM–12:30 PM & 2–3:30 PM A two-part symposium exploring Filipino American life in the Bay Area 30 / THURSDAY Kearny Street Workshop’s Interdisciplinary Writers Lab 2018 6:30–8:30 PM A reading by participants and instructors in this year’s Interdisciplinary Writers Lab
SEPTEMBER 2 / SUNDAY Family Fun Day 10:30 AM–2 PM Create your own 3-D landscapes inspired by the works on view in Fu Shen: Traces of the Past and Future, plus kid-friendly gallery tours and immersive storytelling Mirrored Systems at the Village Artist Corner 11 AM–2 PM Fulton and Larkin streets Experience an interactive spatial experience that acts as a microcosm of San Francisco 6, 8 & 9 / THU, SAT & SUN Planet Celadon: Our Receiver Is Operating Thursday, 7 & 8 PM Saturday, 1 & 2:30 PM Sunday, 1 & 2:30 PM Artist Genevieve Quick imagines Asian American identity through science fiction in this video installation and dance performance
12 / WEDNESDAY Urban Upstarts at the Village Artist Corner 1–3 PM Fulton and Larkin streets Coffee and collaborative tree-wrapping with artist Barakah Aly
21 / SUNDAY Family Fun Day 10:30 AM–2 PM Explore the vibrancy and themes of Mithila art and create your own painting inspired by the exhibition Painting Is My Everything
16 / SUNDAY Family Fun Day 10:30 AM–2 PM Explore the vibrancy and themes of Mithila art and create your own painting inspired by the exhibition Painting Is My Everything
Mithila Painting Workshop for Families with Shalinee Kumari 11AM–12:30 PM & 1–2:30 PM Free with museum admission, preregistration required. Space is limited.
20/ THURSDAY Bangkit/Arise Panel Discussion and Live Stream Webcast 7–8:30 PM A live webcast connects us to Yogyakarta in real time, introducing us to its community of artists and giving us a glimpse of some of its vibrant street art
OCTOBER 7 / SUNDAY Family Fun Day 10:30 AM–2 PM Explore the vibrancy and themes of Mithila art and create your own painting inspired by the exhibition Painting Is My Everything 13 / SATURDAY Kearny Street Workshop Presents APAture 2018: RE:place Performance Arts Showcase 2–4 PM A multidisciplinary arts showcase exploring themes of displacement, reclaiming place and movement 17 & 18 / WED & THU Mithila Painting Demonstration with Shalinee Kumari 11 AM–3 PM
27 / SATURDAY Film Screening: “Forever, Chinatown” 1–3 PM Followed by Q&A with filmmaker James Chan
NOVEMBER 4 / SUNDAY Family Fun Day 10:30 AM–2 PM Celebrate Diwali with hands-on artmaking, kid-friendly gallery tours and immersive storytelling 17 / SATURDAY SACHI Annual Meeting Omar Khan: Paper Jewels 1–3:30 PM Omar Khan talks about his journey collecting and documenting postcards from the Raj 18 / SUNDAY Family Fun Day 10:30 AM–2 PM Explore the vibrancy and themes of Mithila art and create your own painting inspired by the exhibition Painting Is My Everything
19 / FRIDAY Mithila Painting Lecture Demonstration with Shalinee Kumari 1–4 PM 20 / SATURDAY Mithila Painting Workshop for Teachers with Shalinee Kumari 9:30 AM–12:30 PM Pre-registration required. Space is limited.
Events are subject to change. Please check www.asianart.org for updates.
CALENDAR
FEATURED MEMBER EVENTS AUGUST 1 / WEDNESDAY Museum Architecture Tour 11:30 AM–12:30 PM Open to all members 7 / TUESDAY Tour, Talk & Tea: Asian Style, Tradition and Modernity 2–4 PM Open to all members
12 / WEDNESDAY Opening Reception Painting Is My Everything: Art from India’s Mithila Region and Haroon Mirza: The Night Journey 5:30–7:30 PM Open to Jade Circle and Nexus members 7:30–9:30 PM Open to Friend and Patron members 14 / FRIDAY Member Movie Night 6–8:30 PM Open to all members
11 / SATURDAY Tour, Talk & Tea: Asian Style, Tradition and Modernity 2–4 PM Open to all members
15 / SATURDAY Tour, Talk & Tea: Invisible Forces in Art 2–4 PM Open to all members
SEPTEMBER 5 / WEDNESDAY Museum Architecture Tour 11:30 AM–12:30 PM Open to all members 6 / THURSDAY Preview Day Painting Is My Everything: Art from India’s Mithila Region and Haroon Mirza: The Night Journey 10 AM–9 PM Open to all members 11 / TUESDAY Tour, Talk & Tea: Invisible Forces in Art 2–4 PM Open to all members
16 / SUNDAY Om-azing Yoga 10–11 AM Open to Rhino Club 26 / WEDNESDAY Annual Meeting 5–8 PM Open to Jade Circle and Nexus members
OCTOBER 2 / TUESDAY Tour, Talk & Tea: Art and Architecture 2–4 PM Open to all members
www.asianart.org
@asianartmuseum
Nexus Salon West Open to Nexus members
Gump Society Tea 3–5 PM Open to Gump Society members
6 / SATURDAY Tour, Talk & Tea: Art and Architecture 2–4 PM Open to all members 11 / THURSDAY Deputy Director’s Tour with Dr. Robert Mintz 3–5 PM Open to Jade Gold and Nexus members 17 / WEDNESDAY Artist Conversation: Shalinee Kumari 4:30–6:30 PM Open to Contemporary Council members 19 / FRIDAY Member Movie Night 6–8:30 PM Open to all members 29 / MONDAY Annual Nexus Dinner Open to Nexus members
NOVEMBER 6 / TUESDAY Curator-Led Tour with Li He 3–5 PM Open to Jade Circle and Nexus members
9 / FRIDAY Member Movie Night 6–8:30 PM Open to all members 10 / SATURDAY Member Morning 9–10 AM Open to all members 13 / TUESDAY Tour, Talk & Tea: Culture, Creativity and Continuity 2–4 PM Open to all members Curator’s Choice Lecture with Dr. Forrest McGill 6–8 PM Open to Friend, Patron, Jade Circle and Nexus members 15 / THURSDAY Craft Night 6:30–8:30PM Open to Lunar Society 17 / SATURDAY Tour, Talk & Tea: Culture, Creativity and Continuity 2–4 PM Open to all members
ASIAN ART MUSEUM
Visit www.asianart.org for additional closings and special hours. Events are subject to change. Please check www.asianart.org for updates.
7 / WEDNESDAY Museum Architecture Tour 11:30 AM–12:30 PM Open to all members
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MUSEUM HOURS
Tue–Sun. . . . . . . . . . . . . . . 10 AM–5 PM Thurs (Feb 8–Sep 27). . . . 10 AM–9 PM Mon . . . . . . . . . . . . . . . . . . . . . . . Closed
3 / WEDNESDAY Museum Architecture Tour 11:30 AM–12:30 PM Open to all members
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