SPRING 2013 The Asian Art Museum Magazine
FEATURES CHINA’S TERRACOTTA WARRIORS . . . . . . . . . . . . . . 4-13 CELEBRATING 10 YEARS IN CIVIC CENTER . . . . . . . . . 16-20 IN THIS ISSUE THE BIG PICTURE . . . . . . . . . . . . . 1 ART BITES . . . . . . . . . . . . . . . 2–3 EDUCATION . . . . . . . . . . . . . 14–15
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IN THE MOMENT . . . . . . . . . . . . 21
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DINE+SHOP . . . . . . . . . . . . . 22–23 THE CYRUS CYLINDER . . . . . . . . . 24 VESSEL FROM STATE OF QIN NOW ON VIEW . . . . . . . . . . 25–27 SCENE AT THE ASIAN . . . . . . . 28–30
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MEMBER PROFILE: MATT BISSINGER . . . . . . . . . . . 31 IN GRAND STYLE . . . . . . . . . . . . .32 THURSDAY NIGHTS . . . . . . . . . . . 33
FROM THE DIRECTOR JAY XU, PH.D.
2013 marks the Asian Art Museum’s tenth anniversary in the Civic Center, and we are celebrating the past decade’s extraordinary successes. Like many arts organizations, we’ve faced challenges in a difficult global economy, but with adversity comes greatness. Over the past eighteen months, we have reinvented ourselves by discovering fresh connections across cultures and through time. We welcome the coming decade with a bold vision—to offer cultural experiences that inspire new art, new creativity, and new thinking.
We have a lot to celebrate, and we can’t think of a better way to kick off festivities
than bringing you the Eighth Wonder of the Ancient World. China’s Terracotta Warriors: The First Emperor’s Legacy presents ten of the famed terracotta figures and more than
SPRING 2013 • VOL. III, ISSUE I The Asian Art Museum Magazine
STAFF Jay Xu, Ph.D., Director, Asian Art Museum Stacy Rackusin, Membership Manager David Owens-Hill, Manager of Creative Services Kazuhiro Tsuruta, Museum Photographer CONTRIBUTORS Liz Bachetti Amelia Bunch Caren Gutierrez Jesse Hamlin Li Hi Daniel King Michael Knight Lizzie Lincoln Forrest McGill Jamie Shaw Veronika Trufanova Jennifer Yin
100 artifacts—one of our most crowd-pleasing exhibitions yet. China’s Terracotta Warriors situates the warriors in the context of the First Emperor’s controversial reign, highlighting important themes in this pivotal era of Chinese history—startling technological innovation, modernizing social reforms, and the unification of the region’s warring states, which formed the basis of present-day China.
We are thrilled to present these iconic figures in a novel and engaging light. And
Published by the Asian Art Museum—Chong Moon-Lee Center for Asian Art and Culture 200 Larkin Street, San Francisco, CA 94102 415.581.3500 • www.asianart.org
throughout the exhibition, we will offer a series of fun, fascinating programs. The articles and
Copyright © 2013 Asian Art Museum
events in this issue of The Asian are sure to inspire you.
MUSEUM HOURS: Tues—Sun . . . . . . . . . . . . 10 AM–5 PM Thurs . . . . . . . . . . . . . . . 10 AM–9 PM Mon . . . . . . . . . . . . . . . . . . .Closed
Our tenth anniversary and epic exhibition are underway. Here’s to an incredible
decade to come. n
THE BIG PICTURE
IT’S BEEN TEN YEARS SINCE WE MOVED TO OUR NEW HOME IN SAN FRANCISCO’S CIVIC CENTER. SINCE WE ARRIVED, WE HAVE: Welcomed more than 2.3 million visitors.
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Hosted more than 200,000 students and teachers.
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Presented 56 special exhibitions.
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Published 25 books and catalogues.
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Added close to 2,000 artworks to the collection.
•
Refreshed the collection galleries with 3,000 rotations.
CELEBRATE WITH US!
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ART BITES
INTERESTING GOINGS-ON FROM INSIDE THE ASIAN ART MUSEUM, THE BAY AREA, AND AROUND THE WORLD The Asian Art Museum prides itself on bringing top-notch programming to every visitor, but we’ll be the first to tell you that interesting happenings are all around us. Sometimes these events are directly related to our awe-inspiring collections, excellent educational programs, and world renowned-exhibitions, and sometimes they aren’t; either way, we think the following collection of brief notes brings home our promise to discover fresh connections across cultures and through time, and to offer unique cultural experiences that ignite new art, new creativity, and new thinking. STAY CURRENT: We post interesting tidbits on our blog—follow along at blog.asianart.org.
JAKARTA STREET ART GOES LEGIT Street art has blossomed as a significant cultural practice in Jakarta, Indonesia. Although authorities view the colorful murals as vandalism, often white-washing artists’ works, Google Indonesia has launched an online art competition. Chrome Open Spaces encourages street artists to submit designs to the website www.openspaces.co.id. Winners of the competition will get to paint their creations on nine public buildings throughout Jakarta and Bandung. n
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Source: The Jakarta Globe. http://www.thejakartaglobe.com/lifeandtimes/google-hunts-for-indonesias-great-emerging-street-artists/553687 Image: Henry Foundation, accessed at https://www.openspaces.co.id/creations/179400?sort=winners
UC BERKELEY HISTORY OF ART DEPARTMENT RECEIVES GRANT In September, 2012, the UC Berkeley History of Art Department announced a $500,000 grant from the Andrew W. Mellon Foundation to establish an exciting new graduate program. The Curatorial Preparedness and Object-Based Study Initiative is the brainchild of Margaretta Lovell and Pat Berger, both former museum curators (Berger worked at the Asian Art Museum), and aims to prepare art history graduate students for careers in curatorial work as well as in university-level teaching. n
ART BITES
DIRECTOR OF THE NATIONAL MUSEUM OF AFGHANISTAN VISITS BAY AREA’S MUSEUMS From Nov 26 to Dec 7, the Asian Art Museum hosted Mr. Omara Masoudi, director of the National Museum of Afghanistan in Kabul. Mr. Masoudi came to the museum as a recipient of the Brayton Wilbur, Jr. Memorial Fellowship, generously provided by trustee Judy Wilbur in honor of her late husband, Brayton Wilbur, Jr., in partnership with The Asia Foundation. While in San Francisco, Mr. Masoudi met with staff from various departments—including Curatorial, Education, Conservation, Museum Services, PR/Marketing, Visitor Services, and Preparation—to learn more about American museum administration. Mr. Masoudi was particularly interested in textile conservation, curatorial roles, and security, especially in view of the myriad opportunities and challenges facing the National Museum in a period of rebuilding. He also visited several other Bay Area institutions, including San Jose State University, UC Berkeley, the de Young Museum, and the Oakland Museum of California. His lecture on Mes Aynak, an ancient Buddhist site near Kabul currently being excavated, was a well-received and informative experience for staff. Mr. Masoudi was the third Wilbur Fellow the museum hosted this year. n MUJI CREATIVE DIRECTOR LAUNCHES “BARCHITECTURE” PROJECT Does your dog need new digs? Acclaimed Japanese designer Kenya Hara, art director at Muji, has you covered. His latest project, “Architecture for dogs,” creates minimalist dwellings for cherished pets, which he hopes will bring a “new happiness” into the latest in dog decor. Architecture for Dogs was shown at the Miami Design District in Dec, 2012. Miss it there? Follow along on Twitter: @architecturefordogs.
Muji opened their first San Francisco store on
Nov 30, 2012. n Source: http://blogs.artinfo.com/objectlessons/2012/11/06/mujicreative-director-kenya-hara-leads-the-new-guard-of-barkitecture/ Image: Architecture for Dogs.
ARTFUL “MISSED CONNECTIONS” Valentine’s Day may be long gone, but museum visitors (and staff) are a romantic bunch. A long gaze, hoping to catch a stranger’s eye across a gallery, a romantically lit rendezvous near priceless treasures—museums, it turns out, are custom-made for romantic connections. Alas, some aren’t meant to be. If you loitered too long by the cafe or wandered into a maze of baroque furniture that took you far from your muse, fear not! ArtInfo.com is helpfully tracking “Art World Missed Connections.” It isn’t a bad idea to pay a long visit to your local art museum and then check the site regularly: http://blogs.artinfo.com/artintheair/ tag/missed-connections. n
1775—1825). Ink and colors on paper. Gift of the Grabhorn Ukiyo-e Collection. © Asian Art Museum, San Francisco.
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Image: Beauty watching the New Year sunrise (detail), by Eishsai Choki (Japanese, active
FAME. INFAMY. IMMORTALITY. EXPERIENCE CHINA’S TERRACOTTA WARRIORS: THE FIRST EMPEROR’S LEGACY FEB 22—MAY 27, 2013
Fame. Infamy. Immortality.
Among history’s architectural feats, some of the most staggering are monuments to immortality and the afterlife. The Egyptian pyramids, the Taj Mahal, modern-day cryogenic tombs–each is a testament to its architect’s obsession with life beyond the grave. The elaborate underground palaces and formidable terracotta army of China’s First Emperor, buried for more than 2,000 years and recognized as the Eighth Wonder of the Ancient World, are perhaps the most fascinating. China’s Terracotta Warriors: The First Emperor’s Legacy, on view at the Asian Art Museum through May 27, features ten of the iconic terracotta figures and a host of spectacular artifacts unearthed from the First Emperor’s burial complex and other early sites in Shaanxi province. The warriors are strikingly realistic and intricately constructed, and through them, the exhibition examines the emperor’s reign, legacy,
6 | ASIAN ART MUSEUM
and quest for immortality. The First Emperor’s dynasty (221–206 BCE) saw sweeping
and transportation. Innovative chariot designs also called for
social reform, territorial expansion, technological advances, and
advanced coordination of artisans and production—a remarkable
bloody military campaigns. The emperor’s rise opened a pivotal
advancement in the era.
era in Chinese history, and his legacy endures in modern-day
China. Underlying his story is an obsessive pursuit of eternal
of a uniform legal code. He abolished the centuries-old system of
rule—on earth and in the afterlife.
feudal rule by creating in its place a bureaucracy of local officials
who answered directly to the central government—and who
At age 13, he ascended to power as a king and embarked on
One of the emperor’s most significant legacies is his creation
a series of bloody military campaigns that unified rival states into
strictly imposed and enforced the new code.
a single nation, an enormous undertaking that laid the foundation
for present-day China. A stream of social and technological
a visionary—credited with heroically unifying China—but also
reforms followed the First Emperor’s sweeping territorial
criticized for his reign of oppression and violence. Historian Sima
conquests. To consolidate power over far-flung provinces, he
Qian, who wrote China’s first official history in the years shortly
ordered construction of a network of canals and roads to connect
after the First Emperor, described the emperor’s slaughter of
outlying areas. He also standardized weights, measurements, and
hundreds of scholars. Dissenters were reportedly buried alive.
currency—which was central to the flow of commerce—and a
Some justify his violence as a cost of nation building. Others hear
circular coin with hollowed square became the shape of currency
in the emperor’s story the tenor of extraordinary suffering and
in China for more than 2,000 years (until 1911).
bloodshed.
The First Emperor’s reign also sparked astonishing
architectural achievements. Laborers constructed hundreds
perhaps most intriguing is the First Emperor’s obsession with
of palaces in the capital city of Xianyang, an endeavor
holding power over people and territory even after death. Belief
requiring efficient and unprecedented systems of production
in eternal souls is central to many cultures around the world, and
The emperor’s reign has long been controversial. He was
While battlefield victories make for a remarkable narrative,
Experience China’s Terracotta Warriors it was deeply held in the emperor’s time. Artifacts from his era
unprecedented. Hundreds of thousands of workers were enlisted to
include funerary objects that accompanied the deceased into the
construct the site in a grueling, three-decade-long effort. To keep
afterlife. No other burial site yet discovered comes close to the
the construction secret, the emperor is reputed to have executed
scope and scale of the First Emperor’s burial complex.
laborers, sometimes sealing them inside the inner chambers.
The emperor constructed his underground complex to mirror
The warriors themselves reflect extraordinary technology
his opulent existence on earth. Palaces, offices, and reception halls
for the time. Each figure consists of multiple parts created from
were lavishly appointed with ceremonial vessels and gold, silver,
molds and by hand, meticulously sealed together and mounted on
and jade ornaments. The site also
platforms. Facial features were
included stables with terracotta
hand-carved, and no two are
horses,
a
zoo,
and
gardens
teeming with bronze swans, geese, and cranes. Elaborately carved rivers surrounded the central tomb chamber. According to scientific analysis and historical accounts, mercury
flowed
through
their
While battlefield victories make for a remarkable narrative, perhaps most intriguing is the First Emperor’s obsession with holding power over people and territory even after death.
channels as a substance thought
identical. Their uniforms show impressively
subtle
details
appropriate to each warrior’s rank. Archaeologists to
unearth
continue
treasures
from
the burial complex, and the emperor’s tomb, still unopened,
to prolong life. Armor, weapons, and evidence of human sacrifice
remains a mystery. The First Emperor revolutionized Chinese
were discovered. A terracotta army of thousands of warriors
culture and society: his vast empire’s thousands-strong army is
guarded the emperor’s underground world.
only one chapter of his epic story. n
The resources required to build the underground complex are
P. 8: P. 9: P. 10: P. 11: P. 12: P. 13:
Suit of armor, Qin dynasty (221–206 BCE). China. Limestone. Excavated from Pit K9801, Qin Shihuang burial complex, 1999. Shaanxi Provincial Institute of Archaeology. Crane, Qin dynasty (221–206 BCE). China. Bronze. Excavated from Pit K0007, Qin Shihuang burial complex, 2002. Qin Shihuang Terracotta Warriors and Horses Museum, Shaanxi. Sword with inlayed openwork hilt, Spring and Autumn period (770–476 BCE). China. Iron and gold with inlaid turquoise. Excavated from Tomb 2 at Yimen in Baoji, Shaanxi, 1992. Baoji Municipal Institute of Archaeology, Shaanxi. Bell with inlay design, Qin dynasty (221–206 BCE). China. Bronze, gold, and silver. Excavated from the Qin Shihuang burial complex, 1976. Qin Shihuang Terracotta Warriors and Horses Museum, Shaanxi. Tiger, Warring States period (475–221 BCE). China. Gold. Excavated at Fengxiang, Shaanxi, 1979. Xi’an Municipal Museum, Shaanxi. Armored general, Qin dynasty (221–206 BCE). China. Terracotta. Excavated from Pit 1, Qin Shihuang burial complex, 1980. Qin Shihuang Terracotta Warriors and Horses Museum, Shaanxi. Armored kneeling archer, Qin dynasty (221–206 BCE). China. Terracotta. Excavated from Pit 2, Qin Shihuang burial complex, 1977. Qin Shihuang Terracotta Warriors and Horses Museum, Shaanxi.
This exhibition was organized by the Asian Art Museum in partnership with the Minneapolis Institute of Arts, the Shaanxi Provincial Cultural Relics Bureau and Shaanxi Cultural Heritage Promotion Centre, People’s Republic of China. Presentation at the Asian Art Museum is made possible with the generous support of East West Bank, Fred Eychaner, Education Programs Sponsor Douglas A. Tilden, Robert Tsao, Joie de Vivre Hotels, United, Silicon Valley Bank, and Pacific Gas and Electric Company. PRESENTING SPONSOR
LEAD AIRLINE
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MEDIA SPONSORS
OFFICIAL HOTEL
TRY YOUR HAND AT ARCHAEOLOGY As part of the Terracotta Warriors exhibition, enjoy an interactive installation that guides visitors through the excavation and preservation of artifacts. Features include: • • • •
A step-by-step “life history” of stone armor’s design and creation A display case with archaeological tools An activity table with a map of the First Emperor’s burial complex, a microscope, and a variety of archaeological materials The video “So You Think You Are an Archaeologist?” produced by UC Berkeley’s Archaeological Research Facility.
Through hands-on activities, wall graphics, and films, museum educators provide a multimedia experience that brings historical discovery to life. The experience is on display throughout the exhibition’s thirteen-week run in North Court, and volunteers from UC Berkeley’s Archaeological Research Facility will answer questions, lead activities, and foster weekend discussions. n ARCHAEOLOGY EXPERIENCE MEDIA SPONSOR:
EXHIBITION HIGHLIGHTS
SUIT OF ARMOR 石甲 Qin dynasty (221–206 BCE) Limestone Shaanxi Provincial Institute of Archaeology
This suit of armor, one of probably thousands still being found, consists of more than 600 stone parts laced with copper. Stone armor was too heavy to wear into battle, and was made
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instead for burial. Combat armor was made of leather or metal. The armor is reconstructed from fragments found in 1998 and 1999, in a pit thought to be the armory and located not far from the First Emperor’s tomb. The pit is estimated to cover 13,000 square meters. Excavation is ongoing, with more than 130 stone armor suits discovered to date.
CRANE 銅鶴 Qin dynasty (221–206 BCE) Bronze Qin Shihuang Terracotta Warriors and Horses Museum
In 2001, a pit containing fifteen terracotta musicians and forty-six life-size bronze waterbirds was found about two miles northeast of the First Emperor’s tomb. The birds, which retain some of their original pinkish paint, were discovered on the banks of an artificial waterway. Some archaeologists believe the pit represents a royal park or sacred water garden. Water was the Qin dynasty’s chosen symbol because it extinguishes fire, the element associated with the preceding Eastern Zhou dynasty.
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CEREMONIAL SWORD 金柄蟠虺紋鑲嵌寶石鐵劍 Spring and Autumn period (770–476 BCE) Iron and gold with inlaid turquoise Baoji Municipal Institute of Archaeology This sword is one of the most important goldsmith finds from the state of Qin. It was unearthed from 10 | ASIAN ART MUSEUM
an aristocratic tomb and probably belonged to a chief commander. The hilt’s design consists of stylized dragons and serpents with embedded turquoise, and the iron blade and gold hilt were cast separately. The granulated style evolved from metalware of nomadic people beyond the northern grasslands.
BELL WITH INLAY DESIGN
錯金銀樂府鈡 Qin dynasty (221–206 BCE) Bronze, gold, and silver Qin Shihuang Terracotta Warriors and Horses Museum This bell is characterized primarily by its loop handle. It was discovered in the First Emperor’s burial complex and is the only bronze bell with gold and silver excavated there to date. Presumably there were others like it, since it would have belonged to a graduated set. The inscription on the loop means “Music Bureau,” the government agency responsible for collecting and composing music in the First Emperor’s time.
TIGER
金虎 Warring States period (475–221 BCE) Gold Xi’an Municipal Museum This crouching tiger baring its teeth is made of solid gold. The exaggerated expression, with a humorous grin, was inspired by nomadic art of Central Asia. At the back is a bar to which a leather strap could attach for use as a horse-harness ornament.
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ARMORED GENERAL 鎧甲將軍俑
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Qin dynasty (221–206 BCE) Terracotta Qin Shihuang Terracotta Warriors and Horses Museum
Distinguished by his commanding pose, headdress, armor, and ribbons of rank, the general is the highest-ranking and most structurally impressive of all the terracotta warriors. Only nine generals have been excavated to date. Although the warriors were mass-produced, they were individualized through hand-carving at the final stage.
ARMORED KNEELING ARCHER 鎧甲跪射俑 Qin dynasty (221–206 BCE) Terracotta Qin Shihuang Terracotta Warriors and Horses Museum
Positioned at the front of Pit 2, kneeling archers protect with shoulder and body armor and wear their hair braided in a topknot. Intricate details remain, including subtle tread on this archer’s shoe.
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the cavalry and chariots. These warriors are equipped
EDUCATION
ASIAN ART MUSEUM HOSTS BUDDING YOUNG ARTISTS FROM SAN FRANCISCO SCHOOLS Adding to a season of excitement kicked off by China’s Terracotta Warriors: The First Emperor’s Legacy, the Asian Art Museum hosted the SFUSD Arts Festival (March 1–10) for the first time. Historically held at the de Young Museum (and known previously as “Young
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at Art”), the festival exhibited the work of San Francisco’s talented student artists and invited the public to see their work. This year the festival “came home” to Civic Center. The genesis of
others visited the museum to sing with a choir. Contributions
the youth arts festival dates to 1987, and was a complement to the
came from K12 students, including a high school student seeing
citywide arts festival held under tents in U.N. Plaza and City Hall’s
her video piece shown for the first time, a second-grader dancing
Grand Plaza. This time activities take place within the walls of the
in the museum’s Samsung Hall and an eighth-grader showing off
museum, in partnership with the San Francisco Public Library
his sculpture to his parents. The festival was colorful, dynamic,
next door, which hosted the literary and media arts displays. The
and packed with activity.
SFUSD Arts Festival is an exciting opportunity to work with the
San Francisco Unified School District, and particularly the Visual
to experience China’s Terracotta Warriors free of charge. A
and Performing Arts Department, to showcase the work of San
series of professional development workshops with school
Francisco school students in the form of visual, performing, and
administrators and teachers invited participants to consider
literary arts.
themes of innovation and legacy as they connected the artistic
achievements of San Francisco’s teachers and students to the
More than 10,000 children participated in the festival. Some
students contributed to a painting project in the classroom while
All school groups visiting the Arts Festival had the opportunity
accomplishments and legacy of China’s First Emperor. n
Lead funding for the presentation of SFUSD Arts Festival at the Asian Art Museum is provided by ScholarShare. Lead funding for the Asian Art Museum’s Education and Public Programs is provided by Bank of America Foundation.
EDUCATION
EXCLUSIVE MONDAY SCHOOL PROGRAMS DURING CHINA’S TERRACOTTA WARRIORS: THE FIRST EMPEROR’S LEGACY What happens when the school curriculum coincides with popular fascination? With China’s Terracotta Warriors, the stars aligned, and requests to bring approximately 15,000 students poured in from teachers across the Greater Bay Area and from as far as Alaska. Museum trustee and education advocate Douglas Tilden saw an opportunity for the museum to provide a once-in-a-lifetime experience for the students in our community, and granted the Education Department an unprecedented donation to underwrite the cost of opening the galleries to student groups on Mondays, when the museum is normally closed. This exclusive access to the galleries allows the museum to offer a
Emperor’s quest for immortality. Students also create their own
multi-faceted school program that integrates storytelling, inquiry,
prints inspired by what deeds they want to be remembered for
and an art making experience. Storytellers present themes such
2,000 years from now.
as the individual versus society and the sacrifices necessary to
All teachers receive a curriculum unit designed in
create such monumental projects as the First Emperor’s burial
collaboration with World Savvy that challenges students to use
complex and the thousands of terracotta warriors who stand
their Terracotta Warriors experience to conceptualize and design
guard. Docents invite students to consider the extraordinary
a “Knowledge to Action Plan.” To learn more about the program
man, his deeds, and the cost of his fame as they follow the First
and teacher resources, visit education.asianart.org. n
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These free programs for schools would not be possible without the generous support of our education partners. Lead funding for the Asian Art Museum’s Education and Public Programs is provided by the Bank of America Foundation. Major support provided by Douglas A. Tilden. Additional support provided by Freeman Foundation, The Charles D. and Frances K. Field Fund, William Randolph Hearst Foundation, Louise M. Davies Foundation, The San Francisco Foundation—Shenson Foundation, Joseph R. McMicking Foundation, and Dodge & Cox.
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CELEBRATING 10 YEARS IN CIVIC CENTER JESSE HAMLIN
Emily Sano glided through the Asian Art Museum’s luminous sky-lit piazza on a clear January morning, riding the glass-enclosed escalator that rises through a glass wall and runs along the outside of the building to the third floor galleries. “It’s a great view, isn’t it?” said Sano, the museum’s esteemed former director, taking in the San Francisco cityscape and the transparent lobby of the transformed Beaux Arts building that became the new Asian Art Museum ten years ago under her tenacious leadership.
Moving from a cramped wing of the old
retiring in 2008, oversaw the opening of the
de Young Museum in Golden Gate Park to the
$160 million Asian Art Museum–Chong-Moon
twice-as-big old Main Library at Civic Center—
Lee Center for Asian Art and Culture in March
artfully transformed by the late Italian architect
of 2003. It was the culmination of a decades-
Gae Aulenti from a dark warren of rooms into
long community effort, led by stalwart museum
a flowing light-filled museum—put the museum
patrons like Judy Wilbur, David Lei, and Jack
and its peerless collection in the public eye,
Bogart, to create a dynamic home for the
establishing the museum’s identity as a major
museum and its magnificent collection—one of
cultural destination.
the greatest holdings of Asian art in the Western
world—in the cultural heart of San Francisco. It
more art and develop themes here,” said Sano,
sits across Civic Center Plaza from City Hall,
a Japanese art expert who now advises Oracle
adjacent to the new Main Library and two blocks
co-founder and art collector Larry Ellison. She
from the San Francisco Symphony and Opera.
and the museum curators chose to tell the many-
With double the space, “we could show much
SPRING 2013 | 17
Sano, who served as director from 1993 until
branched story of Asian art by shaping a
the collection. One of the most striking
bond measure to seismically retrofit the
path through the permanent galleries that
pieces in that show was Breathing Flower,
outmoded, quake-damaged building for
mirrors the one Buddhism took as it spread
a kinetic twenty-four foot tall red fabric
the Asian Art Museum. Architect George
from India 2,000 years ago—through the
lotus by Korean artist Choi Jeong Hwa,
Kelham had designed the 1917 Beaux Arts
Himalayas and Southeast Asia to China,
which billowed in Civic Center Plaza.
structure as part of the “City Beautiful”
Korea, Japan, and beyond.
plan for San Francisco’s Civic Center.
“We have designated space for flexible
me it was dangerous for me as a Chinese
installations that change,” Sano said. “It’s
person to go to the City Hall area on my
Commissioner Judy Wilbur, scion of one
far more inviting and accessible to people.
own,” said David Lei, who emigrated
of San Francisco’s founding families, the
And it connects with the city.”
here from Taiwan in 1956. Decades later,
Floods, worked tirelessly to garner public
during his fourteen years on the board,
support for that bond measure, and on
collection that Chicago industrialist Avery
he played a key role in the
the museum capital campaign that built
Brundage gave to San Francisco, the city-
community outreach.
Created in 1966 to house the priceless
“When I was a kid, my parents told
museum’s
on the unparalleled $15 million gift from
owned Asian Art Museum
Silicon Valley maverick
was widely admired by
Chong-Moon Lee. Wilbur
scholars and art lovers who
had been lobbying for a
knew the collection, which
new home for the Asian
spans more than 6,000
since
years and forty cultures.
enlisting the support of
But many in the general
then-mayor, now Senator
public thought it was part
Dianne Feinstein.
of the de Young. That
“It was a huge success
misconception
to get public support and
vanished
with the advent of the new Asian Art Museum. Over the last ten years, the museum has expanded its audience,
The museum…“is the introduction to Asian culture here, for all Americans. My descendants won’t go to Chinatown to look for their heritage—they’ll go to the Asian Art Museum.”
-David Lei
membership, and diversity
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Former chair and longtime Asian Art
the
early
80s,
financing to move the Asian into that building,” Wilbur said. “We needed to have space to do justice
to
Brundage
the
Avery
Collection,
of programs, creating a series of far-ranging
“Today we’re right across from City
which is unique in its diversity and quality.
contemporary and historical exhibitions
Hall. The city and the country have come
It’s fantastic that we’re now in the heart
showcasing art from Korea, Bali, Japan,
so far. Symbolically, the Asian Art Museum
of the city, fulfilling Brundage’s dream
China, and the Philippines, and artists of
has arrived. We’re mainstream now. And
of bringing together Asian and American
Asian descent from around the world.
it’s a big source of pride.”
cultures through art.”
Many were represented in Phantoms
of
Asia:
the
introduction to Asian culture here, for
Years of grime and cigarette smoke had
Past, an expansive 2012 exhibition that
all Americans. My descendants won’t go
obscured the classical garlands and
paired new works with ancient ones
to Chinatown to look for their heritage—
cherubs in the groin-vaulted ceiling of
from the collection. It boldly announced
they’ll go to the Asian Art Museum.”
the Larkin Street lobby. The walls of the
the museum’s intention to showcase
Lei used to visit the old Main Library
grand staircase and loggia were cracked
contemporary art—and relate it to the
before it closed in 1995, a year after San
and dirty. Pigeons lived in the light wells,
traditions and spirit that inform works in
Francisco voters passed a $54 million
which Aulenti would open up into a
Contemporary
Awakens
The museum, Lei went on, “is the
The old library was in sad shape.
soaring twin-winged courtyard capped
in the world. The old Main Library was
on engaging exhibitions like last year’s
by 150-foot-long, V-shaped skylights.
so dark and closed. Now there will be an
innovatively installed Out of Character:
Aulenti,
explosion of light.”
Decoding Chinese Calligraphy, drawn
for converting Paris’ grand Orsay train
from the splendid collection of Yahoo co-
station into the Musée d’Orsay, was tasked
Knight has helped illuminate more of the
founder Jerry Yang.
with creating a welcoming contemporary
museum’s spectacular Chinese collection,
Knight
museum while retaining some of the library’s
which comprises nearly 8,000 objects,
galleries with Sano, who praised the way
historical elements, like the grand staircase.
many of them singular masterpieces that
he’d installed the masterworks of Chinese
(The controversy over the removal of murals
scholars write chapters about. About
calligraphy from the Yeh Family Collection.
by Gottardo Piazzoni from the loggia died
1,100 are on view, twice as many as
The collection was one of several major
away after the works were beautifully
Knight could show in the park, where the
gifts that came the museum’s way because
installed at the new de Young.)
Chinese display, with its sublime jades and
the new building had the space to show
bronzes, had to come down to make room
them. Another was the beautiful Lloyd
building for the first time with the wry-
for temporary shows.
Costen Japanese Basket Collection.
humored architect. “She said what it needed
was a bomb,” Sano said with a laugh.
who’d come to see those things. They
crispness of the galleries—the board
Aulenti told the press when she
blamed me because I was the new kid
allowed her to buy expensive no-glare
unveiled her design in 1996: “The concept
on the block,” the ebullient Knight said
glass—stopped to admire the lacquered
is to open everything up, to bring in more
with a smile. Sano had hired him in 1996
and gilded carving of a crowned and
light.” She sought “a poetic way of making
from the Seattle Art Museum, where he
bejeweled Buddha and throne. It’s a big,
this synthesis,” to integrate Asian art into
spearheaded the renovation of its old
intricate piece made in Burma (from
a European-style building. Aulenti, whose
building into an Asian art museum.
which Sano had just returned), between
design was informed by the simplicity and
“Now we have more room to really
1850 and 1900. The enterprising Bogart,
purity of much Asian art, rightly called
show things,” said Knight, who, in addition
the former board chair, found the piece
San Francisco the “gate between the two
to rotating works from the collection
at Doris Duke’s New Jersey farm and
cultures. San Francisco has the best light
galleries over the last decade, has put
paved the way for the Asian Art Museum
a
straight-shooter
famous
Sano recalled walking through the
Over the last decade, curator Michael
“I used to get nasty notes from people
was
walking
through
the
Sano, who’s still thrilled by the visual
SPRING 2013 | 19
to eventually acquire half of her museum-
It contains an exceedingly rare inscription
said. He’s focused now on “presenting
quality Asian works. The other half went to
about the Duke of Zhou, a paragon of
the timeless treasures of Asian art in the
the Walters Art Museum in Baltimore.
Confucian virtue.
most innovative way. We’re telling the
Walking through these galleries when
story of Asian art, which is so diverse,
or much of anything from Southeast Asia,”
the museum opened a decade ago, “it
from the ancient to the present. And we’re
Sano said. The same could be said about
was breathtaking to see the richness that
making connections among cultures, not
most of the pieces in the masterwork-filled
had never been shown before,” recalled
only those in Asia, but around the world.
Chinese bronze gallery, noted Knight, who
Jay Xu, the Chinese art scholar who
We are no longer a museum exclusively
rhapsodized about the beauty and historical
succeeded Sano as museum director.
about Asian art and culture. Asia is the
importance of the ritual food vessel, approx.
focus, but our connections are global.” n
1,000 BCE, adorned with big-beaked birds.
Asian Art Museum its own identity,” Xu
“We couldn’t have shown this before,
“This building has truly given the
GAE AULENTI’S ONGOING CONTRIBUTION TO CIVIC CENTER abandoned Beaux Arts Gare d’Orsay train station into the Musée d’Orsay, a repository for 19th and early 20th century French art. She created galleries in the husk of architect Victor Laloux’s landmark structure, with its vast glass vault capping the soaring central space, while retaining its historic character.
Called “the most important female architect since the
beginning of time” by the late New York Times architecture critic Herbert Muschamp, Aulenti grew up near Trieste and studied at the Milan Polytechnic School of Architecture, one of two women of twenty in the 1954 graduating class. She designed everything from Louis Vuitton watches and Fiat showrooms to Italian villas, opera stage sets, and collectible coffee tables. After the Orsay, she was commissioned to design a series of high-profile cultural projects, including turning Venice’s 18th-century Palazzo Grassi into an art museum, creating the National Museum of Modern Art at the Centre Georges Pompidou in Paris, and converting a Barcelona exhibition hall into a Catalan art museum.
20 | ASIAN ART MUSEUM
“SIMPLICITY IS THE HARDEST THING TO ACHIEVE”
Aulenti studied the Asian Art Museum’s spectacular collection,
then got to know the Beaux Arts building, before finding a “poetic” way to combine them.
Gae Aulenti said in 1996, when she spoke about transforming the
city’s old Main Library into the new Asian Art Museum. It became
elegant architect, who smoked, joked, and spoke her mind. Visitors
a signature project by the creative Italian architect and designer
walking into the light-filled courtyard would “discover at once they’re
renowned for converting historic buildings into contemporary
in a museum of Asian art.”
museums that gracefully merge past and present.
press, “Her work creating the museum’s home has brought new life
Aulenti, who died last year at age 84 at her home in
Milan, became famous in 1986 for converting Paris’ grand but
“We’re preserving the building but giving it a new heart,” said the
After Aulenti died, Asian Art Museum Director Jay Xu told the
to a time-honored building, bringing joy to those who visit.” n
COMING SOON
IN THE MOMENT: JAPANESE ART FROM THE LARRY ELLISON COLLECTION ON VIEW JUNE 28–SEPT 22, 2013 This summer, as the Bay Area swarms with sailing fans in time for the America’s Cup Challenger Series, the museum presents works from the rarely seen collection of Larry Ellison, owner of cup defender Team Oracle USA. The exhibition introduces over 60 artworks spanning 1,100 years. Included are an outstanding selection of painted screens and hanging scrolls from the Momoyama (1573–1615) and Edo (1615–1868) periods along with other examples of religious art, lacquer, and metalwork. n
SPRING 2013 | 21
This exhibition was organized by the Asian Art Museum in collaboration with Lawrence J. Ellison. Presentation at the Asian Art Museum is made possible with the generous support of Union Bank. Waves and Rocks, Attributed to Hasegawa Tōgaku (Japanese, died 1623), Momoyama period (1573 –1615) or early Edo period (1615 –1868), 17th century. Ink, light colors, and gold on paper. Private Collection.
DINE+SHOP
ITEMS TO ENGAGE AND INSPIRE BEYOND YOUR VISIT With each special exhibition, the Museum Store presents a new array of complementary objects to take home as keepsakes. An impressive selection of items are on offer during the terracotta warriors exhibition, available only during the exhibition (Feb 22–May 27). The museum store is located on the first floor and is open during regular museum hours. Entrance to the store is free. Purchases help to support the museum’s educational programs and exhibitions.
In addition to a thoughtfully narrated and richly illustrated exhibition catalogue that provides fascinating historical and archaeological
insights into the story of the First Emperor and the terracotta warriors ($39.95), highlights include:
Tang, Song, and Qing dynasty coins. The museum store is offering original coins that date back to the seventh century—pieces of history produced in such vast amounts that the museum is able to offer them at $10 each.
22 | ASIAN ART MUSEUM
High-gloss red warriors. For those who prefer contemporary design, the museum store offers terracotta warriors in high-gloss resin. Red warriors include the general and the kneeling archer. $18.95 each. Assorted mid-size terracotta warriors. Sold individually and in sets of four (a high-ranking official, a general, an archer, and a soldier), these warriors fit in your hand and come packaged in their own fabric box. $24.95. Excavation kits. These kits will entertain children and adults who want to play archaeologist. Blocks of plaster encase small warriors, ready for excavation by the user. Available in four warrior styles, each for $7.95.
DINE+SHOP
Full-size terracotta warriors. These 5-foottall reproductions of the warriors are fashioned from actual clay from the Xi’an region of China. Crafted using traditional techniques, these wondrous warriors are dried by heated slabs of raw coal before being fired in a kiln. These impressive sculptures are made by hand, not machine. $1,850, plus cost of shipping.
CAFE ASIA’S GOLDEN NOODLES Craving Cafe Asia? Have a bite at home. Here is a recipe for one of our most popular dishes. 8 ounces
udon noodles
Boil udon noodles in salted water until al dente and strain.
1 1/2 tablespoons minced garlic 1 1/2 teaspoons
minced ginger
In a large, heavy-bottomed pan, sauté garlic and ginger in olive oil until fragrant and add
2 teaspoons
olive oil
Madras curry. Add liquid ingredients and bring to a boil. While waiting for sauce to boil,
9 ounces
coconut milk
blanch any seasonal vegetables available. Cafe Asia likes to use straw mushrooms, blue
1 1/2 cups
heavy cream
lake beans, bamboo shoots, carrots, and Chinese broccoli. Once sauce boils and reduces
1/3 cup
half and half
a little, add blanched vegetables.
1/3 cup
water
3/4 cup
vegetable stock
Serve noodles with unshelled edamame as garnish. Top with a few cubes of fried tofu (just
3/4 ounce
Madras curry
toss cubes of firm tofu in cornstarch and rice flour and drop in oil).
An elegant space with blond wood accents and delicate orchids, Cafe Asia feels like a stylish restaurant and, on clear days, its doors open to a lovely outdoor terrace. No entry fee is required to visit. Menu and hours available at www.asianart.org/visit/cafe-asia. n
SPRING 2013 | 23
COMING SOON
THE CYRUS CYLINDER AND ANCIENT PERSIA ON VIEW AUG 9–SEPT 22, 2013
24 | ASIAN ART MUSEUM
Dating to 539 BCE, the Cyrus Cylinder—one of the most famous surviving icons from the ancient world— was uncovered in 1879 at Babylon (in present-day Iraq). The Cylinder has been referred to as the first bill of human rights because it appears to encourage freedom of worship and the return of displaced peoples to their homelands. n
The exhibition is organized by the British Museum in partnership with the Iran Heritage Foundation and the Arthur M. Sackler Gallery, Smithsonian Institution, and generously supported by Tina & Hamid Moghadam and Bita Daryabari & Dr. Reza Malek in collaboration with the Public Affairs Alliance of Iranian Americans. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Image: The Cyrus Cylinder, 539–538 BC. Achaemenid. Clay. © Trustees of the British Museum.
FROM THE GALLERIES
VESSEL FROM STATE OF QIN NOW ON VIEW MICHAEL KNIGHT This lacquer vessel with a lid, on view in gallery 15, can be associated with the state of Qin through the inscription on its base. The inscription contains a date that might be equivalent to 278 or 218 BCE. If the former, this is the earliest surviving Chinese lacquer that can be dated by inscription; more on the inscription later. Lacquer is made from the sap of Toxicodendron vernicifluum,
curing of the lacquer, so only a few stable materials can be used.
from the same family of plants as poison ivy and poison sumac.
The most common pigments in ancient Chinese lacquers were
The sap of the lacquer tree contains a very high level of urushiol,
browns and blacks derived from carbon or iron oxides, and red
the chemical that causes dermatitis on contact. Under the right
from cinnabar (mercuric sulfide). Those pigments are used on
conditions, urushiol undergoes a chemical change (cures) and
this vessel.
becomes a durable substance not unlike modern plastic, able to
withstand exposure to heat and liquids. Many pigments either
the Yangtze River, where lacquered objects from as early as
discolor when they come in contact with urushiol or inhibit the
3,000 BCE have been excavated. Due to its chemical makeup,
The primary centers of lacquer production in China are along
SPRING 2013 | 25
FROM THE GALLERIES
lacquer often survives in good condition. The main preservation concern is lacquered vessels’ cores, often made of wood that swells when wet and shrinks when dry. Over thousands of years of burial, contact with water causes wrinkled surfaces, as seen on this piece. Its original condition would have been smooth and shiny with clearly demarcated designs.
The core of this piece consists of a circular wood base
with multiple thin and slightly curved pieces of wood making up the walls. X-rays indicate that no elaborate joinery was used; instead the pieces were probably glued, perhaps with lacquer. The wood is covered inside and out with a layer of textile. Either the fabric was impregnated with lacquer before application or lacquer was applied directly to wood and then to fabric to create a strong and durable object. Close examination reveals an additional layer of lacquer applied over the textile as a filler to smooth out surface imperfections before the finishing coats were applied.
The three ears on the lid, the handle, and the three legs are
bronze. For the legs and ears, there is no evidence of mechanical attachments like nails; instead it appears the lacquer serves as an adhesive holding them to the wood body. Two holes in each end of the bronze handle with a groove suggest it was tied or wired. But no evidence of nails or wire appears in x-rays of the piece. Since there is no original lacquer around the handle, it is possible the handle is not original, though the inlaid decoration matches the vessel’s other fittings. The elaborate designs on the metal fittings were incised and then inlaid with silver.
By the time this piece was created, lacquered objects
were far more expensive than those made of bronze. During the Eastern Zhou dynasty (770–221 BCE), the state of Chu, along the lower Yangtze River, was the region best known for lacquer. A 1956 Chinese publication indicates that this vessel was excavated in Changsha (in Hunan province), one of the major centers of Chu culture and an important city for the Qin
26 | ASIAN ART MUSEUM
dynasty following its conquest of Chu. (It was from Changsha that the First Emperor directed his campaign to bring southeast China into Qin territory.)
Included in red on this vessel’s lid are designs that can
be read as the Chinese character chang (長), which also appears on the bottom. This is very probably an abbreviation for Changsha (長沙)—further indication that the piece was produced in that city.
FROM THE GALLERIES
An inscription is incised on the bottom, and with it, the story
and did not become a part of Qin until 223 BCE. It is possible
of this remarkable piece gets more complex and challenging.
that this vessel could have been seized in war, but that would not
The inscription starts with a date—”the twenty-ninth year.” One
explain the Qin style of calligraphy, the mention of a Qin queen,
reading of the next two characters is tai hou (太后), which
or its connection with Changsha. The piece might have been the
translates as dowager queen (mother of the king). The inscription
property of the dowager queen brought to Qin as part of her
mentions three officials involved in the vessel’s creation. The style
dowry. But again that does not explain the style of the calligraphy
of the calligraphy in this inscription
or why it was found in Changsha.
is associated with the state of Qin.
Incising or carving decoration into
existing Chu documents of the
lacquer objects was just beginning
complex bureaucracy associated
to appear as a decorative strategy
with lacquer production suggested
in the late Warring States period
by the inscription. Sophisticated
and the Qin dynasty. In fact, this
infrastructure was far more typical
could be the earliest incised
of the state of Qin. The same can
inscription with a date on any
be said for including the place of
surviving Chinese lacquer.
production on an object.
A
Chinese
scholar
has
There
is
no
evidence
in
Another possible explanation
suggested the tai hou was the
is that the date might not the twenty-
dowager queen Xuan (died 265
ninth year of King Zhaoxiang, but
BCE), who was a native of Chu
rather the twenty-ninth year of the
and mother of King Zhaoxiang
reign of the First Emperor himself.
(reigned 306–250 BCE). If so,
Since he became King of Qin in
the vessel’s date would be 278
247 BCE, the date for the vessel
BCE, making this the earliest
would be equivalent to 218 BCE.
surviving example of a Chinese
The problem with this date is that
lacquer with an inscribed date.
historical sources state that the
Unfortunately, the date does not
First Emperor’s mother died in the
contain the ruler’s name, just the
seventeenth year of his reign; that
characters for twenty-ninth year.
is equivalent to 230 BCE. There
That leaves the actual date open to
was no tai hou dowager queen in
conjecture.
218 BCE.
There are several issues with
At least one expert has read
the fourth and fifth characters of the
Qin was not known for lacquer
inscription as da si (大司) rather
production. During that year it
than tai hou (太后). Da si is a title
conquered a large section of Chu,
for an official and consistent with
including the Chu capital of Ying,
the rest of the inscription. This
near the modern city of Jiangling
reading would support the 218 BCE
in
date. Unresolved but fascinating! n
Hubei
province.
Changsha,
where this piece was excavated and probably produced, was not
Michael Knight, Ph.D. is the senior curator
included in the conquered areas
of Chinese art at the Asian Art Museum.
SPRING 2013 | 27
the 278 BCE date. At that time
SCENE AT THE ASIAN
28 | ASIAN ART MUSEUM
INTRODUCING OUT OF CHARACTER: DECODING CHINESE CALLIGRAPHY On October 3, the museum introduced the exhibition Out of Character: Decoding Chinese Calligraphy with an opening night dinner. Art enthusiasts, calligraphy lovers, and museum supporters gathered for an evening of exhibition touring with collector Jerry Yang and artist Xu Bing, followed by a celebratory dinner in Samsung Hall. Director Jay Xu welcomed the guests and presented Jerry Yang with a Chinese Calligraphy Day proclamation from Mayor Ed Lee. It was a wonderful beginning to a beautiful exhibition. n Top: Colin Mackenzie, Senior Curator, Chinese Art at Nelson-Atkins Museum of Art and Jerry Yang; Bottom L: Artist Xu Bing and Dr. Joseph Z. Chang, senior research fellow in Chinese painting and calligraphy at the Asian Art Museum; Bottom R: Director Jay Xu, Supervisor Eric Mar, Mayor Ed Lee, Collector Jerry Yang, Doreen Woo Ho, and Dr. Michael Knight, senior curator of Chinese art at the Asian Art Museum.
SCENE AT THE ASIAN
TARGET HONORED AT 2012 ANNUAL NATIONAL PHILANTHROPY DAY On November 15, the museum honored its decade-long partner Target as the recipient of a Spirit of Philanthropy Award at the 26th Annual National Philanthropy Day awards luncheon. The Award was presented by Commissioner and Trustee Timothy Kahn, Alumni Commissioner and Trustee David Lei, museum staff, and volunteers. In its ten years of partnership with the Asian Art Museum, Target has sponsored more than 120 free general admission days on Target First Free Sundays, providing complimentary general admission to more than 350,000 museum visitors, and recently renewed its support of the highly popular Target First Free Target Corporate Responsibility Specialist Dean Osaki, Asian Art Museum
Sundays for 2013. We thank our local and national Target team for
Chief Engagement Officer Dori Sera Bailey, and Alumni Trustee David Lei at
its devoted support and steadfast partnership, and look forward to
National Philanthropy Day.
another decade of collaboration. n
CHINESE AMERICAN COMMUNITY SPREADS THE WORD ABOUT TERRACOTTA WARRIORS Members, representing more than forty of the Bay Area's Chinese and Chinese American community groups and businesses, joined Director Jay Xu and honorary Host Committee Chair Mayor Ed Lee at the museum on Saturday, December 15 for a Holiday Brunch and presentation on the Terracotta Warriors exhibition. Host committee members David Lei, Committee Chair and Alumni Board member Sidney Chan, Mel Lee, Esther Li, Alice Lowe, and Chark Lui welcomed the nearly 150 guests and invited them to help raise awareness of the exhibition and related programs by sharing information with their community groups, organizations, and societies. The highly successful outreach program was repeated in Oakland for the East Bay Chinese communities. n
Host Committee members Alice Lowe and Clark Lui with guest.
SCHOLARSHARE PROMOTES EDUCATION, SUPPORTS VARIETY OF MUSEUM PROGRAMS ScholarShare, California’s 529 College Savings Plan, has renewed its generous support of the museum’s educational and family-friendly programs. ScholarShare’s comprehensive grant will sponsor the upcoming AAM Council Family Event Once Upon a Time in Xi’an, underwrite three Family Fun Days at Program. We are grateful to ScholarShare for its commitment to our mission. n
Kagami Kai leads the annual mochi-pounding ceremony on Jan 12 in a packed Samsung Hall.
SPRING 2013 | 29
the Asian Art Museum, and support the museum’s growing Library Membership
SCENE AT THE ASIAN
BATIK: SPECTACULAR TEXTILES FROM JAVA IS NOW ON VIEW IN THE TATEUCHI THEMATIC GALLERY On loan from Joan and M. Glenn Vinson, Jr., this exhibition showcases some of the finest Indonesian batik textiles from a wide range of cultures and religions. The museum is most grateful to the Vinsons, who are passionate about the art form and enthusiastically share their knowledge. On Nov 30, 2012, the Avery Brundage Circle celebrated the exhibition and the Vinsons hosting a reception. Guests were treated to a tour of the exhibition by associate curator Natasha Reichle and the Vinsons. Batik is on view through May 5. n
Left: Joan and M. Glenn Vinson, Jr. at the opening reception of Batik: Spectacular Textiles from Java
ALUMNI BOARD HONORS FELLOW MEMBER ELAINE CONNELL
In October, the Alumni Board honored fellow member Elaine Connell (commissioner 1991–2010) at a reception celebrating the opening of Art of Adornment: Southeast Asian Jewelry from the James and Elaine Connell Collection. Members of the Connoisseurs’ Council and special guests, including Elaine’s family, also attended the reception and tour. Elaine recently gifted this extraordinary collection to the museum, which is on view in the collection galleries. Elaine was touching and eloquent when she spoke of how collecting enriched her and her late husband Jim’s life and how the museum is part of their extended family. Elaine and Jim epitomize connoisseurship by collecting Southeast Asian jewelry and ceramics. Their collection of the latter was gifted to the museum in the early 1990s. Art of Adornment is on view through Nov 24. n Right: Elaine Connell at the opening reception for Art of Adornment: Southeast Asian Jewelry from the James and Elaine Connell Collection
EAST WEST BANK PRESENTS CHINA’S TERRACOTTA
30 | ASIAN ART MUSEUM
WARRIORS: THE FIRST EMPEROR’S LEGACY
KOREA FOUNDATION SUPPORTS THE MUSEUM IN GRAND STYLE
The museum gratefully acknowledges East West Bank as Presenting Sponsor of
Korea Foundation, a museum supporter
this spring’s special exhibition China’s Terracotta Warriors. Based in Pasadena,
for more than twenty years, has pledged its
California, East West Bank enjoys strong connections with the Chinese
support for the fall exhibition In Grand Style:
American community throughout California, with a cross-cultural mission which
Celebrations in Korean Art. The Foundation’s
closely aligns with the museum’s own vision of sparking connections across
generous
cultures and through time, with Asia as our lens and art as our cornerstone. n
registration, design, and preparation for the
grant
will
help
support
the
exhibition, as well as underwrite a portion of the In Grand Style illustrated catalogue. n
MEMBER PROFILE
MATT BISSINGER, MEMBER SINCE 2003
TELL US WHY YOU BECAME A MEMBER
I’ve been a member of the museum for several years, but I’ve been a part of the museum community for as long as I can remember. I used to come here with my grandmother, who was a trustee. She cared deeply about the museum. I’ve always been interested in the visual arts, but it’s through my grandmother that I gained a deeper appreciation for Asian art in particular. It makes all the difference to go with someone who has a passion for it.
We’re lucky in San Francisco. We have SFMOMA and the
de Young and the Asian Art Museum and they’re all wonderful museums. But the Asian Art Museum is unique. The collection is quite amazing. There’s something for everyone—so many things you wouldn’t think of, like the jade room, which is a wonderful treasure, and the contemporary baskets on the second floor.
Also, I really love how the layout in this building tracks
Buddhism from its earliest inception in India through one country to the next across Asia, and explores how Buddha is presented. There’s a wonderful breadth of history, as well as so much aesthetic pleasure. I also appreciate the concerted effort to showcase more contemporary art.
INTERESTED IN BECOMING A MEMBER? Connect with 6,000 years of art and culture from throughout including special exhibitions, live artist demonstrations, performances, and events. For more information, call 415.581.3740, email members@asianart.org, or see the card inserted to the centerfold of this magazine. n
SPRING 2013 | 31
Asia year-round. Members enjoy free, unlimited admission,
COMING SOON
IN GRAND STYLE: CELEBRATIONS IN KOREAN ART DURING THE JOSEON DYNASTY
32 | ASIAN ART MUSEUM
ON VIEW OCT 25, 2013–JAN 12, 2014 This exhibition explores the cultural significance of celebrations during Korea’s Joseon dynasty (1392–1910), when rites of passage like political appointments, birthdays, and weddings followed elaborate protocols. See a royal throne, King’s palanquin, protocol books (uigwe), paintings of royal banquets, and more. Many of these objects are new to U.S. audiences. n This exhibition was organized by the Asian Art Museum in collaboration with the National Museum of Korea and the National Palace Museum of Korea based on the exhibition Scenes of Banquets and Ceremonies of the Joseon Period held by the National Museum of Korea in 2009. Presentation at the Asian Art Museum is made possible with the generous support of The Korea Foundation and E. Rhodes and Leona B. Carpenter Foundation. Portrait of Emperor Gojong (detail), 19th century, attributed to Chae Yong-sin (1820–1941, Korean). National Museum of Korea. Gift of Lee Hong-kun.
THURSDAY NIGHTS
ARTISTS DRAWING CLUB: A SALON, OF SORTS The Artists Drawing Club is a new monthly program in which the Asian Art Museum offers open invitations to contemporary artists to use the museum as a project platform. This program aims to provide a new lens through which to view the museum, its collection, and the world around us—all through the perspectives of individual artists. Each event will be different, taking shape in response to the artist’s work. BETWEEN: AN EXPLORATION OF THE ASIAN ART MUSEUM FEBRUARY 28, AMY HO Between: An Exploration of the Asian Art Museum is a non-traditional museum tour imagined by installation artist Amy Ho, in which participants explore the museum and its architecture, seeking out shadows, spaces, and sounds. At the end of the event, participants will engage in a group discussion of their findings and experiences.
WHEN ALL ELSE FAILS APRIL 25, JULIE CHANG What happens when things change and the old standbys no longer work? What does it mean to let go and invest in risk and the hope of reinvention? Join artist Julie Chang as she sheds the narratives that inspired her installations and 2-D artwork to use the museum as a place to reconnect and reimagine the creative process in the hope of finding a new direction.
9TH ISLAND AND OTHER LANDS MAY 23, WESTON TERUYA Weston Teruya will recreate objects and ephemera that represent Hawai’i “expats’” ties to their old home. This collection of fragments from a dislocated local culture will be installed in the museum’s existing displays and reinterpreted by guides throughout the night.
STEP A LITTLE TO THE EAST: BACKDROPS FROM THE ASIAN ART MUSEUM COLLECTION JUNE 20, BINH DANH backdrop that will later digitally depict an image of a photograph in the collection. Later in the evening, participants will return to retrieve two digital photographs; they will keep one and write on the other to mark the occasion of their visit to the “East.”
SPRING 2013 | iii
Photographer Binh Danh will set up a photo studio in which participants pose in front of a white
Non-Profit Organization U. S . Po s t a g e P
A
I
D
Asian Art Museum
ASIAN ART MUSEUM Chong-Moon Lee Center for Asian Art & Culture www.asianart.org 200 Larkin Street San Francisco, CA 94102 USA