Asian magazine, Spring 2015 by Asian Art Museum

SPRING 2015

TABLE OF CONTENTS

SPRING 2015 /// VOL. V, ISSUE l

The Asian Art Museum Magazine

MAGAZINE STAFF Tim Hallman, Editor in Chief Kate Johnson, Membership David Owens-Hill, Creative Director Amy Browne, Art Director Colin Winnette, Writer/Editor Published by the Asian Art Museum Chong-Moon Lee Center for Asian Art & Culture 200 Larkin Street, San Francisco, CA 94102 415.581.3500 · www.asianart.org · magazine@asianart.org Copyright © 2015 Asian Art Museum

MUSEUM HOURS: Tues–Sun . . . . . . . . . . . . . . . . . . . . 10 AM–5 PM Thurs . . . . . . . . . . . . . . . . . . . . . . . 10 AM–9 PM Mon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Closed

21 24 32

Visit www.asianart.org for additional closings and special hours.

Cover: Peony, from the handscroll Secret Games in the Spring Palace (Shungu higi) (detail), approx. 1775–1780, by Katsukawa Shunsho (Japanese, d. 1792). Handscroll section mounted as hanging scroll; ink, colors, and gold on silk. John C. Weber Collection. Image © John Bigelow Taylor. Image (opposite): Kaz Tsuruta in his studio with the Hindu goddess Sarasvati.

SPRING 2015 /// 1

FROM THE DIRECTOR JAY XU — To open this special expanded issue of Asian magazine, we sat down with the new chair of the museum’s governing boards, Akiko Yamazaki, and discussed her plans for the future and her favorite spot in the galleries (see page 4). However, not everything is as crystal clear as Yamazaki’s vision. When desire comes into play, fantasy can distort reality. Our spring exhibitions, Seduction: Japan’s Floating World | The John C. Weber Collection and The Printer’s Eye: Ukiyo-e from the Grabhorn Collection, explore the intersection of art and desire in more than 200 artworks—including elaborate handscrolls (one almost 58 feet long), intricate woodblock prints and colorful kimonos. In this issue, curators of Japanese art Laura Allen and Yuki Morishima examine the works of Edo-period Japan’s (1615–1868) “floating world,” where short-lived pleasures were savored (see page 6 and page 13). Visitors are invited to witness these idealized images of high style and exquisite beauty, while considering all that fantasy obscures. In an intimate sidenote to Seduction, artist and musician Tatsu Aoki reveals how growing up among geisha in the 1960s shaped his artistic career (see page 16). Then, to introduce the small but intriguing show Woven Luxuries: Indian, Persian, and Turkish Velvets from the Indictor Collection, Qamar Adamjee, associate curator of South Asian and Islamic art, tracks the economic, political and personal value of sumptuous velvets (see page 21). We also focus on the keen eye of Kaz Tsuruta, our recently retired photographer, in a profile of his 26 years of service. Hear his tales of traveling the world to photograph art treasures, and details on his upcoming exhibition (see page 24). SEE YOU AT THE MUSEUM!

ART BITES

NEWS FROM THE ASIAN ART MUSEUM, THE BAY AREA AND AROUND THE WORLD

LET’S GET TOGETHER Each spring, artists, Asian art collectors, curators and other scholars convene in New York for Asia Week—one of the largest annual celebrations of Asian art and culture in the world. This year, Asia Week is March 13–21. Leading international Asian art specialists, auction houses and museums, as well as other cultural institutions, will host a series of groundbreaking exhibitions and special events all over the city (plus New Jersey—the Newark Museum’s Tibetan galleries are of special note). Whether you’re an artist or a collector—or a new enthusiast looking to learn more—Asia Week is your chance to view exquisite art, rub elbows with noted scholars and find something new to add to your collection. Visit www.asiaweekny.com for more details. Those in the area for Asia Week will not want to miss the Asia Society’s exhibition Buddhist Art of Myanmar. Why? Check out the related Bite (opposite) to learn more. n Pair of Lokapala Heads, China, Tang Dynasty (618–907) or Five Dynasties (907–960). Image courtesy Nicholas Grindley Works of Art Ltd (New York, NY) and Asia Week press office.

2 /// ASIAN ART MUSEUM

WE’RE NOT GETTING OLDER, WE’RE GETTING BETTER The Asian Art Museum will turn 50 in 2016. Over the past half century, we’ve relocated and expanded—moving from our space alongside the de Young to our Civic Center location in the heart of San Francisco. We’ve nearly tripled our art collection, and our exhibitions and programs draw audiences from around the world—both on-site and online. To celebrate this milestone, we’re lining up an exciting slate of exhibitions (watch for sneak peeks soon!), parties, public programs and a special anniversary issue of Asian magazine. We’ll be banging the drum for the year to come. Stay tuned for more on the history of the museum and what’s in store for the next 50 years. n Left: Avery Brundage approx. 1966 at the art museum in Golden Gate Park.

ART BITES

THREE MONTHS IN THE CITY THAT NEVER SLEEPS Special exhibitions of artworks from Myanmar (formerly Burma) are extremely rare. That nation’s uneasy relations with the global community and the delicate nature of the artworks themselves are just two reasons for the lack of quality material loaned to institutions outside the region. Which makes the Asia Society Museum’s upcoming Buddhist Art of Myanmar—the first exhibition in the West to focus on artworks from collections in Myanmar—all the more special. This unprecedented exhibition (February 10–May 10) features approximately 70 works, spanning the 5th through 20th centuries—from stone and bronze sculptures to textiles and paintings (many never on view outside Myanmar). These works show how Buddhist narratives were communicated visually, while revealing the range of regional styles. The exhibition also taps important U.S. collections, including the Asian Art Museum. We’re sending seven art objects, notably our massive (almost 12 feet tall) Burmese throne (approx. 1850–1900)—a prized centerpiece from Gallery 11, acquired in 2001 from the Doris Duke Charitable Foundation’s Southeast Asian Art Collection. Visit blog.asianart.org to see a time-lapse video of this artwork being painstakingly disassembled and readied for shipment. In place of the Burmese throne, we’ve installed an enormous (about 9 by 9 feet), never-before-shown pediment (dating to approximately 1750–1825) featuring the demon magician Mayaravana from the epic of Rama. Swing by Gallery 11 and take a look. n Seated crowded and bejeweled Buddha on throne, approx. 1850–1900. Burma. Lacquered and gilded wood, metal, glass inlay, and mirror inlay. Courtesy of Asian Art Museum, San Francisco, Gift from Doris Duke Charitable Foundation’s Southeast Asian Art Collection, 2006.27.17, 2006.27.1.a-.t. Image © Asian Art Museum, San Francisco.

YOUR PLUSH RHINO IS ONLY A FEW CLICKS AWAY buy online. Purchase unique art objects—or the perfect gift for that special someone (hint, hint: Valentine’s Day, Mother’s Day and graduation are just around the corner)— from the comfort of home or your favorite coffee shop. Visit our new online store at store.asianart.org for unique ceramics and hard-to-find crafts from around the globe, plus books, accessories, kids’ toys and more. With new items arriving regularly, there is always something to discover. Handcrafted tsumami kanzashi (traditional folded fabric hair ornaments) by Japanese artisan Kuniko Kanawa will be available just in time for the Seduction exhibition (see page 6). Purchases can be shipped or held for pickup in the store. n

SPRING 2015 /// 3

Shopping at the Asian Art Museum store just got easier. Now you can browse and

BEHIND THE SCENES

CONNECTING WITH AKIKO YAMAZAKI Akiko Yamazaki is the new chair of the Asian Art Commission and the Asian Art Museum Foundation—the museum’s dual governing boards. She has been a foundation trustee for 15 years and recently served as vice chair of the commission and president of the foundation. Last fall, Asian magazine sat down with Yamazaki to talk about the museum today and our future.

You and your husband are passionate collectors of Chinese calligraphy and contemporary Chinese ink artworks. What drives your interest in these art forms? The Chinese calligraphy is mainly my husband's passion, but we collect contemporary Chinese ink artworks together. While the interest in the art form is personal, we enjoy the interactions with the artists, scholars and other collectors as much as, or maybe more than, the pieces that we collect. Collecting, for us, is a social act.

4 /// ASIAN ART MUSEUM

You spearheaded and co-chaired board committees responsible for developing the museum's strategic plan and priorities in 2007 and its subsequent long-range business plan in 2013. How will these plans inform your leadership? The 2007 strategic plan set the goals for the museum in broad strokes. The goals included financial stability, increased audience impact and reach, and organizational effectiveness. When Jay Xu arrived in 2008 as our director, he articulated the artistic vision: “With Asia as our lens and art as our cornerstone, we spark connections across cultures and through time, igniting curiosity, conversation and creativity.” The key word here is “connections.” We have made great strides toward all three goals but especially organizational effectiveness. We have a strong staff and committed board members. We have an excellent relationship with the City of San Francisco, which owns the collection and building and provides important funding

for the museum. We launched our new brand in 2011 and conducted a thorough organizational assessment in 2012, building our future step by step. With the 2013 business plan, we have a very detailed blueprint through 2020. In keeping with our initial 2007 strategic plan, the two most important priorities identified in the new plan are to transform the visitor experience and make the museum financially stronger. Realizing these goals will be my mandate.

What’s your vision for the museum in 10 years? 50? The museum started with the gift of a worldclass collection from Avery Brundage 50 years ago. The last "New Asian Campaign" brought us a wonderful home in Civic Center across from City Hall and a unique identity. We have now been in the new building for more than a decade. In the meantime, Asia as a region has gained significant economic, political and cultural power. Asian culture has entered mainstream America through language, food, fashion, architecture, music, movies, technology and art. Asia is no longer "the exotic," but "the hip and happening.” Major museums, including us, are holding special exhibitions of contemporary Asian art. Biennales are now not just in Venice and Basel, but include Shanghai, Hong Kong and Gwangju. The auction market is exploding. Teenagers sing to K-pop around the world. Louis Vuitton was all Yayoi Kusama in 2013. Japanese architects are in high demand. My daughter recently went to a birthday sleepover in Bollywood style. To connect with visitors, our museum needs to reflect the times and present Asia

BEHIND THE SCENES

in this new light. Our cultural programs are certainly reflecting the traditional as well as the current Asia, and we are striving to present our exhibitions in a way that's aligned with life today. Technology has brought us a myriad of possibilities. The visitor experience should engage all senses, not just the visual. We will juxtapose the old and new, East and West, to provide “connections” and a reason to engage for all of our visitors. Institutionally, I feel it is our generation's responsibility to build the financial stability worthy of what the museum has become and represents. Fifty years from now … I can only guess

where we’ll be. Maybe literally offering the opportunity to travel “through time”?

You were a champion of the museum’s refreshed brand in 2011. Why did you consider that project important? The brand is what defines our identity. Going through the exercise with the staff and board leaders was a valuable thing to do in itself. We had to really reflect on who we are. Our brand promise is "Awaken the past, inspire the next." We want to present our treasures in a way that makes sense today. Our logo is the upside-down “A,” the mathematical symbol for “for all.” Everyone

liked the visual but when a math buff told us what it meant, we all agreed it was the perfect symbol. We want the museum to be relevant for everyone.

Do you have a favorite piece in the collection, or an area you always return to? While ceramics are my personal favorites, in the current museum layout, my favorite place is the jade display. In that small space, you feel the magic of the treasures. You wonder about the palaces they have been in and the people who have cherished them over the years. n

“The brand is what defines our identity. We had to really reflect on who we are.” —Akiko Yamazaki SPRING 2015 /// 5

Akiko Yamazaki. Image © Asian Art Museum.

6 /// ASIAN ART MUSEUM

JAPAN’S FLOATING WORLD THE JOHN C. WEBER COLLECTION

FEB 20–MAY 10, 2015 BY LAURA W. ALLEN Curator of Japanese Art

“

If one looks through this latticed partition (magaki) or that latticed wall (koshi), the ornamented, uncommonly showy koshi courtesans seated in a row talk gaily, asking about their night engagements with visitors and chatting with their acquaintances. Customers draw near, fascinated just to hear whatever they can.

“

A visit to the Yoshiwara (detail), late 1680s, by Hishikawa Moronobu (Japanese, d. 1694). Handscroll; ink, colors, and gold on paper. Courtesy of John C. Weber Collection. Image © John Bigelow Taylor.

SPRING 2015 /// 7

A Guide to Love in the Yoshiwara (Yoshiwara koi no michibiki), 1678 Translated by Helen Mitsu Nagata

8 /// ASIAN ART MUSEUM

Enticement, in its many forms, is at the heart of the exhibition Seduction: Japan’s Floating World (February 20–May 10, 2015). Drawn from the John C. Weber Collection, the exhibition focuses on artistic representations of the Edo period’s (1615–1868) “floating world.” The term “floating world,” or ukiyo, has its origins in Buddhist texts, where a homophone combining characters meaning “sorrow” (or “grief”) and “world” was used to imply the suffering caused by desire, the chief impediment to enlightenment. In the 17th century, this somber term was given a playful twist: by substituting a character meaning “to float” for the one meaning “sorrow,” the sense of ukiyo changed to the more easily embraced notion of a “floating world” where desires were fulfilled instead of denied. As the scholar Melinda Takeuchi points out in her essay for our exhibition catalogue, the residents of Edo (present-day Tokyo) imagined the floating world as a “universe of wit, stylishness and extravagance—with overtones of naughtiness, hedonism and transgression.” One could experience the floating world in many places, but Edo residents gravitated especially to the Kabuki theater district located at the city’s center, and to the more remote Yoshiwara pleasure quarter, a gated and moated red-light district at the edge of the city. As evocatively described in the lines quoted from A Guide to Love in the Yoshiwara, latticed showrooms were a common feature of the Yoshiwara. Peering through wooden partitions, visitors could eye courtesans lined up in their finery, judge the most nubile or experienced, flirt, or chat up old favorites. Paintings and prints of the pleasure quarter served a similar role for voyeurs and armchair travelers, calling up fantasies of limitless options for sex and play. “Join us,” the pictures call, “inspect the goods, spend some money (outspend your rivals!), eat, drink and carouse in the company of an attractive partner. Remember the fun you had before? Come back and let us cater to your every desire.” The success of floating-world entertainments in Edo unleashed an astonishing outpouring of artistic production, in innovative styles and topical new themes. Paintings, woodblock prints and printed books all vied for attention from customers hungry for new

Robe with willow tree and Chinese characters, 1700–1800. Japan. Silk, paste resist–dyed (yuzen) and stencil-dyed (katabitta), silk, and couched gold thread embroidery. Courtesy of John C. Weber Collection. Image © John Bigelow Taylor.

SPRING 2015 /// 9

stories and images of popular theaters, brothels and their most famous personalities: Kabuki actors and courtesans. Produced by some of the most talented artists of their time, these artworks transported viewers into an idealized realm of high style and exquisite beauty. Purposefully excluding the harsh realities of the sex trade, floating-world pictures summon desire through lavish settings, gorgeous people and clothing, suggestive poses and deliberate disguises. In the museum’s Hambrecht Gallery, this world is brought to vibrant life through “A visit to the Yoshiwara,” a masterpiece by the foremost 17th-century artist of floating-world pictures (ukiyo-e), Hishikawa Moronobu (d. 1694). At just under 58 feet in length, this richly detailed handscroll painting offers a comprehensive view of the district in the late 1680s, including its arcane etiquette, customs and fashion. Through a sequence of 15 episodes, viewers are invited to approach the Yoshiwara’s main gate, view the street life of the quarter and visit brothels for prostitutes of three ranks (tsubone, sancha and koshi), as well as a luxuriously appointed house of assignation (ageya) where highly skilled courtesans entertain wealthy samurai. The exhibition situates the scroll within the material culture of these ageya parties by pairing the scroll with porcelain serving vessels, kimono-shaped bed covers (yogi) and men’s costumes from the Edo period. Contemporary woodblock-printed guides to the Yoshiwara, lent by another private collector, offer detailed commentaries on the world depicted in Moronobu’s scroll. Works on display in Osher Gallery focus on a single theme that encapsulates the values and ideals of the floating world: the glamorous Yoshiwara courtesan. Celebrity prostitutes were heavily promoted through artistic means. Much admired throughout Edo, they were the subjects of poetry, prose, paintings and countless woodblock prints. The top-ranked courtesans, though “known” to the public, were physically accessible only to the wealthiest patrons, at great expense, after a carefully scripted set of initial meetings. Their high price was justified on the basis of multi-year

10 /// ASIAN ART MUSEUM

training in a variety of refined arts. The writer Baba Bunko’s (1718–1758) description of the woman known as Segawa III gives a sense of a top-rated courtesan’s talents:

“

Born into a poor peasant family, she was brought for training to the Matsubaya [brothel] at a young age. There she learned all the arts desirable for a high-ranking courtesan, such as shamisen [a three-stringed instrument], singing, tea ceremony, haiku [poetry], go…backgammon, kickball, flute, all extremely well. Her superb handwriting, painting and haiku skills were acquired from great masters.

“

Cecilia Segawa Seigle, Yoshiwara: The Glittering World of the Japanese Courtesan (Honolulu: University of Hawai‘i Press, 1993), 123.

Courtesan in her boudoir (detail), approx. 1818–1825, by Utagawa Toyokuni (Japanese, 1769–1825). Hanging scroll; ink and colors on silk. Courtesy of John C. Weber Collection. Image © John Bigelow Taylor.

Opposite: Courtesan promenading under cherry blossoms (detail), approx. 1815–1819, by Katsushika Hokuun (Japanese, active approx. 1800–1844). Hanging scroll; ink and colors on silk. Courtesy of John C. Weber Collection. Image © John Bigelow Taylor.

SPRING 2015 /// 11

While the tiny minority of elite courtesans may have led relatively comfortable lives, with fancy clothes and access to teachers, most Yoshiwara women were not so fortunate. Taken from poor families at the age of 7 or 8, kept in perpetual debt by brothel owners, they were expected to fulfill contracts of some 10 years’ duration unless bought out by a wealthy patron. Edo sex workers were subject to daily quotas; unwanted pregnancies and venereal disease were endemic. Abortion in the Yoshiwara is not well documented, but sources from the 19th century suggest that it was a common fact of life—and cause of death—for many Edo prostitutes. Sadly, the women of the floating world left behind few personal records about the circumstances of their lives. What survive are literary descriptions and pictures, mostly created by men. Mass-produced for sale in shops and by itinerant vendors, woodblock prints were very inexpensive, but for those with a bigger budget, costly one-of-a-kind courtesan paintings were also available. These pictures were an essential tool for marketing the Yoshiwara, and they helped perpetuate the system of prostitution, as well as one of the practice’s key components: the objectification of women through elaborate systems of classification and connoisseurship. Not surprisingly, most artists gloss over the more sordid and sad truths of Yoshiwara life in favor of artfully constructed fantasies of women on parade or at rest in the quarter’s brothels and teahouses. The seductive power of these pictures was enhanced through various artistic means. Clothing the subjects of pictures in glamorous fashions was a key part of the artist’s task. In works by Kubo Shunman (1757–1820), Katsushika Hokuun (active approx. 1800–1844) and others, the display of expensive, up-to-date robes is as important a focus as the courtesan’s high-stepping pose and attractive features. While few costumes worn by Edo courtesans survive today, the exhibition includes exquisite robes made for samurai-class women and wealthy merchant wives as vibrant evidence of the beauty, variety and technical splendor of Edo styles. Promised intimacy and romance are also favorite avenues for enticement in works by floating-world artists. They range from Katsukawa Shunsho’s (d. 1792) behind-the-scenes look at courtesans or a couple entangled in a deeply sensual embrace, to Teisai Hokuba’s (1757–1844) courtesans waiting in the heat for their clients’ arrival, to Utagawa Toyokuni’s

12 /// ASIAN ART MUSEUM

(1769–1825) courtesan arising from bed after sex. Subtle and overt cues reinforce the message that women of the pleasure quarter were available for unimpeded and exclusive access. Other works in the exhibition use cross-dressing, costumes and disguise as aspects of their seductive power. Included are Kabuki actors dressed for the stage, and contemporary beauties disguised as the faithful lovers of a famous Heian-period (794–1185) courtier-poet. The exhibition concludes with the imposing portrait of a woman known as Hell Courtesan, by Utagawa Kuniyoshi (1797–1861). She wears a spectacular costume that brings us full circle to the Buddhist sense of the term ukiyo as suffering prompted by desire. Today, these artworks can be seen as far more than advertisements for the licensed and licentious pastimes of the merchant and samurai classes. The floating-world prints and paintings shown here were produced by some of this tradition’s greatest masters. Viewing these works, one can admire an artist’s technical experimentations with line, color and composition, while also tracing changing ideas about the portrayal of beauty. We are indebted to John C. Weber for sharing these surpassing examples of floating-world art, amassed over decades of dedicated collecting. n

Hell Courtesan, late 1840s, by Utagawa Kuniyoshi (Japanese, 1797–1861). Hanging scroll remounted as a framed panel; ink, colors, and gold on silk. Courtesy of John C. Weber Collection. Image © Bruce Schwarz.

Seduction: Japan’s Floating World | The John C. Weber Collection was organized by the Asian Art Museum. Presentation is made possible with the generous support of Hiro Ogawa, The Henri and Tomoye Takahashi Charitable Foundation, The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, Anne and Timothy Kahn, and Rhoda and Richard Mesker.

THE PRINTER’S EYE Ukiyo-e from the Grabhorn Collection FEB 20–MAY 10, 2015 BY YUKI MORISHIMA Assistant Curator of Japanese Art The Printer’s Eye introduces 88 ukiyo-e, or “pictures of the floating world,” from the Grabhorn Collection—a superb and rarely seen assemblage of Japanese woodblock prints donated to the Asian Art Museum in 2005. Edwin Grabhorn (1889–1968) was a pioneering collector who brought a unique perspective to his search for ukiyo-e. As head of Grabhorn Press, a fine printing firm in San Francisco, he was interested in the technical aspects of printmaking. The Printer’s Eye—an exhibition presented concurrently with Seduction: Japan’s Floating World—offers a chance to reflect on Grabhorn’s taste and discernment, while appreciating outstanding examples of the art form. Ukiyo-e refers to a variety of images yo), originally a Buddhist concept used to describe the impermanence of the human world. During Japan’s Edo period (1615– 1868) the term ukiyo became secular, and ukiyo-e celebrated the myriad entertainments and activities available to urban Morokoshi of the Echizenya, approx. 1765–1792, by Ippitsusai Buncho (Japanese, active approx. 1765–1792). Ink and colors on paper. Courtesy of Asian Art Museum, Gift of the Grabhorn Ukiyo-e Collection, 2005.100.47. Image © Asian Art Museum.

SPRING 2015 /// 13

associated with the “floating world” (uki-

THE PRINTER’S EYE

Ukiyo-e from the Grabhorn Collection

residents. The Printer’s Eye, organized into three sections, explores advances in Japanese printmaking and the technical proficiency of artists in Edo (present-day Tokyo), while unpacking their often coded subject matter. The first section—honoring Grabhorn’s sensitivity to carving and coloring effects—traces the development of printmaking in Japan from its inception in monochromatic prints and hand-colored ukiyo-e, culminating in the complex multi-colored designs often termed “brocade pictures” (nishiki-e). To demonstrate this progression, the exhibition includes rare, early works by Kaigetsudo Dohan and Okumura Masanobu, as well as exquisite full-color prints by Suzuki Harunobu, Kitagawa Utamaro and others. An original carved woodblock, used during the heyday of Edo-period printmaking.

Right: Night Rain, 1776–1781, by Isoda Koryûsai (Japanese, active approx. 1764–1788). Ink and colors on paper. Courtesy of Asian Art Museum, Gift of the Grabhorn Ukiyo-e Collection, 2005.100.40.

the height of leisure activities in Edo. The demand for inexpensive prints that would capture and promote

Images © Asian Art Museum.

14 /// ASIAN ART MUSEUM

a set of carving tools and other printing materials are included to illustrate the advanced technical means

Left: Hunting for fireflies (detail), 1767–1768, by Suzuki Harunobu (Japanese, 1724–1770). Ink and colors on paper. Courtesy of Asian Art Museum, Gift of the Grabhorn Ukiyo-e Collection, 2005.100.29.

The second section introduces prints portraying celebrities of the floating world, including popular courtesans, Kabuki actors, sumo wrestlers and a teahouse waitress known throughout the districts for her beauty. These figures—immediately recognizable to the majority of urban residents at the time—represented the ever-changing, trendy personalities and theater events spurred rapid developments in woodblock print techniques throughout Japan. Prints became a common mode of communication for citizens looking to keep a finger on the pulse of popular culture. The final section of the exhibition explores Edo style, and features prints inspired by literary themes and

contemporary Edo fashion. Highlights include Masanobu’s print Genji Ukifune—a humorous rendering of an episode from the classic novel The Tale of Genji—in which the artist has replaced a court lady with a prostitute. A print by Harunobu reinterprets the play Wind in the Pines (Matsukaze), presenting two sisters in chic contemporary clothes and stylish hairstyles. These artists were particular about the visual cues in their prints. What their subjects wore, how their hair was styled and the items included in a scene communicated intriguing subtext to urban residents, for whom these details were familiar and meaningful. The Printer’s Eye unlocks the secrets of these beautiful and complex images, revealing the wit and charm appreciated by Edo-period viewers. Unlike the artwork in Seduction (see page 6), which focuses on paintings created for the upper class, the woodblock prints in The Printer’s Eye were rapidly mass-produced. An artist would produce a one-of-a-kind design that would be carved and printed en masse by someone else. Although considered priceless today, the value of a print during the Edo period was equivalent to a bowl of noodles. Some of the woodblock prints on view in The Printer’s Eye comprise the only remaining evidence of certain designs—a reminder of the thousands that have been lost to time. The 88 prints featured in The Printer’s Eye will be presented in two stages in Lee Gallery, on the first floor. The exhibition starts with 56 prints. On March 30, 32 of the works will be replaced with a fresh selection of prints. Visitors are encouraged to visit twice to view all 88 works. We are grateful to the family of Edwin Grabhorn’s widow, Irma Grabhorn, for donating the works in this exhibition. n Right: The actor Ichikawa Danzo IV in a Shibaraku role, by Katsukawa Shunsho (Japanese, 1726– 1792). Ink and colors on paper. Courtesy of Asian Art Museum, Gift of the Grabhorn Ukiyo-e Collection, 2005.100.49. Image © Asian Art Museum. The Printer’s Eye: Ukiyo-e from the Grabhorn Collection was organized by the Asian Art Museum. Presentation is made possible with the generous support of The Bernard Osher Foundation and The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations.

The Printer’s Eye

Ukiyo-e from the Grabhorn Collection

Seduction japan’s floating world

Two exhibitions, two full-color catalogues. The Printer’s Eye and Seduction with informative essays from Asian Art Museum curators and other renowned scholars of Japanese art. Unlock the hidden secrets in these exquisite images. Learn about the complicated history of Japan’s printmaking industry and its intimate ties with Edo’s pleasure districts. As an introduction to the exhibitions or a means of exploring them further, the john c. weber collection

these complementary catalogues are a must-have for art lovers.

Pick up your copies at the museum store or online at store.asianart.org.

SPRING 2015 /// 15

catalogues delve deeper into the floating world of Edo-period Japan

EDUCATION & PUBLIC PROGRAMS

WHATEVER IT TAKES

MUSICIAN AND FILMMAKER TATSU AOKI ON GROWING UP WITH GEISHA

There’s no simple way to describe Tatsu Aoki. He’s a composer, multi-instrumentalist, educator and filmmaker working in a variety of genres and traditions. An interdisciplinary practice is common enough among contemporary artists—and it makes particular sense for Aoki, given his early interest in the genre-expanding experimental music and films of the United States and Japan in the 1960s—but to better understand Aoki’s unique approach, consider the women who raised him. In 1957, Aoki was born into the Toyoakimoto clan, a family of artists in Tokyo. For decades, the Toyoakimotos operated several okiya, houses that oversaw the training and booking of geisha in downtown Tokyo. Aoki’s maternal grandmother, Aki Aoki, had been managing the business since the 1920s. Tatsu Aoki grew up in these geisha houses, in the Yotsuya, Fukagawa and Shinbashi districts. One house was run by his mother, Takako Aoki; another by his grandmother. Others were managed by “aunties” or “grannies”—women who, though they were not of blood relation, were considered part of Tatsu Aoki’s extended family. “It’s like a mob movie,” said Aoki. “Everybody was ‘uncle’ or ‘aunt.’ They may not be blood related, but they have a long historical association with the family. Depending on how life was going in one house, I would be sent to visit another grandmother or auntie. It was far from an ordinary family. So the question of why we are who we are, or how we become who we are, became very important to me. “When I began to teach Asian American studies, the idea of dislocation or displacement really resonated with me. As a boy, I always wondered, ‘Which of these homes

16 /// ASIAN ART MUSEUM

is really my home? Do I belong here?’ I was basically a street kid, with a very different

The artist as a very young boy. Opposite page: the artist today. Images courtesy of Tatsu Aoki.

EDUCATION & PUBLIC PROGRAMS

sense of the world, especially sexuality and sensuality, than most. I related more to people who grew up in the gangland or the cabaret business. An ordinary family of ordinary people, that was unimaginable to me.” Aoki began his performance career at a very young age, stepping in as needed to dance and perform music with his family’s geisha crew. “I performed the most around New Year’s,” said Aoki. “We would dance and sing

MAR 19

A Child Like Me: Laura Allen in Conversation with Tatsu Aoki 7–8:30 PM; Samsung Hall Free with museum admission

and play and do routines for the customers. And this continued until I was a teenager.” As early as age 12, Aoki became interested in the avant-garde artists of the 1960s. Filmmakers like Stan Brakhage—whose work Aoki hadn’t seen but had read about—and Hiroshi Teshigahara, as well as Chicago musicians like Sun Ra and Fred Anderson, spoke directly to Aoki’s developing rebellious streak. “By the time I was a teenager,” said Aoki, “my grandmother had passed away and my father was gone. I was taking care of the rest of my family—basically a bunch of nasty ‘grandmothers’ and business associates and attractive young geisha ladies who taught me to dance and perform geisha music, mainly because I was looking for an excuse to spend time with them. But it’s not a life I would recommend. I finally decided I would come to America to see the experimental movies I was reading about and hear the music I loved. I was 18 and it felt like everything was here. I just wanted to leave.” In 1977, Aoki relocated to the U.S. to study filmmaking at the School of the Art Institute of Chicago, where he is now an adjunct professor teaching film production and history

APR 9

Shadow to Shadow: An Interdisciplinary Performance 7–9 PM; Samsung Hall Free with museum admission

APR 11 Gen: Legacies in Transformation

1–3 PM; Samsung Hall Free with museum admission

courses. He has since worked with many of his idols, including Fred Anderson and multi-instrumentalist Roscoe Mitchell. “I never dreamt I would play with these people,” said Aoki, “but I did. And I was taught experimental film by Stan Brakhage at the Art Institute, so college was a pretty interesting time for me.” On March 19, Aoki will appear at the Asian Art Museum with Laura Allen, our curator of Japanese art, for A Child Like Me: A Conversation with Tatsu Aoki, an in-depth discussion of his experiences growing up among geisha and the impact it has had on his adult life. “I’m hoping to use this conversation to go deep and break some of the stereotypes about geisha life,” said Aoki. On April 9 and 11, Aoki will return to the museum to perform with GenRyu Arts, a culture through Taiko drumming and other traditional and contemporary music and dance forms. GenRyu Arts and Tatsu Aoki will present two new multidisciplinary collaborations, blending Taiko, dance, music and film. “Thinking about the work I do today,” said Aoki, “I can really see the influence of how I grew up. I do whatever it takes to represent myself. I multitask and perform on several platforms. It’s just like in a geisha house, where you have to talk, sing, dance, play—you have to entertain. So now I make movies, I play music, I talk, teach, dance, and this, all together, is my art.” n Major support for these programs is provided by The Henri and Tomoye Takahashi Charitable Foundation.

SPRING 2015 /// 17

local nonprofit arts organization working to promote Japanese and Japanese American

MEMBERSHIP

MEMBERS, MARK YOUR CALENDARS

UPCOMING MEMBER AND JADE CIRCLE EVENTS

FEB 19

Seduction: Japan’s Floating World | The John C. Weber Collection: Preview Day

Seduction: Japan’s Floating World | The John C. Weber Collection: Opening Brunch Reception

10 AM–5 PM Open to all members

Questions?

Members can beat the crowds and preview Seduction a day before it opens to the public.

Contact the Membership Department at 415.581.3740

FEB 19 Seduction: Japan’s Floating World | The John C. Weber Collection: Opening Reception 5:30–7 PM Members (Premium), Friends and Patrons

18 /// ASIAN ART MUSEUM

Toast the opening of Seduction at an intimate pre-party, then stick around for the public opening party from 7–11 PM. RSVP to 415.581.3740 or members@asianart.org.

MAR 6 & MAR 7 Member Appreciation Days 10 AM–5 PM Open to all members Visit the museum store for a double discount and receive 20% off all purchases.

APR 15

APR 22

Curator’s Choice Lecture and Reception: Inscribing Duke Zhou’s War

Director’s Jade Circle Dinner

6:30–8:30 PM Friends and Patrons Discover a magnificent ritual food vessel (fangding) from our collection with the museum’s new curator of Chinese art, Tianlong Jiao. Learn about recent archaeological discoveries related to this vessel, including Jiao’s own experience with excavations. RSVP to 415.581.3740 or members@asianart.org.

6:30–9 PM Jade Circle members at the $10,000 level and above Enjoy an exclusive reception and gallery viewing of our spring show Woven Luxuries (see page 21), followed by a dinner and discussion with director Jay Xu; deputy director, Art and Programs, Pedro Moura Carvalho; and associate curator of South Asian and Islamic art, Qamar Adamjee. RSVP to 415.581.3794 or jadecircle@asianart.org.

10:30 AM–12:30 PM Jade Circle members and above Enjoy a celebratory brunch while viewing Seduction’s prints and paintings of the “floating world.” RSVP to 415.581.3794 or jadecircle@asianart.org.

MAR 7 Morning Viewing Hours 9–11 AM Open to all members Explore the galleries during special weekend hours for members. Bagels and coffee are on us.

Jade Circle is the museum’s premier group of donors contributing annually to support our ongoing work. Visit www.asianart.org/ jadecircle or call the Jade Circle concierge line at 415.581.3794 for details on upgrading today.

UPCOMING

June 5â&#x20AC;&#x201C;Aug 16, 2015

Visit www.asianart.org for details. 28 Chinese is organized by the Rubell Family Collection, Miami. Presentation at the Asian Art Museum is made possible with the generous support of Gorretti and Lawrence Lui, Silicon Valley Bank, The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, and Lucy Sun and Warren Felson. The museum gratefully acknowledges Exhibition Board Champion Lucy Sun. Image: Unnamed Room No. 2, 2006, by Chen Wei (Chinese, b. 1969). Archival inkjet print. Courtsey of the Rubell Family Collection.

SPRING 2015 /// 19

28 CHINESE

SOCIETY FOR ASIAN ART

SOCIETY FOR ASIAN ART TRAVEL SERIES

The Society for Asian Art is an independent organization that helps support the Asian Art Museum through public programming and special events. Their travel program offers trips to world-renowned museums and private collections, allowing Society members to experience some of Asia’s most fascinating art and architecture firsthand, with leading scholars as their guides. Last October, members immersed themselves in Korea’s rich history—from royal palaces, museums and treasuries of traditional art to Seoul’s sizzling contemporary gallery scene—on a trip with Harvard scholar Robert Mowry and Asian Art Museum associate curator of Korean art Hyonjeong Kim Han. Then, in November, former museum director Emily Sano led members on a five-day, behind-the-scenes look at public and private collections in Dallas and Fort Worth.

2015 ADVENTURES INCLUDE:

• In March, journey to Dubai, Abu Dhabi and Oman to visit archaeological and other historical sites, as well as famed collections like the Museum of Islamic Art in Doha, Qatar.

• In August, join Duke University’s Chinese Art specialist Stan Abe on a trip to Stock-

Tour group with scholar Robert Mowry (second from left, back row), in front of Bulguksa Temple (a UNESCO World Heritage Site), near Gyeongju, Korea, October 2014.

holm, Zurich, Cologne and Berlin. Abe will share an insider’s view of Northern Europe’s acclaimed collections of Asian antiquities.

• In October, SAA members will tour the Boston area with trips to the renovated Harvard Art Museums, as well as other famed Asian collections in New England.

A visitor examines a 3,000 year old bronze vessel in the shape of a rhinoceros—one of the museum’s most iconic masterpieces.

So clear your calendars, renew your passports and visit www.societyforasianart.org/ programs/tripstravel for more details, and for information on Society for Asian Art memberships. Space is limited, and these trips often fill up quickly, so plan your next informative getaway today.

20 /// ASIAN ART MUSEUM

Up Close and Personal with the Asian Art Museum’s Treasures For the first time, the Arts of Asia lecture series (January 23–May 1, 2015), presented by the Society for Asian Art, will focus on the Asian Art Museum’s masterpieces and other iconic artworks. Through 15 talks, curators and other art experts will introduce you to the museum’s treasures, explaining just what makes them worth returning to for careful study. Presenters include current and former Asian Art Museum scholars: Dany Chan, Natasha Reichle, Jay Xu, Forrest McGill, Hyonjeong Kim Han, Kumja Paik Kim, Yuki Morishima, Qamar Adamjee, Michael Knight and Jeff Durham. For more information visit www.societyforasianart.org.

IN THE GALLERIES

WOVEN LUXURIES

INDIAN, PERSIAN, AND TURKISH VELVETS FROM THE INDICTOR COLLECTION BY QAMAR ADAMJEE Associate Curator of South Asian and Islamic Art MARCH 13 – NOVEMBER 1, 2015

In November 1616, King James I sent the Mughal Emperor Jahangir a gift of an English carriage lined with crimson “China” velvet. When Jahangir noticed the details of the carriage, he expressed disappointment at the English king’s choice of lining textile, wondering why James I would bother with velvet from China, when James I had better velvets available near home. Jahangir subsequently ordered the Chinese lining to be removed and replaced with Persian velvet, which accorded more with imperial Mughal taste. Diplomatic gifts like this were often highly coded messages, communicating the sophistication and status of the giver as well as the recipient. This exchange between James I and Jahangir speaks to the preeminence of velvets as luxury textiles—especially from the 15th century onwards—while demonstrating the complicated nature of international diplomacy. Woven Luxuries: Indian, Persian, and Turkish Velvets from the Indictor Collection (on view March 13–November 1, 2015 in the Tateuchi Thematic Gallery on the second floor) presents 11 textiles from the late 16th–18th centuries. It’s a rare opportunity to about their broader political, cultural and economic significance. The richness and scarcity of velvets (compared with other types of silk and cotton textiles) made them highly coveted in Europe as well as Safavid Iran, Mughal India and Ottoman Turkey—the three “superpowers” of the early modern Islamic world. However, velvets formed only a small part of the global textiles trade that was critical to the economic and political power held by these three dynasties. The Safavids relied on the export of raw silk and silk Fig. 1: Carpet border fragment (detail), 17th century, Probably India; Mughal period. Velvet; silk. Courtsey of the Indictor Collection.

SPRING 2015 /// 21

see firsthand the exquisite artistry of these textiles and learn more

IN THE GALLERIES

textiles (including velvets), while the Ottomans earned revenue from domestic silk textiles and collected taxes on Persian silks routed to European markets. Indiaâ&#x20AC;&#x2122;s wealth, deriving largely from a lucrative cotton textile trade, enabled the Mughals to be significant consumers of Persian and Turkish luxury silks, and also spurred local production (fig. 1). Persian and Turkish velvets circulated abroad (figs. 2 and 3), where they were

22 /// ASIAN ART MUSEUM

Fig. 2: Textile (detail), 16th century. Turkey; Ottoman period. Voided velvet; silk and silver thread. Courtsey of the Indictor Collection.

widely admired, and impacted design and fashion. Colored and brocaded velvets for court use were made in India, Iran and Turkey, and were also imported from Europe.

IN THE GALLERIES

Technical complexity and expensive materials—high-quality silk and gold- and silver-wrapped threads—as well as the large quantities required of these materials, the special looms, and the resulting sensuousness of the textiles made velvets very special. Velvet fabric is characterized by the short dense pile that gives it a plush feel. Skilled weavers combined the creative potential of three technical elements—cut pile (the soft areas), uncut pile (looped surfaces) and “voided” areas (flat backgrounds)— to create a play of textures, depth and light reflection. Add to this the sheen of metallic threads, bright colors from silk yarns, and intricate patterns to get a highly sumptuous, expensive fabric (that was also difficult to maintain before modern dry-cleaning methods) (fig. 4). Contrary to what one might expect, the primary use of velvets in Mughal, Safavid and Ottoman contexts was not for clothing, although velvets indeed served as courtly ceremonial attire and robes of honor in diplomatic gift-exchange protocols. Velvets were widely employed for furnishings—as tents, carpets, coverings, bolsters, hangings, bags and envelopes. In Mughal India, velvets also dressed royal horses and elephants. These applications not only made velvet textiles markers of luxury and refined taste, but also fulfilled political goals by creating an impression of power, authority and success. The velvets that survive from the 16th through the 18th centuries offer only a glimpse of their original splendor, having suffered the tests of time due to delicate materials, extensive use, climatic effects and insect activity. Woven Luxuries, however, showcases carefully preserved textiles from a private collection that retain much of their original richness. The featured velvets (6 Mughal, 3 Safavid, and 1 Ottoman)

Fig. 3: Carpet. Late 16th–early 17th century Iran; Safavid period of Shah Abbas I. Voided velvet; silk and gold thread. Courtsey of the Indictor Collection.

span three distinct cultural areas, offering stunning examples of the varied tastes and cultural exchange woven into these celebrated textiles. n

Woven Luxuries: Indian, Persian, and Turkish Velvets from the Indictor Collection was organized by the Asian Art Museum. Images courtesy of the Indictor Collection. Photographs by Sheldan Collins.

SPRING 2015 /// 23

Fig. 4: Textile fabric, 16th century, Iran; Safavid period. Velvet; silk, gold, and silver thread. Courtsey of the Indictor Collection.

BEHIND THE SCENES

IT HAS ALWAYS BEEN ABOUT RESPECT

PROFILE OF KAZ TSURUTA

You’re familiar with Kaz Tsuruta’s work, although you might not know it. Tsuruta has made a lifelong career of staying out of the public eye—while showing us where to look. Tsuruta, who retired from the museum in December, was our staff photographer for 26 years. During his time here, he shaped the world’s impression of the Asian Art Museum and its art, while adapting to significant cultural revolutions like the advent of digital photography. His work has appeared in the New York Times, Los Angeles Times, San Francisco Chronicle and numerous exhibition catalogues. His photos also grace the halls of our fourth-floor offices. He’s photographed dignitaries from all over the world, including the Dalai Lama, the emperor of Japan, Willie Mays and Joe DiMaggio. But these notable achievements are just a small percentage of all he’s accomplished. The photographer’s role is critical in a museum’s day-to-day operations, and Tsuruta’s work assisted with everything from inventory control to curatorial research. “Good, thorough photography is essential,” said Forrest McGill, senior curator of South and Southeast Asian art. “Every aspect of an object—the back, the front, the sides, any inscription—has to be detailed and documented in order for us to do what we do.” Tsuruta’s photos bring visitors and museum staff closer to the artwork. He has helped us see what we otherwise could not. His relationship with the collection is unique and personal. “Shooting on a regular basis, Kaz has handled more of our art than any other person in the museum,” said Sharon Steckline, the museum’s head of registration and Kaz’s coworker for more than 20 years. “The object dictates how it should be photographed,” said Tsuruta. “I hear that within myself. I respond by figuring out how to do what it wants. It’s a conversation. Angle, lighting, spatial composition—I use these things to do the object justice.”

24 /// ASIAN ART MUSEUM

Most days, Tsuruta worked in a large studio in the basement of the museum, either

BEHIND THE SCENES

shooting or coming up with new ways to address a specific challenge presented by a particular object. “Challenges are inevitable when you’re dealing with objects that vary so wildly in size, shape, texture and delicacy,” said McGill. “An example would be the Burmese couch in the Emerald Cities exhibition. It’s decorated with little mirrors but other areas are cut out. Kaz had to light it in a way that revealed the cutouts and the mirror pieces without capturing the room or the photographer. He did this with silver objects too, where reflections are always a challenge. And three-dimensional objects like this need to occupy space in the photos. They need to have air around them. Kaz was able to capture that, time and again. These are the kinds of things people notice, although maybe not in a way they can articulate. But it’s the difference between really good and wonderful.” Tsuruta also traveled for the museum, shooting artwork and architecture around the world for research or in preparation for an exhibition. “In 1993, we went to Mongolia for Mongolia: The Legacy of Chinggis Khan,” said Tsuruta. “Before this, I had no idea what Mongolia was like. The schedule was very tight, granting limited free time, but I managed one day to visit the local flea market. I set up a backdrop and offered Polaroid prints to people willing to pose for a photo. I wanted to photograph normal people, how they look going about their everyday lives. People were excited because, at the time, there were no photo developers in Mongolia. You had to send photos away to Beijing, which was expensive and took a long time.” We’re proud to celebrate Kaz Tsuruta with an exhibition of his photography in Vinson Gallery (February 25–March 22, 2015). On Location: Kaz Tsuruta, Museum Photographer will range from Tsuruta’s exquisite museum work to more personal pieces, such as his Mongolia portraits. “My experiences at the museum have been indescribable,” said Tsuruta. “I was born in Japan. When I began working here I was photographing objects I had only seen in textbooks. I had to focus on the beauty of the texture, line and shape, but the historical significance made it very special to me. I felt as if I was seeing my whole existence as a Japanese person in these objects. Photographing artwork from all over the world has allowed me to see the genius and integrity of the artists and cultures that created them.” In his retirement from the museum, Tsuruta is looking forward to focusing on “Whether I am photographing objects or people, it has always been about respect—feeling a sense of respect and affection for the subject, and photographing from there. This will never change. It’s the guiding principle behind everything I do.” n

Left (top): Kaz Tsuruta in Mongolia, 1993. Left (bottom): Couch, approx. 1850–1910. Burma. Lacquered and gilded wood with glass rods and mirrored glass. Courtesy of Asian Art Museum, Gift from Doris Duke Charitable Foundation’s Southeast Asian Art Collection, 2006.27.51. Right (top): Willie Mays and Joe DiMaggio at the Asian Art Museum in Golden Gate Park. Right (bottom): Portrait from the Black Market in Mongolia, 1993. All images © Asian Art Museum.

KAZ TSURUTA’S FAVORITES

“Working with the curators in preparing photographs for the catalogues over the years has been very personally rewarding. In particular, I enjoyed working with Kumja Paik Kim on The Art of Korea, Terese Bartholomew on Mongolia: The Legacy of Chinggis Khan, and Forrest McGill on The Kingdom of Siam.”

A selection of great catalogues from past exhibitions is available at store.asianart.org or in the museum store.

SPRING 2015 /// 25

his many personal photography projects.

EDUCATION & PUBLIC PROGRAMS

THE YEAR OF THE RAM

Lunar New Year is one of the most important holidays of the year in many parts of Asia. It’s a much-anticipated period of time-honored rituals and festivities, honoring ancestors and preparing for the year to come. For more than 10 years the Asian Art Museum has partnered with the Chinese American International School (CAIS) in hosting a Lunar New Year Celebration. One of the museum’s most auspicious annual events, it’s a great opportunity for family, friends and community to gather and welcome the New Year with lion dances, music and art activities for all ages. This year’s event will be held on February 8, and we’re kicking off the Year of the Ram with one of our biggest celebrations yet. In anticipation of our 50-year anniversary in 2016, we’ve expanded our programming to include a wealth of new activities, performances and interactive materials—all free with admission. The fun starts at 10:30 AM, when an expert storyteller will lead visitors through the

26 /// ASIAN ART MUSEUM

galleries with engaging stories of the Lunar New Year and the Chinese zodiac, designed

EDUCATION & PUBLIC PROGRAMS

specifically for families with kids ages 3–6. After that, family art activities start at 11 AM, and a CAIS student-led lion dance (beginning at noon) will be performed to scare away evil spirits and secure a prosperous new year. New to the festivities, students from West Portal Elementary School—ranging from kindergarten to 5th grade—will present a performance and workshop in the galleries, featuring ribbon dancers and stilt-walkers (beginning at 2:30 PM). Speaking of the zodiac, for those little rams looking to know more about their astrological destiny, children’s book author Oliver Chin will give a reading of his latest book at 3 PM. The Year of the Sheep: Tales from the Chinese Zodiac is a kid-friendly exploration of the unique characteristics of this year’s zodiac animal. Whether you’re looking for a dynamic celebration or some private time in the galleries with one of our Lunar New Year–themed gallery guides (appropriate for all ages), we hope you’ll join us on February 8 to say goodbye to the Year of the Horse and hello to the Year of the Ram. n

RAM FACTS • Rams tend to be artistic, calm, generous and compassionate—some of our very favorite qualities here at the museum. Rams can also be moody or shy (which we’ve learned is sometimes the case with artistic types).

are green, red and purple.

FEB 8

LUNAR NEW YEAR CELEBRATION Sunday, Feb 8, 11 AM–4 PM Visit www.asianart.org/lunarnewyear for details.

SPRING 2015 /// 27

• If you’re a ram, your lucky numbers are three, four and nine, and you should avoid six, seven and eight (easy enough to remember). Your lucky flowers are the carnation, primrose and alice flower, and your lucky colors

MEMBERSHIP

A LETTER FROM KATE JOHNSON

DIRECTOR OF MEMBERSHIP

Dear Members, We’ve got some exciting updates in the works. After reviewing your responses from our recent member survey, we discovered a host of new benefits that could improve your membership. Many of you were interested in family offerings and enhanced educational opportunities. We heard you loud and clear—so we’ve introduced a bunch of new perks (detailed below) to start the year off right. We’ve also merged two upper-level member groups to create our new Friend level, featuring events that give you direct access to our curators. In the fall, we added Rhino Club to present more opportunities for families (see page 29). The prices of our standard membership levels are increasing to reflect the rising costs of running the museum and fulfilling your benefits. We’ve added a lot to your member experience over the years, and we don’t want to stop now. It will always be our goal to stay creative and give you the best experience possible. To thank you for your past support, current members can renew at the previous rates through December 31, 2015. The mailed renewal notice you receive this year will not reflect the price increase.

28 /// ASIAN ART MUSEUM

Interested in becoming a member or upgrading your membership? Contact the membership department at 415.581.3740 or members@asianart.org.

So what does this mean for you? More perks, extra opportunities and greater access! Warm wishes, Kate Johnson, Director of Membership PS: If you have any questions or concerns about the changes to your membership, please contact us at 415.581.3740 or members@asianart.org. We’d love to hear from you.

NEW PERKS: •

•

RECIPROCAL ADMISSION We’ve rejoined the North American Reciprocal Museum Association. Members (Premium), Friends and Patrons can now visit an additional 800 partnering museums for free. See the full list at www.asianart.org/reciprocal. MORE PARTIES Public opening parties are now free for all members (member tickets were previously $20). Celebrate the opening of Seduction: Japan’s Floating World | The John C. Weber Collection on February 19 from 7–11 PM. MEMBER FAVORITE: TOUR, TALK & TEAS These monthly tours began last year through a pilot program, and we’ve officially added them as a benefit for all members (see page 29).

New membership levels and prices: • Member $89 • Member Plus $119 • Member Premium $179 • Friend $500 • Patron $1,000 Significant discounts are still available for seniors, teachers, students and out-ofregion members. Visit www.asianart.org/membership for more details.

MEMBERSHIP

WHAT’S WITH ALL THE RHINOS?

We’re still stomping our hooves in excitement over Rhino Club—our

giver or grandparent and access to our new kid-themed Tour,

new membership for kids, launched last October. Inspired by the

Talk & Treats events. For only $50, you can add Rhino Club to

beloved Chinese bronze rhinoceros from our collection, Rhino Club

your current membership level and enjoy new ways to discover,

combines our enthusiasm for kids, education, art and … rhinos!

explore and create with the little ones in your life. Join now and

Rhino Club members receive fun perks, including a special Explorer’s Backpack and Kids Passport, a guest pass for a care-

take part in a year of unlimited family fun. n Learn more at www.asianart.org/rhinoclub

TOUR, TALK & TEA After a yearlong pilot run, our monthly Tour, Talk & Teas have evolved into one of your favorite member events. Due to popular demand, we are thrilled to announce that we are making Tour, Talk & Tea an official members’ benefit. A passionate docent well versed in the subject matter will lead each uniquely themed, one-hour tour. These tours, which SPRING 2015 /// 29

are not available to the public, take members behind the scenes, providing insider anecdotes and insights while highlighting collection masterpieces and digging deeper into special exhibitions. To top off each tour, members convene in the Fisher Room for a lively discussion over tea and treats. Check out upcoming tour dates and reserve your place now by contacting 415.581.3740 or emailing members@asianart.org. Please note that space is limited and registration is required. To accommodate as many members as possible, priority goes to first-time Tour, Talk & Tea attendees. n

Upcoming Saturdays 11 AM–1 PM

FEB 21: MAR 28: APR 18: MAY 16:

Discovering the Goddess Luxurious Textiles The Masterful Brush Classic Korean Art

JADE CIRCLE TRAVEL PROGRAM

HIT THE ROAD WITH THE EXPERTS

TRAVEL AND EXPLORE ASIAN ART WITH LEADERS IN THE FIELD

The Jefferson Memorial at sunset.

EXPERIENCE THE RICH CULTURAL HISTORY OF WASHINGTON, D.C. AND RICHMOND, VA FOR FOUR NIGHTS AND FIVE EVENTFUL DAYS, MAY 7–MAY 11. Join Jeff Durham, assistant curator of Himalayan art, and fellow Jade Circle members for art excursions at the Arthur M. Sackler and Freer Gallery of Art, the Smithsonian American Art Museum and the Virginia Museum of Fine Arts. As a special highlight of the trip, you’ll take an in-depth look at the Smithsonian’s new exhibition, The Artistic Journey of Yasuo Kuniyoshi. You’ll also dine at renowned farm-totable eateries, receive tickets to cultural performances and enjoy exclusive peeks into private collections and artist studios. The Jade Circle travel program is open to members at the Jade Circle level and above. For more details, please contact our manager of individual giving, Mariah Bozeman, at 415.581.3792 or mbozeman@asianart.org. n

30 /// ASIAN ART MUSEUM

Interested in traveling with us? Join our Jade Circle today. Benefits include: •

Access to the Peterson Room and Garden, including personalized assistance for reservations, group visits and private tours

•

Six admission passes for unaccompanied guests

•

One complimentary docent tour or storytelling for a group of 10

•

Invitations to select exhibition previews and openings

•

Invitations to exclusive tours

•

An invitation to the Jade Circle Annual Meeting Reception

•

Priority seating for selected performances and lectures

•

Recognition on the museum’s Annual Donor Wall and in the Donor Report

And remember, membership directly supports the museum’s exhibitions and education programs. Without you, we couldn’t do what we do. To join or upgrade, visit www.asianart.org/jadecircle or call the Jade Circle concierge line at 415.581.3794.

Roads of Arabia Jade Circle opening reception

Roads of Arabia opening reception for members

SCENE AT THE ASIAN Members kicked off the opening of Roads of Arabia with a week full of celebratory events. n

Roads of Arabia opening reception for members

31 Jay Xu receiving a gift from Saudi Prince Sultan at the Roads of Arabia opening dinner

Saudi Prince Sultan addressing guests at the Roads of Arabia opening dinner

RETAIL SELECTIONS

THE ART OF TRADITION To complement our two spring exhibitions (see page 6), the museum store will offer unique tsumami kanzashi (traditional folded fabric hair ornaments) handcrafted by artisan Kuniko Kanawa. The history of tsumami kanzashi dates back almost 3,000 years to Japan’s Jomon era (10,500–300 BCE), when kanzashi (ornamental hairpins) were traditionally worn as charms against evil spirits. Tsumami (pinched) kanzashi—the style worn today—was popularized during Japan’s Edo period (1615–1868) as a central element in the elaborate

costumes worn by maiko (geisha in training). This style incorporated an arrangement of hand-folded silk flowers, a different flower for each month to accompany the passing seasons. As industrialization began to erode Japan’s traditional craft industry in the 1970s, the government extended a longstanding law for the protection of cultural properties with an amendment that included the traditional techniques of skilled artisans. This included the art of tsumami kanzashi.

Today, there are approximately five nationally recognized Edo tsumami kanzashi artisans living in Japan. Kanawa became a professional Edo tsumami kanzashi artisan in 2007, after 3

intensive training with two of these nationally designated masters, Kazuyo and Minoru Hozumi. “As a successor of traditional Japanese culture,” says Kanawa, “I strive to introduce our

32 /// ASIAN ART MUSEUM

‘disappearing culture’ to the world and pass it on to the next generation.” n

5 4

1. 2. 3. 4. 5.

Miniature hankusu (half decoration ball) tsumami tama kanzashi alligator clip with dangling pearly beads, $60 (member price $54). Traditional yukata suiren (water lily) tsumami kanzashi alligator clip, $45 (member price $40.50). Vintage kimono hand-dyed double-layered sakura (cherry blossom) tsumami kanzashi brooch, $60 (member price $54). Very big shou-chiku-bai (pine-bamboo-plum) new year celebration tsumami kanzashi, $300 (member price $270). Revived spirit-phoenix tsumami kanzashi brooch, $195 (member price $175.50).

CALENDAR

FEATURED EVENTS Interested in becoming a member?

FEB

1& 15

Lunar New Year Celebration: The Year of the Ram 10:30 AM–4 PM Free with museum admission. Visit www.asianart.org/ lunarnewyear for more information, including a schedule of events.

FEB

Members enjoy free, unlimited admission. See the members-only calendar on page 18. For more information, call 415.581.3740 or email members@asianart.org.

FEB

Seduction: Japan’s Floating World | The John C. Weber Collection

FEB

The Printer’s Eye: Ukiyo-e from the Grabhorn Collection

Family Fun Day 10:30 AM–2:30 PM (10:30-11 AM stART Tour for kids age 3–6; 11 AM–2 PM art making and self-guided activities) Free with museum admission.

Open to the public.

FEB

SFUSD Arts Festival (Through March 8) Free public performances and exhibits.

MAR

First Thursday: SFUSD Arts Festival Community Celebration 5–8 PM Free for families attending with a student enrolled in a San Francisco school.

26 5

MAR

Seduction: Japan’s Floating World Opening Night Party 7–11 PM Visit www.asianart.org for more information. Opera at the Asian 7–9 PM $20 members; $30 general public (includes museum admission) Co-sponsored by the Merola Opera Program (www.merolaopera.info).

AsiaAlive: Noh-Kyogen Now Noon–4 PM Free with museum admission.

MAR

A Child Like Me: Laura Allen in Conversation with Tatsu Aoki 7–8:30 PM Free with museum admission. For more about Tatsu Aoki, see pages 16–17.

MAR

APR

Family Fun Day 10:30 AM–2:30 PM (10:30–11 AM stART Tour for kids age 3–6; 11 AM–2 PM art making and self-guided activities). Free with museum admission.

APR

Performance: Shadow to Shadow 7–9 PM Free with museum admission.

APR

In-Gallery Talk with Laura Allen, curator of Japanese art 3:30–4:15 PM Free with museum admission.

5& 19 9

ONGOING PROGRAMS Docent Tours: Seduction and The Printer’s Eye Daily, 10:30 AM and 2 PM Free with museum admission.

Artists Drawing Club with Erik Scollon 6–9 PM Free with museum admission.

Kids’ Tours Saturdays and Sundays, 2:30 PM Free with museum admission (kids 12 and younger always get in free). Suggested for families with children ages 7–10.

THIS IS JUST A SNAPSHOT. WANT THE FULL PICTURE?

Stories! The Wicked, the Wily, the Wise Sundays, 1–1:45 PM Free with museum admission (kids 12 and younger always get in free). Suggested for ages 7 and up

Check out our calendar at www.asianart.org/events. You’ll find talks, art activities, tours, fun for the family. Don’t miss out.

Explorer Packs and Art Cards Pick up these free activity kits at the information desk.

JANUARY

FEBRUARY

MARCH

APRIL

MAY

Seduction: Japan’s Floating World | The John C. Weber Collection Feb 20–May 10

JUNE 28 Chinese June 5–Aug 16

The Printer’s Eye: Ukiyo-e from the Grabhorn Collection Feb 20–May 10 Tetsuya Ishida: Saving the World with a Brushstroke Through Feb 22

Woven Luxuries: Indian, Persian, and Turkish Velvets from the Indictor Collection Mar 13–Nov 1

From Two Arises Three: The Collaborative Works of Arnold Chang and Michael Cherney | Through Mar 1 Tradition on Fire: Contemporary Japanese Ceramics from the Paul and Kathy Bissinger Collection | Through Apr 5

FOR MORE INFORMATION ABOUT UPCOMING EXHIBITIONS: WWW.ASIANART.ORG

SPRING 2015 /// ASIAN ART MUSEUM

EXHIBITIONS

Non-Profit Organization U. S . Po s t a g e P A I D Asian Art Museum of San Francisco

ASIAN ART MUSEUM Chong-Moon Lee Center for Asian Art & Culture www.asianart.org 200 Larkin Street San Francisco, CA 94102 USA