FALL 2021 MEMBERS’ MAGAZINE
LANGUAGE OF
LOVE
In July, San Francisco native Patrick proposed to his girlfriend, Shiyun, in the museum loggia — and she said yes! Patrick says that Liu Jianhua’s Collected Letters was the perfect backdrop for this once-in-a-lifetime moment: “I see it as a melding between two cultures. As both letters and characters cascade from the ceiling through time, they paint a canvas below, which I felt was a proper metaphor for our adventures in our three years together.” We send our best wishes to the newly engaged couple and we hope to see them back at the museum many times in the future.
IN THIS ISSUE
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FROM THE DIRECTOR We did it! Thanks to your unflagging support, the Akiko Yamazaki and Jerry Yang Pavilion opened in July with the amazing teamLab: Continuity
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(page 4). It was the perfect way to introduce our transformed museum to a city and a community
CONTENTS
that is relearning the joys of coming together for shared moments of wonder. 18
2
Museum News
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Exhibition: teamLab: Continuity
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Shriram Experiential Learning Center
immersive, interactive exhibition. It is cutting-
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Exhibition: teamLab: Sketch Ocean
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edge but also rooted in the iconography and
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Exhibition: Taihu Rock—East Wind II
Globalization from the Silk Road to Today
Exhibition: Likeness and Legacy in Korean Portraiture
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Events
art. To learn more, start in the Japanese galleries
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Membership
with the rotation Low-Tech Nature, which shows
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Recent Acquisitions
Members like you will especially delight in this
spatial representation of traditional East Asian
Exhibition: Weaving Stories
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Cha May Ching Boutique
how historical Japanese painting paved the way
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Exhibition: After Hope
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Society for Asian Art
for teamLab’s immersive approach to representing
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Exhibition: New in the Galleries
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Event Calendars
the natural world.
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I am pleased that our delayed exhibition on Korean portraiture has opened. Based on recent
M AG A Z I N E STA F F
FALL 2021 VOL. X ISSUE 2 Members’ Magazine
Editor-in-Chief
Kate Ritchey
month with Thursday Nights. I hope to see you there,
Art Director / Graphic Designer
Director of Membership
Published by the Asian Art Museum Chong-Moon Lee Center for Asian Art & Culture 200 Larkin Street, San Francisco, CA 94102 415.581.3500 | asianart.org Copyright © 2021 Asian Art Museum of San Francisco
Danielle Hobart
Museum Photographer
Kevin Candland
with old friends, and meeting new ones. n SEE YOU AT THE MUSEUM!
Jay Xu
THE BARBARA BASS BAKAR DIRECTOR AND CEO
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Cover: Installation view of teamLab: Continuity, 2021, Asian Art Museum of San Francisco. © teamLab, courtesy of Pace Gallery. Left: Installation view of Collected Letters by Liu Jianhua, 2021, Asian Art Museum of San Francisco. Photograph © Asian Art Museum.
drink in hand, enjoying live music, reconnecting
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Nina Lewallen Hufford
connects past and present by considering both In-person events return to the museum this
Creative Director
Writer / Editor
and Legacy in Korean Portraiture (page 8) also Joseon dynasty paintings and contemporary works.
Tim Hallman
Julie Giles
conservation work and deep scholarship, Likeness
MUSEUM NEWS
WE ARE AMERICA, KNOW OUR NAMES Amplifying the voices of Asian Americans — and saying their names — is vital at this moment in history.
This past spring, amid ceaseless news reports about appalling acts of violence against Asian Americans, the museum responded. Thanks to the leadership and generosity of Fred Levin, chair of the Asian Art Commission and Asian Art Museum Foundation, we published a forceful statement against anti-Asian violence and in support of Asian American voices as a full-page ad in the San Francisco Chronicle.
We brought together more than 45 Bay Area arts and culture
organizations to lend their names and support to the statement, which was published under the headline “We Are America, Know Our Names.” Levin, The Barbara Bass Bakar Director and CEO Dr. Jay Xu, and Salle Yoo, vice-chair of the Asian Art Commission and president of the Asian Art Museum Foundation, signed the statement on behalf of the staff, board, docents, storytellers, and volunteers. We invite you to join in the fight. Read the full statement on
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the museum website at asianart.org/know-our-names and follow the links to organizations standing up against anti-Asian violence that need your support. n
“We Are America, Know Our Names,” San Francisco Chronicle, Apr. 18, 2021.
MUSEUM NEWS
REBUILD AND GROW
OUR INSTITUTIONAL PRIORITIES
The museum’s leadership team has identified the following
Rebuild, Retain, and Grow
mission-driven priorities for fiscal year 2022 that will allow the
n Focus on a mission-driven, visitor-centric approach to fulfill
museum, its staff, and its audiences to thrive. Your support as
members will allow us to embrace this work: Watch for changes
revenue.
throughout the museum as we implement these goals.
A Strong Foundation
DEAI and Community Engagement
n Effectively manage our financial and human resources to
n Embed Diversity, Equity, Accessibility, and Inclusion (DEAI)
in all museum activities, both internally and externally.
our greatest potential for awareness, attendance, affinity, and
deliver the best possible museum experience.
Paving the Path Forward n Develop a five-year strategic plan with DEAI at its core.
to strengthen engagement with those communities and elevate
n Develop a digital technology plan to ensure that we have the
underrepresented voices in exhibitions and programs.
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Visitors in the Koret Korea Galleries. Photograph © Asian Art Museum.
tools needed to fulfill both short-term and long-term goals.
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n Listen to and engage in dialogue with diverse communities
EXHIBITION
teamLab:
CONTINUITY
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ASIAN ART MUSEUM
NOW OPEN
AKIKO YAMAZAKI AND JERRY YANG PAVILION
We opened the Akiko Yamazaki and Jerry Yang Pavilion in July
drawn from nature and East Asian art that dynamically evolves
with the immersive, interactive exhibition teamLab: Continuity.
around you.
Visitors and critics alike have responded enthusiastically, calling
it “intoxicating” and a “magical wonderland.”
a member, you can experience it as many times as you like!
Reserve your free tickets in advance on our website with your
Have you experienced teamLab yet? We invite you to
immerse yourself in its wondrous ecosystem of lush imagery
teamLab: Continuity is never the same twice. And as
membership ID number. n
teamLab: Continuity is organized by the Asian Art Museum of San Francisco. Presentation is made possible with the generous support of Bank of America; Eliza and Dean Cash; CB2 Builders; Peggy and Yogen Dalal; Karla Jurvetson, M.D.; Puja and Samir Kaul; Nion McEvoy and Leslie Berriman; Diane B. Wilsey; and an anonymous donor. Additional support is provided by Ann and Paul Chen, Sakurako and William Fisher, Beverly Galloway and Chris Curtis, the W.L.S. Spencer Foundation, and an anonymous donor. This exhibition is a part of Today’s Asian Voices, which is made possible with the generous support of Salle E. Yoo and Jeffrey P. Gray. Sustained support generously provided by the following endowed funds: Akiko Yamazaki and Jerry Yang Endowment Fund for Exhibitions and Kao/Williams Contemporary Art Exhibitions Fund. Image: Installation view of teamLab: Continuity, 2021, Asian Art Museum of San Francisco. © teamLab, courtesy of Pace Gallery.
EXHIBITION
Get the Most out of Your teamLab Experience Arrive 30 minutes before your reserved entry time to
hashtags #teamLabContinuity and #MuseumDifferently. Tag
participate in teamLab: Sketch Ocean (page 6) located in the
@asianartmuseum and your photo might be featured on our
Shriram Experiential Learning Center. Color in a sea creature,
social media channels!
scan it, and watch it join hundreds of others in the floor-to-ceiling
n The exhibition does not include strobe lights, but some rooms
digital aquarium. Then see it swim in teamLab: Continuity.
might feel disorienting at first. If this happens, we recommend
n teamLab: Continuity is both immersive and interactive.
standing in one place and concentrating on a single focal point
We encourage you to move around the rooms and touch the
to get your bearings.
images: this will trigger flowers to slowly bloom, butterflies
n
to flit at your feet, fish to dart around you, crows to burst into
85–90 decibels, similar to an action movie). Noise-dampening
flowers, and more. Read the labels accompanied by visuals in
headphones are available upon request at the entrance of the
the pavilion lobby for details about how each artwork responds
exhibition at no additional charge.
to interactions.
n Please note that floral scents are part of the exhibition.
n
The exhibition includes dramatic audio (approximately
n After you exit the exhibition, be sure to stop in the pavilion’s
wearing all white or all black and using long exposure for
Brayton Wilbur Foundation Gallery to see a mural by Chanel
the best effect. Then share the results on social with
Miller. Keep an eye out for signs to find your way.
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Want stellar photos inside the exhibition? We suggest
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EXHIBITION
teamLab:
SKETCH OCEAN
See your drawing come to life.
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ASIAN ART MUSEUM
SHRIRAM LEARNING CENTER As part of your experience of the major exhibition teamLab:
Continuity (page 4), be sure to visit the Shriram Experiential
into teamLab: Continuity on the other side of the museum, or it
Learning Center to participate in teamLab: Sketch Ocean, a
might make its way through the oceans to become part of other
collaborative artwork that builds over time.
teamLab artworks in Shanghai or Tokyo. And you might see a
Color in your own sea creature, then watch as it joins with
tuna drawn by someone on the other side of the world appear
others swimming around the room’s walls; teamLab’s technology
right in front of you, gliding through teamLab: Sketch Ocean. n
Your fish may even swim out of the learning center and
animates your drawing and adds it to teamLab: Sketch Ocean’s floor-to-ceiling digital aquarium. You can also interact with the fish as they swim around you and “feed” them from a virtual bag of fish food.
teamLab: Sketch Ocean is supported by Tania and Michael Stepanian and W. Bradley Electric, Inc. Programming in the Shriram Experiential Learning Center is supported by the Dhanam Foundation. Image: Installation view of teamLab: Continuity, 2021, Asian Art Museum of San Francisco. © teamLab, courtesy of Pace Gallery.
EXHIBITION
TAIHU ROCK— EAST WIND II What happens when a calligrapher exchanges ink for metal? OSHER PLAZA Find out with artist Tianjin Ren’s Taihu Rock—East Wind II, now anchoring Osher Plaza in front of the museum’s main entrance on Larkin Street. Ren (b. 1962), a student of calligraphy at the China Academy of Art and researcher at the Modern Calligraphy Research Center in Hangzhou, transforms the refined art of traditional Chinese calligraphy by marrying it with the scale and brio of outdoor metal sculpture.
Shaped to resemble cursive Chinese calligraphy spelling out
“east wind” (dongfeng, 東風), the 8-foot-tall sculpture erupts from its two-dimensional written origins into three dimensions like an illustration in a pop-up book. This phrase references a Chinese idiom that encourages total preparation, in case a critical element is missing: “Everything is ready except the east wind.”
Although Ren cast the sculpture from nickel silver, “Taihu
rock” refers to the limestone formations found in Lake Tai in Jiangsu province. Historically, this was one of the main sources for scholar’s rocks, water-eroded stones that have been prized by Chinese scholars since the Tang dynasty (618–907). The hollowed-out, perforated form of Ren’s sculpture evokes a similar reverence for the natural world and its processes. Stop by to “read” the multilayered meanings of this outdoor
public sculpture. n
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Taihu Rock—East Wind II, 2018, by Tianjin Ren (American, b. 1962). Nickel silver. Asian Art Museum, Gift of the artist, F2019.40. © Tianjin Ren. Photograph © Tianjin Ren.
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EXHIBITION
그 리 며 기리다
한국의 초상 예 술 AUG 27–NOV 29
TATEUCHI GALLERY AND KORET KOREAN GALLERIES In 1728, a group of government officials quelled an armed rebellion
copies were sent to the officials’ families. They were taken out
that threatened to topple the young regime of King Yeongjo. The
for royal ceremonies or family rituals focusing on the Confucian
king acknowledged his saviors as Bunmu (renowned military)
practice of ancestor worship.
meritorious officials and rewarded their loyalty with gifts such
as slaves, land, silver, silk fabrics, and horses. The king also
exhibition are themselves works of art. They are revealing not only
commissioned a portrait of each official, to be executed in several
about Joseon-era portraiture but also illustrate artistic processes
copies. Rare ink-on-paper drafts of eight of these portraits are in
and experiments. For example, the works in the museum’s
the museum’s collection. Conserved and treated in 2012, they
collection show reverse painting, a technique also used in the
form the core of Likeness and Legacy in Korean Portraiture.
final portraits, in which infill colors were painted on the back of
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ASIAN ART MUSEUM
The exhibition pairs these Bunmu draft paintings with
More than preparation sketches, the draft portraits in the
the paper.
a selection of finished portraits on silk and contemporary
approaches to portraiture to ask: What is the role of the portrait
broadened the understanding of Joseon portraiture for our
in establishing identity and legacy? How do portraits navigate
curators and for scholars worldwide. The exhibition also includes
the boundary between the individual and collective, especially
photo-based, mixed-media, and video works by Korean artists
in the context of Korean culture?
Do Ho Suh and Yun Suknam, as well as Korean Americans Ahree
Lee and Young June Lew, which raise issues of conformity, group
Under the influence of Confucian ideals, Joseon dynasty
The study and conservation of these draft portraits have
(1392–1910) portrait painters aimed to capture their sitters’
identity, and gender in the information age. n
inner personalities with individualized facial expressions. Each
Bunmu official’s portrait depicts the subject's face in all its
Curated by Hyonjeong Kim Han
particularity while adhering to a standardized format. Once
Associate Curator of Korean Art
completed, one copy was kept in a royal portrait hall while other Likeness and Legacy in Korean Portraiture is organized by the Asian Art Museum of San Francisco. Lead support is provided through a gift in memory of Suno Kay Osterweis. Presentation is made possible with the generous support of The Korea Foundation and Sulwhasoo. Additional support is provided by the National Endowment for the Arts and Hagen Choi. Sustained support generously provided by the Akiko Yamazaki and Jerry Yang Endowment Fund for Exhibitions. Image: Draft portrait of Yi Suryang, 1751. Korea, Joseon dynasty (1392–1910). Ink and colors on paper. Asian Art Museum, Gift of Arthur J. McTaggart, 1992.203.a. Photograph © Asian Art Museum.
EXHIBITION
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EXHIBITION
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ASIAN ART MUSEUM
DEC 17, 2021–MAY 2, 2022
OSHER FOUNDATION GALLERY
EXHIBITION
At Weaving Stories, you’ll have a vibrant encounter with one of the oldest and most intimate forms of art. From birth to death, we are swaddled, wrapped, or shrouded in cloth. Textiles not only protect and adorn our homes, our sacred spaces, and our bodies but also communicate identity, status, and faith.
This exhibition brings together nearly 45 outstanding
examples of textiles from dozens of communities in Indonesia, the Philippines, and Malaysia most dating to the 19th and 20th centuries — the vast majority of which have never been exhibited before — to explore how fabrics were woven into the daily lives of the peoples of Southeast Asia. Fascinating archival photographs and multimedia displays illustrate how these textiles were made and used.
Although only one of the works on view is overtly narrative,
a garment by artist Milla Sungkar depicting the devastation of the 2004 Aceh earthquake and tsunami, all of the textiles in the exhibition tell a tale. Weaving Stories guides you through the textile traditions of island Southeast Asia to reveal some of the myriad stories behind these fabrics, prized then and now for their complexity, creativity, and dramatic beauty.
One of the primary stories these textiles tell is of women
as artistic innovators. Traditional textiles in Southeast Asia are mostly the product of women’s labor. The textiles on view in Weaving Stories demonstrate the rich diversity and complexity of dyes, weaving styles, and patterns developed by women across Southeast Asia. In many Southeast Asian societies, a woman’s skill at weaving was linked to her eligibility as a bride. In others, the artistry of female weavers earned them respect and leadership roles in the community, and sometimes even shaman-like status.
The clothing in the exhibition can be “read” to learn the
wearer’s age, gender, marital status, or ethnic identity. The elongated diamond shape in the center of a chest cloth from Java, for example, showed that the wearer was a married woman. White batiks with dark blue patterning could announce
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Weaving Stories is organized by the Asian Art Museum of San Francisco. Presentation is made possible with the generous support of a gift in memory of Murni Soewardho Knoepfel; Walter Jared Frost and David Salman; and Tania and Michael Stepanian. Images: Left: Shoulder or waist cloth (ija sawa), approx. 1850–1900. Indonesia; Aceh province, Sumatra. Silk and metal-wrapped thread and dyes. Asian Art Museum, Gift of Joan and M. Glenn Vinson Jr., 2018.120. This page: Woman’s shoulder cloth (selendang) or headcloth (tengkuluak), approx. 1850–1900. Indonesia; West Sumatra, Minangkabau people. Silk, metal-wrapped threads, and dyes. Gift of M. Glenn Vinson and Claire Vinson, 2021.58. Photographs © Asian Art Museum.
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EXHIBITION
membership in the Indo-Chinese community and often signaled
cloth (cepuk) from Bali; spiky white triangles along its borders
that the wearer was in mourning. Among indigenous peoples of
symbolize the teeth of the guardian deity Barong, revealing the
the southern Philippines today, wearing traditional garments like
cepuk’s protective function. A deep red cloth ornamented with
finely ornamented blouses are markers of cultural identity, as well
symbols of longevity and good fortune was used by Indonesians of
as symbols of resistance and resilience.
Chinese heritage to drape a home altar to their ancestors. Among
Splendid fabrics made with time-consuming techniques,
the Iban in Borneo, a cloth ornamented with intricate ikat patterns,
valuable threads, or elaborate ornamentation communicated
made to line the walls of longhouses, invited the protection of
wealth and rank. In East Sumba, only royal women were allowed
gods and ancestors.
to wear garments decorated with ikat and supplementary weft.
Abung weavers of Southern Sumatra displayed high status with
disposable, the works on view in Weaving Stories hold value
the bold use of glittering gold- and silver-wrapped threads. Across
because of the people who made them, their beauty and skillful
Southeast Asia, applied ornament such as gold brocade, hand-cut
execution, their connection to family, or their connection to faith.
shell sequins, and reflective mica added not only shimmer but
They tell stories that are as varied as the region’s hundreds of
prestige to a garment and its wearer.
weaving traditions and as universal as cloth. n
While so many of the fabrics surrounding us today are
Another strand in the story of Southeast Asian textiles is faith.
Textiles were used by people from every faith tradition across the
Curated by Dr. Natasha Reichle
region, often as talismans. A striking example is a rare silk ritual
Associate Curator of Southeast Asian Art
Clockwise: Woman’s blouse (camisa), 1850–1950. Philippines; Western Visayas region. Piña and cotton. Asian Art Museum, Museum Purchase, 2014.43. Woman’s skirt (tapis), 1825–1875. Indonesia; Lampung, Southern Sumatra. Cotton, silk, metal-wrapped threads, and dyes. Asian Art Museum, Gift of Mrs. Jesse L. Carr, 1991.40. Lower garment and shoulder cloth depicting the tsunami of 2004, 2006–2007, by Milla Sungkar (Indonesian, b. 1960). Silk and dyes. Asian Art Museum, Acquisition made possible by Mr. and Mrs. M. Glenn Vinson Jr., 2007.44.1. Photographs © Asian Art Museum.
EXHIBITION
Materials and Techniques Weaving Stories goes beyond the aesthetics and symbolism of textiles to tell stories about how cloth was made. You’ll be able to touch samples of fabrics, including handspun cotton and silk, piña (made from pineapple leaves), and abaca (made from banana plants), to understand how the garments on view felt to the wearer. Videos demonstrating traditional processes reveal how women transformed these fibers into finished products. And you’ll get close-up view of several of the textiles with a magnification station.
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EXHIBITION
AFTER HOPE: VIDEOS OF R THROUGH MAY 2, 2022 LEE GALLERY & ONLINE AT AFTERHOPE.COM Our exhibition investigating hope as an aesthetic and embodied experience has been extended until next spring. The walls of Lee Gallery are lined with ephemera — protest posters, photographs, booklets, drawings, recipes, and more — submitted by some of the artists whose videos are on view in the exhibition.
As co-organizer and Cal Poly professor Padma D. Maitland
explains, “These works pulse with immediacy — they reflect the timely responses of artists to what is happening around the world.”
“Viruses Don’t Discriminate / Neither Do We (#Stop
DiscriminAsian),” reads one poster. “Asians for Black Lives,” reads another. Images of civil disobedience in Myanmar, New Delhi, and Hong Kong. Photographs of murals in San Francisco and Tehran. These are just some of the works you will find pinned to the gallery walls. For those wishing to join a global chorus of voices demanding change, you will even find a booklet of protest songs collected by the artist ACAB during the recent anti-government demonstrations in Hong Kong.
“Part of the power of the ephemera wall is seeing a record
of all of these protest movements together in one place,” says Maitland. “The artists are in an engaged discourse around hope and hopelessness as they create ‘an archive for the future.’”
All of the works displayed in the gallery have just been posted
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on the project website. Find them at afterhope.com/ephemerawall-1. n After Hope: Videos of Resistance is organized by the Asian Art Museum of San Francisco. It is co-organized with Padma D. Maitland, assistant professor of architectural history and theory at California Polytechnic State University, San Luis Obispo. Support is provided by the Taiwan Academy in Los Angeles, Ministry of Culture of Taiwan. Sustained support generously provided by the following endowed funds: Akiko Yamazaki and Jerry Yang Endowment Fund for Exhibitions and Kao/Williams Contemporary Art Exhibitions Fund. Image: Installation view of After Hope: Videos of Resistance, 2021. Photograph © Asian Art Museum.
EXHIBITION
ESISTANCE
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EXHIBITION
NEW IN THE GALLERIES ROTATIONS
An atmospheric winter landscape by a Qing dynasty court painter, shell-studded men's trousers from the Philippines, and a delicate gilded silver Jewish wedding crown from India: these are
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just a few of the newly installed works that you can see this fall in the collection galleries.
You might not expect to find a Jewish wedding crown in the South
paired birds, a motif often seen in Jewish ritual objects — but here
Asian galleries. But on view for the first time, in Gallery 5 on the
the birds are peacocks native to India. In its blending of Jewish
third floor, is a rare silver diadem from India dating to 1850–1925
and Indian elements, this finely crafted headgear ornamented
that bears the Hebrew inscription “I will raise Jerusalem above my
with colored glass is a reminder that Jewish communities have
highest joy.” Resembling the shape of a turban, the crown features
deep roots in India.
Jewish wedding crown, 1850–1925. India; perhaps Mumbai. Gilded silver with glass. Asian Art Museum, Acquisition made possible by the Elizabeth E. Bettelheim Family Foundation, 2015.69. Photograph © Asian Art Museum.
EXHIBITION
Follow the cycle of the seasons in a new rotation of Chinese paintings on view in Galleries 18, 19, and 20. A particular highlight is Mountain Peaks Covered in Snow by Tang Dai, a Qing dynasty court painter who also served as supervisor-in-chief of the imperial household. In this painting, Tang probably depicts the emperor’s summer retreat in the mountains of Chengde at a time of year when the court did not visit, evoking the solitude of winter. It may also have served as a cooling mental image for the emperor and his court during the hot summer months.
Two pairs of men’s short trousers, on view now in Gallery
11 on the third floor, showcase the rich textile traditions of the Philippines. Woven from abaca, fiber extracted from the leaves of the banana plant, and decorated with embroidery and hand-cut shell sequins, these articles of clothing were made more than 100 years ago by women on the island of Mindanao, known for its distinctive weaving traditions.
These are just a few of the more than 2,000 works on view
in the collection galleries — come find them on your next visit. n
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Mountain Peaks Covered in Snow (detail) by Tang Dai (Chinese, 1673–after 1752). Qing dynasty (1644–1911). Ink and colors on paper. Asian Art Museum, Gift of the Tang family in memory of P.Y. and Kinmay Wen Tang, 1992.62. Trousers, 1875–1900. Philippines; Mindanao, Blaan people. Abaca, shell. Asian Art Museum, Gift of the Black family in memory of Rev. and Mrs. Robert F. Black, 2011.62. Photographs © Asian Art Museum.
RECENT ACQUISITIONS
RECENT ACQUISITIONS HIGHLIGHTS The Asian Art Museum collection is never static. Each year, we enlarge it through strategic purchases and generous gifts. Here are a few recent additions that illustrate how we continue to expand the breadth and depth of our holdings, adding new layers of meaning to the evolving story of Asian art. n
With the recent addition of 61 bamboo artworks and related
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objects, the museum’s Lloyd Cotsen Japanese Bamboo Basket Collection — gifted to the museum in 2006 and one of the most notable of its kind in the world — now numbers more than 950.
Spring love is in the air! This 17th-century Indian painting shows
This latest donation from the Cotsen Foundation includes both
Krishna (or a lover in the guise of Krishna) playing music (and
traditional works based on classical forms, such as containers
flirting?) with beautiful young women in a garden setting, with
for flower arrangements, as well as contemporary works that are
gods watching from the sky above. It brings to life a spring raga,
purely sculptural. These newly acquired works will rotate into the
or musical mode, with vibrant colors, lush vegetation, and a sense
selection of baskets and other bamboo objects on view on the
of romantic and erotic awakening. Krishna and Musicians joins 20
second floor.
other depictions of ragas in the museum collection.
RECENT ACQUISITIONS
Japanese American artist Chiura Obata (1885–1975) created an extraordinary first-hand visual record of the aftermath of the 1906 San Francisco earthquake and fire. Nineteen of these watercolor sketches, including Japantown after the Fire, from California Street, have been donated to the museum from the artist’s estate. Paintings of the city’s destruction are exceedingly rare and rarer still are pictures of the event by an Asian American eyewitness. In these works, we can see Obata, at just 21 years old, practicing a style that he would continue to develop over the following decades in countless on-the-spot sketches of California scenery.
Stephanie Syjuco’s Fixed Focus (Dead Center) (2021) reveals the fallibility of archives. A Bay Area–based, Philippines-born artist and professor at UC Berkeley, Syjuco often explores empire and the construction of racialized, exclusionary narratives of history in her work. For Fixed Focus (Dead Center), she photographed early 20th-century documents about the Philippines stored at the Smithsonian National Anthropological Archives. The focal point of each image in this grid of 36 inkjet prints is a correction to a typed manuscript, bringing into question the sources of knowledge that formed the underpinnings of American imperialism in the Philippines and elsewhere.
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Left page top: Memories from the Sea, 2006, by Ueno Masao (Japanese, b. 1949). Bamboo. Asian Art Museum, Lloyd Cotsen Bamboo Collection, F2020.36.45. Photograph © Asian Art Museum. Inset: Krishna and musicians, personifying a musical mode (Vasanta [Basant] Ragaputra of Hindola Raga), from the earliest Kshemakarna Ragamala, approx. 1610. India. Opaque watercolors on paper. Asian Art Museum, 2021.14. Photograph © Asian Art Museum. This page top: Japantown after the Fire, from California Street, May 18, 1906, by Chiura Obata (American, b. Japan, 1885–1975). Watercolor on paper. Gift of Mia Kodani, 2021.46. Photograph © Asian Art Museum. Fixed Focus (Dead Center), 2021, by Stephanie Syjuco (American, b. Philippines, 1974). 36 pigmented inkjet prints on Hahnemuhle Baryta paper, mounted on aluminum composite board. Edition of 1/3 + 2AP. Asian Art Museum, Museum purchase. 2021.20a-jj. Courtesy of the artist, Catharine Clark Gallery, San Francisco and RYAN LEE Gallery, New York. Photograph by John Janca.
EDUCATION
SHRIRAM EXPERIENTIAL LEARNING CENTER Experiential learning has the potential to spark new thought processes, to get children interested in coming back to the museum again and again to look at art. — VIJAY SHRIRAM, DHANAM FOUNDATION In the Shriram Experiential Learning Center, you can extend your museum experience with self-directed, hands-on activities. With a rotating schedule of custom-designed projects, often tied to special exhibitions, the learning center provides a space to reflect upon and respond creatively to what you have seen at the museum.
The learning center is an inviting and dynamic space for
experiential learning, or “learning through doing,” as School and Teacher Programs Manager Margaret Yee puts it.
In conjunction with teamLab: Continuity (page 4), the
learning center is hosting the interactive teamLab: Sketch Ocean (page 6). Just drop in during your museum visit to color in your own sea creature — then watch as it joins with others swimming around the room’s walls. teamLab’s technology animates your drawing and adds it to Sketch Ocean, a collaborative artwork that builds over time.
Board member Vijay Shriram, who with her husband Ram
supported the creation of the learning center through the Dhanam Foundation, advocated for bringing teamLab: Sketch Ocean to the museum. “I visited a similar teamLab project and saw how
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thrilling it was, especially for kids. I could see them suddenly realize that they could be artists,” she says.
“Experiential learning has the potential to spark new thought
processes, to get children interested in coming back to the museum again and again to look at art,” she adds. “This is especially important when many schools no longer have art programs.”
The creative and thought-provoking activities in the learning
center aren’t just for kids. Yee encourages everyone to “come share your inspiration and talent.” n
teamLab: Sketch Ocean is supported by Tania and Michael Stepanian and W. Bradley Electric, Inc. Programming in the Shriram Experiential Learning Center is supported by the Dhanam Foundation. Images: Above: Sketch Ocean, 2020, by teamLab (est. 2011). Interactive digital installation. Sound by Hideaki Takahashi (Japanese, b. 1967). © teamLab, courtesy of Pace Gallery. Right: Students from San Francisco’s Lowell High School get creative in the Shriram Experiential Learning Center, 2019. Photographs by Justin Yee.
EDUCATION
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EDUCATION
Rome
Istanbul
Samarkand Merv Bamiyan
Antakya
Taxila Basra
Aden
Mogadishu
Mombasa
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GLOBALIZATION FROM THE SILK ROAD TO TODAY Who benefits from global trade? What are the social and
says Annette Abbott, who has been a docent for 10 years.
environmental impacts of fast fashion? No, these aren’t topics
for a seminar on 21st-century economics — they are some of the
with our docents — it provides a model for how we can work
“It has been a wonderful experience to collaborate this closely
questions that animate the museum’s revised school tour on the
together on creating future tours,” says Jennifer Miller, education
Silk Road.
assistant for school programs.
Four dedicated docents immersed themselves in the latest
Globalization from the Silk Road to Today looks at the trade
scholarship on the Silk Road and found numerous parallels to
of technology, luxury goods, fashion, belief systems, and language
today’s globalized world. “We developed a new approach for
along the Silk Road, but also considers the processes of exchange.
the tour that allows us to address larger social, economic, and “We are focusing more on the role of Sogdians, a Central Asian environmental issues and connect them to students’ daily lives,”
people, as the engines of trade, for example,” explains Aggie
EDUCATION
Lop Nur Dunhuang
Kashgar
Xi’an Hangzhou
Lhasa
Mathura Pataliputra
Guangzhou
Kodungallūr
Malacca
Moluccas
Brenneman, a docent since 2011. “We can show tiles from a
about these issues,” adds Margaret Yee, manager of school and
Chinese Buddhist stupa depicting these traders as a way to bring
teacher programs, “and it brings our collection to life for them.”
them to life. . . . It is exciting to look at the objects in the museum
collection and see what new stories they can tell.”
artist Yang Yongliang, which prompts the students to discuss
Kids are asked to think about how many steps, or moments
open-ended questions about the future: In today’s globalized world,
of exchange, it took for their sneakers to get from the factory to
where are we? Where we might be going? What kind of world do
their homes. “We compare camels from the Silk Road to Amazon
you want to create?
trucks today,” notes Roopa Mohan, who is both a storyteller and
docent. “We often use analogies like this to make history relevant
middle school! n
The tour ends with a contemporary video work by Chinese
This is one tour that might even make you want to go back to
to middle and high schoolers.”
Power dynamics among groups is another main theme of the
25-year museum docent Pam Fischer. “Who were the winners and losers?” This leads to opportunities to talk about today’s environmental and social justice topics. “Students are eager to talk
Clockwise: Camel, approx. 690–750. China; Shaanxi or Henan province, Tang dynasty (618–907). Earthenware with glaze. Asian Art Museum, The Avery Brundage Collection, B60S95. Standing figure of a Central Asian, 534–550. China; Hebei province, Eastern Wei dynasty (534–550). Earthenware with painted decoration. Asian Art Museum, The Avery Brundage Collection, B60P1629. Dancer, 618–907. China; Xiuding temple, Anyang county, Henan province, Tang dynasty (618–907). Earthenware. Asian Art Museum, The Avery Brundage Collection, B60S74+. Photographs © Asian Art Museum.
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globalized mass production, including fast fashion, and related
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new tour. “We’re now asking, ‘Who profited from this trade?’” says
EVENTS
CELEBRATING CULTURES All year long, we celebrate cultures from across Asia with performances, activities, storytelling, and more for the whole family. Honor your own heritage or learn about how friends and neighbors, as well as people across the globe, celebrate holidays and reaffirm traditions. These beloved annual events are just one way that the museum harnesses the power of art and culture to build empathy and understanding across communities.
See the website calendar for upcoming on-site events and find
a range of virtual ways to celebrate on our Cultural Celebrations page, asianart.org/cultural-celebrations.
The Lunar New Year, celebrated in late January or February,
is the most important celebration of the year in China and for Chinese people all over the world. People from Vietnam, Korea, Tibet, Singapore, Laos, Cambodia, and Thailand also celebrate the Lunar New Year. It is a time for thinking about the past, honoring ancestors, and making preparations for a successful year to come, including cleaning the house, paying off debts, and purchasing new clothing.
Nowruz, or Persian New Year, is celebrated on the day of
the vernal equinox, which marks the beginning of spring in the Northern Hemisphere. The celebration of Nowruz (meaning “new day” in Farsi) started 3,000 years ago in Persia (modern-day Iran) and is still celebrated all over the world. It is a symbol of renewal and its important themes are reverence for nature, respect
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for family and community, doing good deeds, and forgiveness.
Asian American Pacific Islander Heritage Month
recognizes and honors the contributions, achievements, and influence of Asian Americans and Pacific Islander Americans who have shaped the culture and history of the United States. AAPI Heritage Month is celebrated in May to commemorate the Lion Dancers at the Lunar New Year Celebration at the Art Museum. Photograph © Asian Art Museum.
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EVENTS
EVENTS
arrival of the first known Japanese immigrant to the U.S. on May 7, 1843, and to honor the completion of the transcontinental railroad — built by as many as 20,000 Chinese workers — on May 10, 1869. Chuseok, or “autumn eve,” is the annual three-day Korean festival held in September to celebrate the end of summer and the autumn harvest. An important element is paying respect to ancestors by visiting and tidying graves and presenting offerings. Food is also an important part of celebrating the holiday: families cook and feast together using locally grown and harvested items.
Filipino American (Fil-Am) History Month, celebrated
in October, honors the history, pursuits, accomplishments, and legacy of Filipinos in the United States. It also serves to provide a link between Filipinos in the U.S. — the second largest Asian American group in the nation and the second largest ethnic group in California —and Filipinos in the Philippines. Fil-Am History Month commemorates the first recorded presence of Filipinos in the continental United States in October 1587.
Diwali, the Festival of Lights, is celebrated by Hindus, Jains,
and Sikhs around the world to mark the beginning of the New Year according to the Indian lunar calendar. It falls on the darkest night of the year, usually in late October or early November. On the evening of Diwali, oil lamps, candles, and lanterns are lit and placed on windowsills, entryways, and rooftops, bringing blessings for a successful and prosperous year to come.
Japanese New Year is celebrated on Dec. 31, when people
eat soba noodles and mochi soup (ozoni ) and temples host bellringing ceremonies just before midnight. For more than three decades, the museum has celebrated with the annual Bell-Ringing Ceremony, sounding its temple bell, made in 1532 for the Daienji Temple in Tajima province, Japan, 108 times to represent the 108 earthly sins collected over the course of the year. n
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Cultural Celebrations are made possible by Bank of America. Support for the Asian Art Museum’s Lunar New Year Celebration is provided by First Republic Bank. Sustained support for the Asian Art Museum’s Lunar New Year Celebration is generously provided by the following endowed funds: John S. and Sherry H. Chen Endowed Fund for Chinese Art and Programming and Arlene Schnitzer Endowed Fund for Chinese Art. Support for the Asian Art Museum’s Japanese Bell-Ringing Ceremony is provided by The Henri & Tomoye Takahashi Charitable Foundation. Additional support for the Asian Art Museum’s Diwali Celebration is provided by AARP. Images: Clockwise: Dancers at the Filipino American History celebration. Japanese New Year celebration. Photograph by Quincy Stamper. Korea Day Celebration. Rangoli activity at Diwali celebration. Photographs © Asian Art Museum.
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EVENTS
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THE PRESENT AND PAST OF KOREAN PORTRAITURE Exhibitions such as Likeness and Legacy in Korean Portraiture
(page 8) provide a platform for research and scholarship for
presentation. Head of Conservation Sheila Payaqui, Paintings
a global community of art historians and conservators. An
Conservator Shiho Saki, and Curatorial Assistant JuWon Park
international virtual symposium was convened earlier this month
will be joined by Chi-sun Park, professor in the Department of
and two upcoming events will further expand our understanding
Conservation of Cultural Properties at Yong-In University and
of the role of the portrait in Korean art and culture.
director of the Korean Mounting and Conservation Association,
to discuss the historical works on view in the exhibition. Then
On Oct. 2, artists Ahree Lee and Yun Suknam, who both have
work in the exhibition, join us to discuss their practices as well as larger issues around representation. You can join us on-site at the museum or livestream the conversation from afar.
Conservation takes center stage on Nov. 2 in a two-part virtual
they’ll take us into the conservation lab for an inside look at how the draft portraits were treated and what discoveries they made during the process.
Permutation, 2015, by Ahree Lee (American, b. Korea, 1971). Software-generated video. Collection of the artist. © Ahree Lee.
EVENTS
THURSDAY NIGHTS ARE ... a great way to satisfy your appetite for culture
the place to reconnect with old friends and meet new ones an ideal occasion to savor a drink and some eats from Sunday at the Museum three hours to roam the galleries and discover your favorite artwork a chance to unwind monthly to the sounds of local musicians an inspired choice for a first date free for members a perfect way to kick off the weekend early
Thursday Nights are sponsored by Wells Fargo.
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LIVE PUBLIC PROGRAMS ON SELECTED THURSDAYS, 5 TO 8 PM
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... BACK ON SEP. 16!
MEMBERSHIP
We are excited to introduce our new director of membership, Danielle Hobart, who joined the museum in June. Danielle comes to us from the Fine Arts Museums of San Francisco, where she most recently served as assistant director of membership. How did you choose a museum career? I grew up in the Bay Area visiting museums with my family, but it was only after I graduated from college [she studied fine art and literature at UC Santa Cruz] that I realized that a museum career was possible. I love being exposed to new ideas and to lived experiences that are different than my own. Why museum membership? The members! It is consistently rewarding to get to know museum members, who share a spirit of curiosity and a passion for art. I
INTRODUCING THE NEW DIRECTOR OF MEMBERSHIP
DANIELLE HOBART
was lucky to join the museum just as teamLab: Continuity opened, and it was great to meet so many members at the opening events. Everyone was thrilled to be coming together again around a communal art experience. Why did you choose to come to the Asian Art Museum? This is the most respected museum in the Bay Area, and with the opening of the new pavilion and the burgeoning contemporary art programming, I knew this was a place I wanted to be. And I was really impressed by the museum’s membership program, which offers the best value in the Bay Area. What are you looking forward to in the coming year? I love the nighttime museum experience, so I am excited to see the return of in-person programs on Thursday Nights. And I am busy making plans for a full year of dynamic member events — members should stay tuned for news about film screenings and opportunities to engage with partner museums.
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ASIAN ART MUSEUM
What else do you want members to know? I want to assure our members that we are continuing to focus on safety, so they can feel comfortable coming back to the museum in person. We will continue to make many of our programs available online, but I am hoping to see a lot of members back at the museum in the coming months to reconnect with the collection and fellow members and visit our fabulous new exhibitions. n Photograph © Katelyn Tucker Photography.
MEMBERSHIP
CONNECTING ART TO LIFE Donating to the Museum Fund is the best way to ensure the future vitality of the museum. — DR. JAY XU, THE BARBARA BASS BAKAR DIRECTOR AND CEO Our mission — connecting art to life — continues in earnest this
in our virtual school programs designed around the collection.
fall as we move forward with optimism and strength. We are
Please consider making an end-of-year, tax-deductible gift
thrilled to welcome you into the transformed museum and to see
to support our vision to make Asian art and culture essential to
the new pavilion buzzing with enthusiastic visitors of all ages and
all. Our goal is to raise $75,000 in individual donations to the
all walks of life.
Museum Fund, which supports special exhibitions, educational
programs, cultural celebrations, digital initiatives, and the
We seek to inspire new ways of thinking by connecting diverse
communities to historical and contemporary Asian art and culture
expansion of our collection.
through our world-class collection, exhibitions, and programs.
Though our doors were closed during most of the pandemic,
contribution today. We are so grateful for your gift in any
we were able to bring you meaningful online experiences with
amount. n
Visit asianart.org/give to make your tax-deductible
significant impact on teachers and students who were teaching
Installation view of Memento: Jayashree Chakravarty and Lam Tung Pang, 2021. Photograph © Asian Art Museum.
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and learning remotely — more than 16,000 of them participated
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curators, docents, artists, and other experts. We also had a
MEMBERSHIP
Pauline Eveillard and her family enjoying the Bell-Ringing Ceremony. Photograph by Quincy Stamper.
JADE CIRCLE MEMBER
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ASIAN ART MUSEUM
PAULINE EVEILLARD Pauline Eveillard’s favorite weekend activity is to walk to the Asian
Art Museum with her husband and two young children, explore
and her husband decided to deepen their commitment to the
the galleries, and have lunch in the cafe. “The museum is a place
museum by joining the Jade Circle. “The museum is a part of our
dear to our hearts,” she says.
lives and we want to support it,” she explains.
Landing in San Francisco two years before the museum’s
After several years as a member at the Premium level, Pauline
Join Pauline in supporting the museum by becoming a Jade
50th anniversary celebration, she was immediately impressed with
Circle member. Enhance your museum experience with insider
the museum’s range of programming and diversity of visitors. “I’m
access to exhibitions, events, and the private donor lounge, as
drawn to the museum because it opens its doors and lets everyone
well as special opportunities to connect with curators, museum
in,” Pauline says, noting the Free First Sundays program.
leaders, and other museum supporters. As a Jade Circle member,
As someone who works with contemporary designers —
you’ll make a meaningful impact on our diverse community,
she is the founder and C.E.O. of the online marketplace Soukra,
strengthening the museum’s vision of making Asian art and culture
which connects Tunisian designers with collectors around the
essential to everyone.
world — Pauline is inspired by the way the museum engages with
living artists and reinforces connections between historical and
asianart.org or call 415.581.3683. n
contemporary art.
For more information or to join, contact us at jadecircle@
MEMBERSHIP
TIPS FOR
MAXIMIZING YOUR MEMBER BENEFITS
Your Asian Art Museum membership provides you with worldclass benefits to enjoy all year long. Whether you are visiting with family and friends, enjoying a solo afternoon at the museum, or listening to a curator talk from the comfort of home, membership offers you valuable perks. Plan Your Next Visit Today We can’t wait to see you in the galleries, where moments of discovery and exploration await! Reserve your free tickets now to experience teamLab: Continuity (page 4), as well as our other exhibitions and installations. To ensure you can enjoy your preferred date and time, we recommend booking in advance. Shop & Dine Sunday at the Museum has reopened! Take a break in our cafe, where you’ll find modern takes on flavors from across Asia and bubble milk tea from the celebrated Boba Guys, and save 10% with your member discount.
At the Cha May Ching Museum Boutique, you can always find
the perfect gift or something special for yourself or your home. You’ll save 10% percent on every purchase with your member discount, and 20% during Member Shopping Days. Behind-the-Scenes Peeks and Priority Access Monthly e-newsletters and the member magazine keep you in the loop with advance notices about exhibitions, ticketing, and events. Throughout the year, we hope you will take advantage of free audio tours and docent tours that enrich your gallery experience. Connect to the Museum, Wherever You Are Enjoy Art Escapes, Takeout Tuesdays, Lunchbox Stories, and other online events at home or on the go with our extensive virtual offerings. Visit the Virtual Member Lounge for an archive of special member-only programming as well as member updates.
Important Tip! Are you receiving our member e-news? If not,
contact us at members@asianart.org to update your member record. We’re Here to Help To renew your membership, please
print of Chanel Miller’s I was, I am, I will be.
contact us at members@asianart.org or 415.581.3740. n
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Join at the Member Premium level and receive a matted
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CHA MAY CHING BOUTIQUE
BOUTIQUE SHOWCASES LOCAL ARTISANS
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ASIAN ART MUSEUM
You can always find one-of-kind products by local artisans and designers, as well as makers from across Asia and the Asian diaspora, in the Cha May Ching Boutique. Find a choice selection of apparel, accessories, jewelry, ceramics, tableware, stationery, toys, books, and catalogues. Stop by or visit us online to stock up for the holidays while supporting artists in our community. n
MEMBERS ALWAYS GET A 10% DISCOUNT IN THE MUSEUM BOUTIQUE.
SOCIETY FOR ASIAN ART
SPRING 2022
ARTS OF ASIA LECTURE SERIES
GIFTS OF RIVERS AND RESOURCES: ART AND POWER IN ANCIENT ASIA Ganges, Indus, Mekong, Oxus (Amu Darya), Tigris and Euphrates, Yangtze, Yellow River: It is no accident that the great civilizations
Join the Society for Asian Art
of Asia first arose along these rivers, which served as trade routes
The Society for Asian Art (SAA) is an independent support
and provided fertile croplands and rich mineral deposits.
organization for the Asian Art Museum that has been
We invite you to grab your deck shoes and join us for the
providing dynamic programs on Asian art and culture for
spring 2022 Arts of Asia Lecture Series exploring how rivers
more than 60 years. In addition to the Arts of Asia Lecture
shaped artistic traditions across Asia. With Sanjyot Mehendale,
Series, SAA members enjoy literature and culture courses,
chair of the P.Y. and Kinmay Tang Center for Silk Road Studies
visits to art galleries and artist studios, study groups, and
at the University of California, Berkeley, at the helm as our
opportunities to travel with scholars. We’d love to have you
instructor of record, we’ll navigate the artistic roots of river
join us! For more information, please visit our website.
civilizations in Central Asia, China, the Himalayas, India, Iran, Korea, Mesopotamia, Southeast Asia, and Japan.
Lectures will be held on Fridays from 10:30 a.m. to 12:30
SOCIETYFORASIANART.ORG
p.m. from Jan. 28 through May 6, 2022. For registration information and a full list of lecturers and topics, please visit the Society for Asian Art website. n
Sunset on the Yangtze River, China. Ritual vessel (he) with lid. China, Warring States period (approx. 475–221 BCE). Bronze. Asian Art Museum, The Avery Brundage Collection, B60B907. Photograph © Asian Art Museum.
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EVENT CALENDAR
FEATURED EVENTS OCTOBER 7 / THURSDAY Meet the Artists: Ahree Lee and Suknam Yun on Identity and Portraiture in Korean Culture 5 PM Online via Zoom and on-site at the museum A conversation with artists included in Likeness and Legacy in Korean Portraiture 9 / SATURDAY Saturday Morning Meditation: Reflections on Identity and No-Self 10:30–11:30 AM Online via Zoom $5 14 / THURSDAY Meet the Artist: Zheng Chongbin, Timothy Morton, and Maya Kóvskaya on I Look for the Sky 6 PM On-site at the museum
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17 / SUNDAY At the Crossroads: Healing Through Art, Stories, and Music 11 AM–4 PM On-site at the museum
28 / THURSDAY Thursday Nights: Polyrhythmic Percussion of the Philippines 5:30–7:30 PM On-site at the museum
NOVEMBER 2 / TUESDAY Behind the Scenes: Conversation on Conservation of Korean Portraiture 5 PM Online via Zoom 13 / SATURDAY Art Escape: Exhibitions Excursions Edition Awaken: A Tibetan Buddhist Journey Toward Enlightenment 4 PM Online via Zoom Explore this 2020 exhibition virtually with Associate Curator of Himalayan Art Dr. Jeffrey Durham 14 / SUNDAY SACHI Annual Event: Indian Botanical Medicines in Early Modern Europe 2 PM On-site at the museum
18 / THURSDAY Thursday Nights: At the Table with San Francisco Chronicle’s Soleil Ho and Diep Tran On-site at the museum $5
DECEMBER 9 / THURSDAY Thursday Nights: Japanese Flute Serenade 5:30–7:30 PM On-site at the museum 11 / SATURDAY Saturday Morning Meditation: Find Peace in an Unpeaceful World 10:30–11:30 AM Online via Zoom $5 Art Escape: Exhibitions Excursions Edition Lost at Sea: Art Recovered from Shipwrecks 4 PM Online via Zoom Explore this past exhibition virtually with Associate Curator of Southeast Asian Art Dr. Natasha Reichle
31 / FRIDAY 36th Annual Bell-Ringing Ceremony Online via Zoom
Please check asianart.org for updates and a complete listing of public programs and member events. Events are subject to change. All events free for members unless noted. Find out what to expect. Review current safety protocols on our website before you visit.
This page: Installation view of Awaken: A Tibetan Buddhist Journey Toward Enlightenment, Asian Art Museum of San Francisco. EX2020.1. Opposite page: Rarung, a demonic figure, approx. 1800–1900. Indonesia; Bali. Wood with paint. Asian Art Museum, Gift of Thomas Murray in memory of his father Eugene T. Murray, 2000.37. Lidded jar with design of a lotus pond, 1522–1566. China; Jingdezhen, Jiangxi province, Ming dynasty (1368–1644), Reign of the Jiajing emperor (1522–1566). Porcelain with underglaze cobalt and overglaze multicolor decoration. Asian Art Museum, The Avery Brundage Collection, B60P78+.a-.b. Photographs © Asian Art Museum.
EVENT CALENDAR
FEATURED MEMBER EVENTS We look forward to offering you both in person and virtual events throughout the coming year. Find all upcoming events on our website at calendar.asianart.org.
Virtual Lecture Series We invite you to join us for fascinating monthly presentations on Asian art and culture. Open to all members; advance registration required. Oct. 20 Demons, Creatures and Monsters – Oh My! Nov. 10 Genghis Khan: Hero or Tyrant? Dec. 8 Masterpieces of the Asian Art Museum
Virtual Member Lounge Revisit or watch any missed events and other special member-only content on your own schedule.
Let’s Stay Connected In addition to a monthly member-only newsletter, we send save-the-date notices and invitations to upcoming member events via email. Make sure you won’t miss any exciting opportunities this year by keeping a current email address on file. Contact us at members@asianart.org to update your contact information.
Thu.1–8 PM
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Fri–Mon.10 AM–5 PM
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Tue & Wed Closed
NEW MUSEUM HOURS
calendar.asianart.org for updates. asianart.org @asianartmuseum
ASIAN ART MUSEUM
Visit asianart.org for additional closings and special hours. Please check
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NEW MUSEUM HOURS
ASIAN ART MUSEUM Chong-Moon Lee Center for Asian Art & Culture 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