Asian Art Museum of San Francisco, Spring 2023

DANCE PARTY!

Exhilarating dance performances by Dholrhythms Dance Company were a highlight of the opening celebration for Beyond Bollywood: 2000 Years of Dance in Art on April 8, 2023. n

2023 VOL. XIII ISSUE 2 Members’ Magazine

FROM THE DIRECTOR

Momentum continues to build here at the museum. In the following pages, you’ll read about numerous initiatives that deliver upon art’s boundless potential to catalyze dialogue and mutal discovery, whether between individuals, cultures, and nations, or between the past and the present.

The forthcoming The Heart of Zen provides a chance to enjoy a once-in-a-lifetime opportunity to experience two masterpieces painted in 13thcentury China that have never been exhibited outside of Japan. Our current rotation in the Koret Korea Galleries highlights artworks that use a traditional, handmade medium to reflect a diverse range of experiences from the Korean diaspora. Presented in partnership with the Kyoto National Museum, Japanese Taste in Chinese Ceramics speaks to our position as a trusted member of an international community dedicated to fostering cross-cultural exchange. Finally, Takashi Murakami’s highly anticipated debut in San Francisco and the addition of new colleagues to our curatorial roster galvanize our ongoing commitment to showcasing contemporary work by the world’s leading Asian and Asian American artists.

An exciting new chapter in the museum’s history is beginning; I look forward to sharing it with you. n

Jay Xu

THE BARBARA BASS BAKAR DIRECTOR AND CEO

Above, top right: Tan Tan Bo Black Hole (detail), 2019, by Takashi Murakami (Japanese, b. 1962). Acrylic, gold leaf, and platinum leaf on canvas mounted on aluminum frame. Private collection, courtesy of the artist and Perrotin. © 2019 Takashi Murakami/Kaikai Kiki Co., Ltd. All

A TOAST TO DR. JAY XU

What a ride it has been! This spring, The Barbara Bass Bakar Director and CEO Dr. Jay Xu announced that he will continue to lead over the next two years as the Asian Art Commission and the Asian Art Museum Foundation carefully undertake the international search for his successor. Looking back on his years of steady stewardship, it’s clear he will leave some formidable shoes to fill.

Since 2008, Dr. Xu has steered the museum through unprecedented existential challenges, including a global financial crisis and the COVID pandemic. Our visitor experience has been redefined through an expanded and renovated campus — including a major new exhibition pavilion and reimagined collection galleries — all thanks to the successful completion of a more than $100 million capital campaign. Meanwhile, his tenure has led to the diversification of the board and staff and the launch

of a groundbreaking contemporary art program that gives Asian American artists and stories a prominent place in the canon of art history.

“Over the last fifteen years, it has been my privilege to work with our staff, board, volunteers, and community partners to present more than 100 exhibitions,” says Dr. Xu, “as well as countless events bringing together artists, scholars, and a who’s who of Asian and Asian American talent. The museum has become a destination for global audiences, providing art experiences that reflect the ongoing impact and relevance of Asian and Asian American art and culture in contemporary life. With our beautiful site blending historic architecture and modern designs, a flourishing endowment, and a community of committed art enthusiasts, we are ideally positioned to continue this important, exciting work as the next century unfolds.” n

Clockwise from upper left: Dr. Jay Xu leading a tour of the Southeast Asian galleries in 2019. Dr. Xu, San Francisco Board of Supervisor Eric Mar, Mayor Ed Lee, and Jerry Yang in Out of Character: Decoding Chinese Calligraphy, a 2012 exhibition showcasing masterworks from Mr. Yang’s collection; Dr. Xu and associate head of conservation Mark Fenn examining the museum’s ritual vessel in the shape of a rhinoceros; Dr. Xu offering remarks at a media preview for the 2013 exhibition China’s Terracotta Warriors: The First Emperor’s Legacy; Dr. Xu with monks accompanying the 2009 exhibition The Dragon’s Gift: The Sacred Arts of Bhutan; Fred Levin, chair of the Asian Art Commission and Asian Art Museum Foundation, Dr. Xu, and artist Tina Frey at the ribbon-cutting ceremony for the opening of the Akiko Yamazaki and Jerry Yang Pavilion in 2021; Dr. Xu welcoming guests to the inaugural Target Free First Sunday in 2008. All photographs © Asian Art Museum.

FRESH CURATORIAL VOICES

MUSEUM

A warm welcome to four recent appointees to the Asian Art Museum’s curatorial roster. Yoon-Jee Choi joins us as Assistant Curator for Korean Art. Yoon-Jee has previously held a position at the National Museum of Korea. She is a Ph.D. candidate in art history from the University of Chicago and earned her BA from Ewha Womans University in Seoul; her research now focuses on premodern and modern art historical interactions between Korea and other East Asian countries, particularly focusing on craft, though her keen perspective on contemporary art aligns perfectly with the museum’s ever-broadening focus.

Naz Cuguoğlu ( joo-gu-oh-loo) joined us in the fall of 2022 as the Assistant Curator of Contemporary Art & Programs; she was also a 2022 Practice Institute Fellow. Originally from Istanbul, she has curated exhibitions and programs internationally at documenta fifteen, Fondazione Sandretto Re Rebaudengo, Walters Art Museum, The Wattis Institute, 15th Istanbul Biennial Public Program, and many others. A widely published author and editor, Naz also previously held positions at KADIST, Wattis

From left to right: Yoon-Jee Choi, Assistant Curator for Korean Art; Naz Cuguoğlu, Assistant Curator of Contemporary Art & Programs, photograph by Pamela Gentile; Dr. Padma Dorje Maitland, Malavalli Family Foundation Associate Curator of the Art of the Indian Subcontinent; Cheng Xu, Assistant Curator. Except where otherwise noted, all photographs © Asian Art Museum.

Institute, de Young Museum, and SFMOMA. She received her MA in Curatorial Practice from California College of the Arts and holds degrees in Psychology (BA) and Social Psychology (MA) from Koç University, Istanbul.

Dr. Padma Dorje Maitland, the newly-appointed Malavalli Family Foundation Associate Curator of the Art of the Indian Subcontinent, comes to us from a teaching position with California Polytechnic State University, San Luis Obispo, prior to which he served in curatorial positions at Stanford’s Cantor Art Center and the Minneapolis Institute of Art. Padma holds doctorates in South Asian studies and architectural history and theory from U.C. Berkeley. Members may recognize him from last year’s presentation of After Hope: Videos of Resistance in the Doris Shoong and Theodore Bo Lee Gallery, an exhibition he co-curated before becoming a Practice Institute Fellow.

Cheng Xu joins us as an Assistant Curator with a focus on technology. Her appointment is an exciting step in organizing our contemporary gaming exhibition in 2025; her work will

involve prototyping technology-based experiences in the Lee Gallery, and partnering with the museum’s Practice Institute to document the initiative and what we learn from it. Cheng holds an MA in Mechanical Engineering from Yale, an MA in Tangible Interaction Design from Carnegie Mellon, and a BA in Mechanical Engineering from Tsinghua University.

“Museums are always growing and changing, which is what makes them exciting places to visit again and again,” says The Barbara Bass Bakar Director and CEO Dr. Jay Xu. “You might also have noticed what several of these fresh faces have in common: a relationship to the Practice Institute, our new multidisciplinary platform and residency for curator- and artistled research into the structures, experiences, and ‘practices’ of museums today. It’s an integral part of our strategic plan, and it builds upon the incredible contributions — and creative ambitions — of this exceptionally dynamic group of curators.” n

A NEW LEAF

Created when the museum opened in 2003 and designed by Japanese American garden designer Ittsei Nakagawa, the Peterson Garden includes plants, stones, and artworks all carefully chosen to represent a pan-Asian aesthetic, referencing traditions from Chinese, Korean, Japanese, and Southeast Asian gardens. Members at the Nexus and Jade Circle levels, commissioners, and trustees have access to this delightful haven, located at the southeast corner of the building and accessible from the Peterson Room members’ lounge.

In recent years, when construction of the Akiko Yamazaki and Jerry Yang Pavilion and the East West Bank Art Terrace necessitated modifications to the garden, Jerry Janssen — the designer of the Peterson Room — invited Ittsei to once again contribute to its redesign. One especially poignant feature of the new garden is its Japanese peace bell, dedicated by the Hiroshima-born Ittsei to the memory of those who suffered the bombing of his native city. The peace bell is displayed on a tower crafted from lightning-scorched timbers of a native redwood tree by the late Sonoma County sculptor Bruce Johnson (1947–2023) in collaboration with Ittsei and Jerry.

“The Peterson Garden has hosted politicians, stars, weddings, and corporate partners, as well as radio and TV interviews,” says Assistant Director of Museum Events Amy Fong; “It’s often called the museum’s hidden oasis.” n

The newly redesigned Peterson Garden. Photographs © Asian Art Museum.

FOREST AT YOUR FINGERTIPS

This year, the Asian Art Museum celebrated the release of its inaugural collaboration with San Francisco’s historic Arion Press. The hand-printed publication Past Continuous Tense features imagery from the monumental installation of the same name, currently on view in the Doris Shoong and Theodore Bo Lee Gallery, by multimedia artist Lam Tung Pang (Chinese, b. 1978, active Hong Kong and Vancouver). A poem inspired by Lam’s artwork, specially commissioned by Pulitzer Prize-winning writer Forrest Gander, accompanies Lam’s striking forest imagery, which weaves together individual trees — selected and reinterpreted from classic paintings by Chinese, Korean, and Japanese masters — into a lyrical meditation on nature, representation, and impermanence.

A Curator’s Note authored by guest curator Mia Yinxing Liu, Ph.D. appears at the rear of the accordion, where both artist and author have signed the edition. The titling calligraphy, poem, and colophon are printed by handset letterpress and the book is bound by hand in a full brown cloth. Limited to 70 copies, this edition — itself a work of art — offers those who have been enchanted by Lam’s forest in Lee Gallery the rare opportunity to take a miniature version home with them. Visit arionpress.com/ store-sundries to purchase.

Above: Past Continous Tense publication. Right: Past Continuous Tense (detail), 2011,

by Lam Tung Pang (Chinese, b. 1978, active Hong Kong and Vancouver). Charcoal, image-transfer, and acrylic on plywood. Asian Art Museum, Acquisition made possible by the Kao/Williams Family Foundation, 2020.20a-zz. © Lam Tung Pang. Photograph © Asian Art Museum.

TAKASHI MURAKAMI: UNFAMILIAR PEOPLE —SWELLING OF MONSTERIZED HUMAN EGO

SEP 15, 2023–FEB 12, 2024

THE AKIKO YAMAZAKI AND JERRY YANG PAVILION

Tan Tan Bo Black Hole, 2019, by Takashi Murakami (Japanese, b. 1962). Acrylic, gold leaf, and platinum leaf on canvas mounted on aluminum frame. Private collection, courtesy of the artist and Perrotin. © 2019 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Oval Buddha Silver, 2008, by Takashi Murakami (Japanese, b. 1962). Sterling silver. The Broad Art Foundation. © 2008 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

The City Just Got Stranger.

San Francisco has a long-standing reputation for marching to its own beat: it’s a place full of ideas as eclectic as its architecture (or its microclimates), where colorful dreamers and bold nonconformists come to let their imaginations run wild. This summer, the Asian Art Museum proudly adds a new chapter to this legacy with Takashi Murakami: Unfamiliar People – Swelling of Monsterized Human Ego, the city’s first solo exhibition by Takashi Murakami (Japanese, b. 1962). This fun, freaky, and fabulous exhibition of outsized proportions is full of surprises — perhaps the greatest of which is the extent to which it draws upon styles and themes from traditional Japanese art.

Murakami is an internationally recognized artist and a major figure in global pop culture. Over the last 25 years, his boldly colored, often humorous sensibility and signature ‘Superflat’ style have made an impact extending to the worlds of fashion, consumer products, curation, and entertainment. Members with no prior exposure to his epic canvases, sculptures, or prints may be surprised to find that they nonetheless recognize his imagery from collaborations outside the art world, such as his successful

partnership with Louis Vuitton; a younger generation may have been introduced via his animated music videos for popular artists like Billie Eilish.

Though the influence of pop culture, particularly anime and manga, is central to Murakami’s work, even his most accessible and fun-loving creations double as vehicles for a wry social commentary rooted in philosophical and art-historical savvy. The works on view in Monsterized — many created especially for this exhibition and being shown for the first time — include highly topical considerations of the effects of social media immersion and the value of virtual commodities such as NFTs. Yet even while contemplating current events or imagining the future, Murakami consistently draws upon themes and references from classical Japanese art.

“The lay viewer might be surprised to learn that Murakami has a doctoral degree in Nihonga (traditional Japanese painting),” says Senior Curator of Japanese Art Laura Allen: “but members with an interest in Asian art will recognize links throughout these works to styles and motifs from past centuries.” A central tenet of Murakami’s ‘Superflat’ style is the flattening of space in the

picture plane, a strategy that intentionally creates a dialogue and continuity with earlier traditions of two-dimensionality in Japanese art. Meanwhile, the exhibition’s titular cast of monsters often appears both grotesque and disarmingly cute, a visual strategy that refers back to the “menacing and adorable” yōkai (supernatural entities) of Edo-period scrolls.

Another intriguing link to the past comes courtesy of objects that you may have encountered in the Asian Art Museum galleries: several of Murakami’s new paintings were inspired by Chinese porcelain vases decorated with images of carp. The unmistakable blue-and-white color scheme and traditional style of centuries-old Chinese ceramics are reimagined in Monsterized as enormous, 30-foot-wide canvases — a shift in scale that transforms their aquatic subjects into mammoth but friendly-looking sea monsters. One of the new works created for this show was directly inspired by the colorful Ming dynasty jar decorated with fish and lotuses that is a highlight of our second-floor Chinese ceramics gallery.

The playful dialogue between past, present, and future in Murakami’s work is part of its broad appeal. Monsterized offers something for everyone: it’s the perfect destination for a multigenerational art encounter, as family members from grandparents

to grandchildren will find elements that are alternately thoughtprovoking, entertaining, and fun. n

Join us as we celebrate this landmark exhibition with a variety of events and programs, including late hours on select dates. As a member, enjoy priority access to ticketing, events, and shopping opportunities.

Takashi Murakami:

Unfamiliar People — Swelling of Monsterized Human Ego

Takashi Murakami: Unfamiliar People — Swelling of Monsterized Human Ego is organized by the Asian Art Museum. Presentation is made possible with the generous support of The Bernard Osher Foundation. Additional support is provided by Neiman Marcus, Sakana Foundation, and the W.L.S. Spencer Foundation.

Sustained support generously provided by the Akiko Yamazaki and Jerry Yang Endowment Fund for Exhibitions and the Kao/Williams Contemporary Art Exhibitions Fund.

Top: Qinghua: Grass Carp, Chinese Perch, and Lotus Flowers, 2019- (in production), by Takashi Murakami (Japanese, b. 1962). Acrylic on canvas mounted on aluminum frame. Courtesy of the artist and Perrotin. © 2019-23 Takashi Murakami/Kaikai Kiki Co., Ltd. All rights reserved.

Left: Installation view of Murakami Flower NFT paintings in the An Arrow through History exhibition at Gagosian, New York, 980 Madison Avenue, 2022. Photo by Joshua White.

NOV 17–DEC 31

OSHER FOUNDATION GALLERY

Born of a partnership with Daitokuji Ryokoin Zen temple in Japan and presented in collaboration with the Kyoto National Museum, The Heart of Zen offers a once-in-a-lifetime opportunity to encounter timeless treasures being shown outside of Japan for the first time since they arrived there over 400 years ago. While the exhibition checklist is brief — comprised of only two paintings — the close look it affords this pair of artworks reveals a long and fascinating history that traverses multiple Asian countries and spans nearly 800 years.

Persimmons (popularly known as Six Persimmons) and Chestnuts are ink paintings that depict seasonal fruits using spare but evocative brushwork, suggesting their subjects through gentle shifts in tonality. They are believed to have been painted by Muqi, a 13th-century Chinese monk whose signature styles were only briefly appreciated in his home country. “The Chinese viewed paintings with the hope of becoming one with the universe, experiencing the ethos of heaven and earth in accordance with orderly, established visual norms,” explains Kyoto University professor and former KNM curator Dr. Motoyuki Kure; in contrast, “for the Japanese, and in particular for connoisseurs within the burgeoning Japanese tea culture, nature was best rendered into an immersive experience through amorphous, bleeding ink.” As a result, Muqi’s work was exceptionally revered in Japan, where his method was given the honorific term “priest’s style” (osho-yo) and soon became a major influence on the Kano school, which dominated the country’s Chinese-style ink paintings through the nineteenth century.

The Heart of Zen is organized by the Asian Art Museum in partnership with Daitokuji Ryokoin Temple and with assistance from the Kyoto National Museum. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Presentation is made possible with the generous support of E. Rhodes and Leona B. Carpenter Foundation. Additional support provided by The Japan Foundation. Sustained support generously provided by the Akiko Yamazaki and Jerry Yang Endowment Fund for Exhibitions. Images: Persimmons and Chestnuts, attributed to Muqi (Chinese, active 13th century). Southern Song dynasty (1127–1279), 13th century. Hanging scroll; ink on paper. Collection of Daitokuji Ryokoin Temple. Important Cultural Property. Photos by Okada Ai, courtesy of the Kyoto National Museum.

The storied provenance, or history of ownership, of these two celebrated works is explored in The Heart of Zen, which traces their ascension to prominence via tea masters, abbots of Buddhist temples, and advocates of Zen practice. Since the 1600s, the paintings have been part of the Daitokuji Ryokoin Zen temple collection in Kyoto. During the Edo period they were included in well-regarded catalogues of antique art, and in 1919, they were designated Important Cultural Properties of Japan by the Japanese government. Perceptions of the paintings shifted in the twentieth century, when Western publications on Zen Buddhism featured Persimmons to such an extent that it became, briefly, a visual synonym for Zen practice. No longer considered the quintessential example of “Zen art,” these paintings are still significant emblems of the diverse artifacts valued within monastic life.

In 2017, Ryokoin temple abbot Kobori Geppo visited the Asian Art Museum. After being impressed by the museum’s

collection and moved by compassion for San Francisco’s underserved populations, the abbot selected the museum for the honor of exhibiting this pair of paintings outside of Asia for the first time. To safeguard these delicate works from light overexposure, Persimmons and then Chestnuts will be presented individually, one at a time, for only three weeks each.

“The heart of Zen” is a phrase used by the abbot of Ryokoin to describe daily Zen spiritual practice, the essence of which his predecessors recognized in paintings like Persimmons and Chestnuts. From Dec. 8–10, both important works will be on view together for a brief time. During this weekend the abbot of Ryokoin will present a dharma talk, including remarks on life in the temple followed by meditation sessions and a tea presentation. n

Ryokoin abbot walking to the monthly ritual at Daitokuji temple, Kyoto. Photograph © T. Minamoto.

Japanese Tastes in Chinese Ceramics TEA UTENSILS, KAISEKI DISHES, AND MORE

Japanese Tastes in Chinese Ceramics illuminates the longstanding artistic and cultural exchange between China and Japan — specifically, Japan’s enduring appreciation for Chinese art and culture — by exploring the role of Chinese ceramics in the Japanese tea tradition. The exquisite Chinese and Chineseinfluenced ceramics in this exhibition were selected from the Kyoto National Museum collection by curators from both the Asian Art Museum and the KNM. Historically, the display and use of Chinese artworks and ceramics allowed Japan’s early practitioners of chado (‘the Way of Tea,’ also known as chanoyu, ‘hot water for tea’) to demonstrate their refined taste and status. Even as the Japanese tea practice evolved toward a style honoring the simplicity of humbler Japanese-crafted objects — the wabi-sabi aesthetic that readers may associate with the world of Japanese tea today — Chinese ceramics continued to hold

a prestigious and influential place in Japan’s tea culture. The exhibition offers many opportunities for comparison and study: for example, an enameled 19th-century Kairakuen vase with raised arabesque patterns, produced under the patronage of Japan's elite Kishu Tokugawa lords, is paired with an example of the type of Ming dynasty (1368–1644) fahua ware that inspired it.

Japanese Tastes in Chinese Ceramics is the first project born from a 2021 partnership agreement between the Asian Art Museum and the KNM. “As an international collaboration between American and Japanese institutions that celebrates the legacy of Chinese ceramics,” says exhibition co-curator Yuki Morishima, associate curator of Japanese art, “this exhibition demonstrates how inspiration and influence can traverse time and space to connect cultures through art.” n

Tenmoku-type tea bowl with hare’s fur markings, approx. 1100s–1200s. China. Glazed porcelaneous stoneware (Jian ware). Lent by Kyoto National Museum. Photograph © Kyoto National Museum.

The Heart of Zen and Japanese Tastes in Chinese Ceramics

PROGRAMS

Details are subject to change. Please visit asianart.org for updates.

Friday, Nov. 17

Talk by Natsumi Morihashi, Chief Curator, Kyoto National Museum

1:30–3 PM

Free with museum admission

Saturday, Dec. 9

Dharma Talk and Tea Service with Ryokoin temple abbot Kobori

Geppo

Talk: 1–2 PM; Tea Sessions: 2:30–4 PM

Free with museum admission

Sunday, Dec. 10

Meditation Sessions with Ryokoin temple abbot Kobori Geppo

11 AM, 1 PM, and 2 PM

Free with museum admission

Sunday, Dec. 31

38th Annual Japanese Bell Ringing Ceremony

11:30 AM–2:30 PM

Free with museum admission

Reverend Gengo Akiba ringing the museum’s 16th-century bronze bell at the annual Japanese Bell Ringing Ceremony. The ceremony allows bell ringers to leave behind the bad experiences, wrong deeds and ill luck of the old year. Photograph © Asian Art Museum.

OPEN CALL

As an Asian American woman artist working on the West Coast, Bernice Bing (1936–1998) found herself an outsider to the mainstream art world. Into View: Bernice Bing, on view in Hambrecht Gallery through Dec. 4, 2024, gives today’s audiences a chance to connect with her powerful artwork, inspiring life story, and introspective, philosophical writings. To further extend the influence of Bing’s underrecognized legacy, the first open call in the museum’s history was issued in early 2023. In addition to literary works, this open call specifically sought submissions from artists working in the field of video art, facilitating a bridge between ideas and artmaking techniques of the past and the present.

Writers and video artists of any age and from any location were invited to submit works considering the role of Asian and Asian American art and cultures in contemporary art. From 249 submissions, 25 finalists were selected by a jury of accomplished artists, curators, and arts organization leaders from the local Asian American community. “The Bernice Bing Open Call exhibition provides emerging artists and poets — many of whom represent the next generation of upcoming Asian and Asian American women artists — the kind of platform and exposure that Bing never received in her lifetime,” says Into View curator Abby Chen, the museum’s head of contemporary art. Endlessly creative, intensely thoughtful, and often deeply poignant, the

finalists’ videos and texts can be seen on monitors installed in the Nancy B. Hamon Arcade through Dec. 11, 2023. n

SELECTED ARTISTS AND WRITERS:

Robin Birdd David, Meghana Bisineer, Kristiana 莊礼恩 Chan, Jennifer S Cheng, Jennifer Ling Datchuk, Anastasia Doantrinh Le, Anito Gavino & Malaya Ulan, Lamnho Giang, Sora Han, Kiana Honarmand, Dan Jian & Diana Abells, Kwinnie Lê, Bianca Lee, Diana Li, Sujin Lim, Sarah Matsui, Catherine Niu, Jenny Qi, Jacoub Reyes, Natalie Sasiprapa Organ, TT Takemoto, Justine Tamiko Lai, Jane Wong, Liwen Xu, J. Yùrú Zhōu.

JURORS:

Kim Anno (artist); Jason Bayani (artistic director of the Kearny Street Workshop); Naz Cuguoglu (assistant curator of contemporary art and programs at the Asian Art Museum); Melanie Elvena (programs manager, AAWAA); and Yuanyuan Zhu (director of galleries and programs at the Chinese Culture Center).

This open call was organized in collaboration with the Kearny Street Workshop, the Chinese Culture Center, and the Asian American Women Artists Association (AAWAA).

RESILIENT TRADITIONS: KOREAN AMERICAN STORIES TOLD THROUGH PAPER

Now on view in the collection galleries, Resilient Traditions uses hanji (traditional Korean handmade paper) as a foundation from which to explore the diverse approaches and experiences of Korean and Korean American artists. Hand-crafted from mulberry bark for 1,500 years, “hanji is soft and lightweight, but quite durable and strong,” says exhibition curator JuWon Park, Curatorial Assistant for Korean Art: “this versatility has led to its ubiquitous use in Korean daily life.” In Resilient Traditions, this highly adaptable quality offers a means to emphasize a multiplicity of identities. “There isn’t just one Korean or Korean American experience,” says Park; “by showcasing a variety of creative approaches to incorporating hanji, this exhibition highlights and celebrates the unique stories of the artists, as well as the way that each individual engages with their cultural heritage.”

A Pair by Kim Jeeun (Korean, b. 1965) features two sets of shoes referencing the gomusin rubber shoes popularized in Korea following the Japanese colonial period; here, they are impressively crafted from delicately perforated hanji. Such shoes — black for men and white for women — would traditionally be placed at the threshold of a house, facing outward; by arranging them in

opposite directions, Kim poses a subtly subversive challenge to gender norms and conventions.

The centerpiece of the exhibition, Daughter by Steph Rue (American, b. 1981) was inspired by bojagi (traditional Korean textiles often comprised of leftover fabric scraps) in the museum collection, a selection of which are displayed alongside Rue’s work. Painstakingly cut, hand-sewn, and woven together from pieces of hanji, Daughter incorporates images of the artist’s mother and grandmothers; pages from the Bible and Buddhist texts; and a moving message — “My daughter, you deserve to be safe. —Mom” — in Korean. “Quilted blankets are a common gift for brides in Korea,” says Park. “A quilt means safety and warmth. Rue took this idea of a gift to one’s daughter and created a hanji quilt, which she calls a love letter to her daughter.”

Resilient Traditions also includes works by Jiha Moon (b. Korea, 1973), Yoong Bae (American, b. Korea, 1928–1992), Koo Bohnchang (Korean, b. 1953), and Theresa Hak Kyung Cha (American, b. Korea, 1951–1982). Collectively, these works speak to the complexity and variety of contemporary Korean and Korean American stories. n

Above: A Pair, 2007. by Kim Jeeun (Korean, b. 1965). Korean mulberry paper (hanji ). Asian Art Museum, Gift of Kim Jeeun, F2008.20ab. Photograph © Asian Art Museum. Left: Daughter (detail), 2022. by Steph Rue (American, b. 1981). Korean mulberry paper (hanji ), cotton batting, cotton thread, found Bible pages, persimmon juice, inkjet print. Asian Art Museum, Gift of Steph Rue, 2023.35. Photograph © Asian Art Museum.

SALUTE TO STORYTELLERS

This year, we celebrate the 30th anniversary of the Asian Art Museum Storyteller Program. Founded by volunteers, this unique program aims to bring alive the magic of Asian stories and art for our youngest visitors. The goal is to give children from preschool age through fifth grade an experience that leaves them wanting to come back to the museum, hopefully with parents in tow.

Thousands of these young visitors — most from Bay Area primary schools — have come to the museum with their teachers and parents to hear authentic, age-appropriate Asian tales and practice close looking at related art objects. They often finish their tours with a hands-on art activity.

Storytellers also engage families with children of all ages during First Free Sundays at 11 a.m. and 1 p.m. Adults and children alike can enjoy exciting tales of samurai and tricksters, talking animals and magic paint brushes, and much, much more. Visit asianart.org/storytelling-tours to book school and group tours with Storytellers. n

support for education is

by

General

provided

the Dhanam Foundation; The William K. Bowes, Jr. Foundation Education and Research Fund; The Morrison & Foerster Foundation; Dodge & Cox; and The Joseph & Mercedes McMicking Foundation. Support is also provided by an endowment established by The Hearst Foundations. Images: Top: Celebration of the 30th anniversary of the Asian Art Museum Storyteller Program. Bottom: Children enjoying the Storyteller program from 1995–2004. Photographs © Asian Art Museum.

Tell me a fact and I will learn. Tell me a truth and I will believe. But tell me a story and it will live in my heart forever.

— INDIAN PROVERB

KORET WINDOW DISPLAY

Three times a year, we invite teachers to submit their applications to display their students' artworks in our Koret Classroom windows. Through October, this window display features artworks by classes from two schools: KIPP San Francisco College Preparatory and San Francisco Waldorf High School. Each class features a different approach and point of inspiration for their work. Teacher Anita Arellana from KIPP San Francisco College Preparatory writes: “Following a field trip to the Asian Art Museum in January, my AP Art students were so inspired by the Kongkee: Warring States Cyberpunk exhibition that they wanted to experiment with similar motifs and techniques. Our students are predominantly Latine, Black, and Asian — demographics that have been historically excluded from representation in most galleries and museums. Thinking about how to translate their chosen artist’s work into Kongkee’s style helped them to understand each artist on a deeper level while also exploring their own artistic identities.”

Meanwhile, San Francisco Waldorf High School teacher Yoriko Yamamoto’s class crafted traditional Japanese temari (hand-balls). Yamamoto writes: “High school students at the San Francisco Waldorf School created these temari balls to nurture their geometric skills, artistic abilities, and dexterity in stitching. The resulting works are beautiful gems made out of fiber!”

We are delighted to present this display of artworks exploring a range of traditions and identities. Having had the honor of hosting the SFUSD Arts Festival for more than 11 years, we proudly continue to present student artworks alongside recognized contemporary artists and traditional artworks from throughout Asia.

Visit education.asianart.org to learn more. n

Background Temari (hand-balls) by San Francisco Waldorf High School. Inset: Artwork inspired by Kongkee: Warring States Cyberpunk by KIPP San Francisco College Preparatory.

GALA AND AFTER-PARTY

WEDNESDAY, SEPTEMBER 13

5:30 to 10 PM

CHAIRS Sandy and Harry Cheung

Black Tie or Festive Attire

Proceeds from this sensational event support the Asian Art Museum’s mission to celebrate, preserve, and promote Asian and AsianAmerican art and cultures for local and global audiences. For more information, visit asianart.org/gala or contact gala@asianart.org. n

AFTER-PARTY

9 PM to 1 AM

Following the Gala, join us at the After-Party sponsored by 181 Fremont Residences for an unforgettable evening of art, dancing, live music, and a monstrously good time. Separate tickets and packages available.

AFTER-PARTY CHAIR Steve Chen

21+ to attend Black Tie Optional or Festive Attire

AFTER-PARTY SPONSOR

Photograph by RK (IG: @rkrkrk) ©Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

MURAKAMI MEMBER PERKS

Enjoy priority, members-only access to Takashi Murakami: Unfamiliar People — Monsterized Swelling of Human Ego tickets, merchandise, programs, and more.

Members at all levels enjoy free tickets and priority access to this exhibition, and we’ve got a few more treats coming your way! Tickets are available now — plan your visit today. n

MURAKAMI: MONSTERIZED EARLY ACCESS

Shopping Preview

Thursday, Sep 7, 11 AM–1 PM

Cha May Ching Museum Boutique

Jade Circle and Patron Levels

Get an early sneak peek at special exhibition merchandise and make your selections before the boutique opens to the public. RSVP to members@asianart.org or call 415.581.3740.

MEMBERS-ONLY MURAKAMI PRODUCT DROPS

Surprise Drop Dates

Cha May Ching Museum Boutique

All Members

Throughout the exhibition, we look forward to giving members first access to rare and limited-run merchandise from Takashi Murakami. Items will sell out quickly, so make sure your email on file is up to date to ensure you receive updates on these surprise drop dates.

MEMBER PREVIEW DAYS

Thursday, Sep 14, 10 AM–5 PM

Friday, Sep 15, 10 AM–1 PM

Tickets available online now!

OPENING CELEBRATION

Thursday, Sep 21, 6–10 PM

Priority Access for Patron, Friend, and Member Premium Levels: 6–7 PM

Members and Public Access: 7–10 PM

Dive into even more programming and perks at our Patron, Friend, or Member Premium levels. You’ll enjoy enhanced benefits yearround and additional opportunities for VIP experiences.

MEMBER VIEWING HOURS

Select Thursdays, 11 AM–1 PM

All Members

Thursday, Oct 5, 11 AM–1 PM

Thursday, Oct 19, 11 AM–1 PM

Thursday, Nov 2, 11 AM–1 PM

Thursday, Jan 4, 11 AM–1 PM

Thursday, Jan 18, 11 AM–1 PM

Thursday, Feb 1, 11 AM–1 PM

CURATOR’S CHOICE LECTURE

Date TBA

Jade, Patron, and Friend Levels

RHINO CLUB MEMBER MORNING

Saturday, Sep 16, 10 AM–12 PM

Rhino Club Households, Member Premium and higher levels

More to be announced! Keep an eye on the online calendar for added opportunities to view this incredible exhibition.

©Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.

DONOR ADVISED FUND

A CONVENIENT AND FLEXIBLE WAY TO SUPPORT THE MUSEUM

Many members use a Donor Advised Fund (DAF) to purchase their membership or donate to the Museum Fund. A DAF functions like a charitable savings account that centralizes your giving and optimizes your charitable tax deduction. It offers flexibility regarding how much and how often grants are sent to the Asian Art Museum Foundation. You can recommend a grant or recurring grants to make an immediate impact or use your fund as a tool for future charitable gifts.

Longtime Patron members Matthew Simis and Michael Gray share, “utilizing a DAF makes giving to our favorite nonprofits really easy. We can contribute appreciated assets directly from

our brokerage account to our charitable fund, which can then send out checks to the organizations we support. This is so much easier than trying to transfer shares directly to individual nonprofits.”

Our planned giving team would be happy to speak with you in confidence and with no obligation. Contact Kate McNulty at 415.581.3683 or kmcnulty@asianart.org to discuss using a DAF to support the museum and our mission. n

Above: Matthew Simis and Michael Gray on a recent trip to Japan.

Learn

GUMP SOCIETY BRUNCH

Richard B. Gump Society members have invested in the museum’s future through an estate gift. These gifts ensure that we can confidently plan ahead and continue to provide a venue where exceptional, thought-provoking work by Asian and Asian American artists can inspire the world.

We invite Gump Society members to join us on Oct. 12, 2023 for the annual brunch.

Interested in learning more about how a gift in your estate plan can support the museum’s vision for years to come? Contact Director of Individual and Legacy Giving Kate McNulty at kmcnulty@asianart.org or 415.581.3683. n

CELEBRATE AT THE ASIAN ART MUSEUM

Host a birthday celebration, romantic anniversary, or a memorable reunion with friends at the Asian Art Museum. Patron members are invited to book the Fisher Room for one complimentary reservation per year. Located on the museum’s first floor, Fisher Room’s warm lighting, flexible seating options, and no-fuss catering make it a convenient and inviting destination for any private gathering.

Reservations can be made for up to two hours for 15 people total. Catering is available through Asian Box, with delicious, gluten-free options and kid-friendly menus available.

Contact members@asianart.org or call 415.581.3740 to inquire about reserving the Fisher Room.

Planning a special occasion for a larger group? The museum also has beautiful spaces ideal for corporate events, meetings, weddings, anniversary celebrations, and more. Contact facilityrentals@asianart.org for more information on availability and event planning details. n

PATRON MEMBERS

A Sikh nobleman, perhaps Ranjit Singh, approx. 1820. India; Guler, Himachal Pradesh state. Ink, opaque watercolors, and gold on paper. Asian Art Museum, Gift of Ms. Louise A. Russell, 2022.52. Photograph © Asian Art Museum.

MURAKAMI: MONSTERIZED

IN THE CHA MAY CHING MUSEUM BOUTIQUE

A visit to Murakami isn’t complete without a stop in the Cha May Ching Boutique, where you’ll find something for everyone on your holiday gift list. The Boutique will be loaded with too many fun, colorful, and irresistible Murakami-themed goodies to list here; plus, we’ve been sworn to secrecy until the show opens. All we can reveal is that you’ll find the artist’s signature flowers in many forms, including skateboards (for the contemporary art lover with youthful knees); Flower Go Walk, a Tamagotchi-style digital pet

game; and a custom artist edition of Uno, the classic card game for all ages that brightens up any date night, slumber party, or visit to the grandparents. Draw Four! n

Stop by during your next visit or shop online at store. asianart.org. All proceeds support museum exhibitions and programs. Members enjoy a 10% discount (some limited edition merchandise excluded).

SPRING 2024 ARTS OF ASIA LECTURE SERIES

ECHOES OF THE PAST, VISIONS OF THE FUTURE

No culture exists in a vacuum, without a context or a past. During the Spring 2024 Lecture Series, we will examine the ways that historical ideas, forms, and techniques continue to shape the arts and cultures of today. We will travel throughout Asia, discussing archeological discoveries and following the ancient traditions that created a path to the present. Identifying and tracking the linkages and roots of contemporary art will help us illuminate the relationship between past and present in the methods and subject matter of today’s artists.

Lectures will be held on Fridays, January 19 through April 26, 2024, from 10:30 a.m. to 12:30 p.m. For registration information and a full list of speakers and topics, please visit societyforasianart.org. n

Join the Society for Asian Art

The Society for Asian Art (SAA) is an independent support organization for the Asian Art Museum that has been providing dynamic programs on Asian art and culture for more than 65 years. In addition to the Arts of Asia Lecture Series, SAA members enjoy literature and culture courses, visits to art galleries and artist studios, study groups, and opportunities to travel with scholars. We’d love to have you join us! For more information, please visit our website.

Left: Past Continuous Tense (detail), 2011, by Lam Tung Pang (Chinese, b. 1978, active Hong Kong and Vancouver). Charcoal, image transfer, and acrylic on plywood. Acquisition made possible by the Kao/Williams Foundation. Right: Landscape in the style of Ni Zan and Huang Gongwang, dated 1708, by Wang Yuanqi (Chinese, 1642–1715). Qing dynasty (1644–1911). Ink and colors on paper. Asian Art Museum, Museum purchase, B69D7. Photograph © Asian Art Museum. .

SCENE AT THE ASIAN

The museum continued to unite art lovers from near and far this year, fostering connections between individuals and communities while sparking inspiration across generations. n

We enjoyed your delightful company at the 2023 Annual Preview Luncheon. Members enjoy an evening celebration of Beyond Bollywood: 2000 Years of Dance in Art. Photograph by Katelyn Tucker.

Chitresh Das Youth Dance Company performers at the Member Opening Night of Beyond Bollywood. Photograph by Katelyn Tucker.

The Barbara Bass Baker Director and CEO Dr. Jay Xu with Congresswoman and Speaker Emerita Nancy Pelosi.

Assistant Curator of Contemporary Arts Naz Cuguoglu with Yuanyuan Zhu and Anastasia Doantrinh Le at the Bernice Bing Open Call Member Reception. Photograph by Adrian Spinelli.

Chief Curator Robert Mintz with guests at the Corporate Partner AAPI Heritage Month Celebration.

Annual Nexus Dinner guests eat a meal inspired by the museum’s artworks at Palette Teahouse. Photograph by Katelyn Tucker.

Gorretti Lui, Tinah Tanoto, and Yiying Lu enjoy a preview of the East West Bank Art Terrace at the Director’s Reception. Photograph by Katelyn Tucker.

FEATURED EVENTS

All programs are free for museum members and take place in person at the museum unless otherwise noted. Details subject to change; please visit asianart.org for updates.

22 / SUNDAY

ONGOING

The Intersection in the Shriram Experiential Learning Center, an Interactive Space for Drop-in Art Making

Daily

Art Cards Self-Guided Gallery Activity

DAILY

First Sunday Storytelling

First Sunday of each month

11 AM and 1 PM

Public Docent Tours September through January

Check out our online calendar for upcoming special exhibition and collection docent tours.Members receive a discount on private docent tours. For more information contact members@asianart.org.

SEPTEMBER

21 / THURSDAY

Murakami: Monsterized Opening Party

6–10 PM

Ticket price: $25 all-inclusive for public portion

OCTOBER

8 / SUNDAY

Buffalo Soldiers in the Philippine-American War: A Crisis of Conscience

2:30–4:15 PM

Free with museum admission

15 / SUNDAY

Chang Dai-Chien Film Screening

1–3 PM

Free with museum admission

19 / THURSDAY

Yokai and Monsters in Japanese

Art: A Conversation between Michael Dylan Foster and Laura Allen

6:30–7:30 PM

Free with museum admission

Superfest: Disability Film Festival

1–4 PM

Free with museum admission

NOVEMBER

17 / FRIDAY

Talk by Natsumi Morihashi, Chief Curator, Kyoto National Museum

1:30–3 PM

Free with museum admission

DECEMBER

9 / SATURDAY

Dharma Talk and Tea Service with Ryokoin temple abbot

Kobori Geppo

Dharma Talk 1–2 PM; Tea Service

2:30–4 PM

Free with museum admission

10 / SUNDAY

Meditation Sessions with Ryokoin temple abbot Kobori Geppo

11 AM, 1 PM, and 2 PM

Free with museum admission

31 / SUNDAY

38th Annual Bell Ringing Ceremony

11:30 AM–2:30 PM

Free with museum admission

JANUARY

27 / SATURDAY

AntingAnting with KulArts

11 AM–4 PM

Free with museum admission

28 / SUNDAY

AntingAnting with KulArts

11 AM–4 PM

Free with museum admission

Dr. John Calloway’s multidisciplinary performance Buffalo Soldiers in the Philippine American War: A Crisis of Conscience comes to Samsung Hall on Sunday, October 8.

FEATURED MEMBER EVENTS

We’re always planning new events and programs for you to enjoy as a member of the Asian Art Museum. Please visit the online calendar for a full and regularly updated schedule and for more details on the events listed below. Events take place in person at the museum unless otherwise noted.

ONGOING

Members-Only Docent Tours

Our knowledgeable and friendly docents will share insights about the collection and special exhibitions. Tours are held on the first Monday at 1:30 PM and third Saturday at 10:30 AM of each month. Advance reservations are required.

SEPTEMBER

7 / THURSDAY

Murakami: Monsterized

Member Shopping Preview

Cha May Ching Museum Boutique

11 AM–2 PM

Jade and Patron level members

13 / WEDNESDAY

Murakami: Monsterized

Annual Gala and After-Party

Tickets Required

14 / THURSDAY

Murakami: Monsterized

Member Preview

10 AM–5 PM

Open to all members

14 / THURSDAY

Murakami: Monsterized

Opening Reception

Jade Circle and Nexus members

15 / FRIDAY

Murakami: Monsterized

Member Preview

10 AM–1 PM

Open to all members

16 / SATURDAY

Murakami: Monsterized

Member Morning

10 AM–12 PM

Member Premium and above

27 / WEDNESDAY

Virtual Lecture Series

The Silk Road: Globalization in the Ancient World

10–11:30 AM

Open to all members

OCTOBER

5 / THURSDAY

Richard B. Gump Society Brunch

11 AM–1 PM

Open to Gump Society members

11 / WEDNESDAY

Virtual Lecture Series

Seeking the Divine: Deities of Asian Religions

10–11:30 AM

Open to all members

NOVEMBER

8 / WEDNESDAY

Virtual Lecture Series

Demons and Creatures and Monsters — Oh My!

10–11:30 AM

Open to all members

DECEMBER

13 / WEDNESDAY

Virtual Lecture Series

Persia: Crossroads of Art and Culture

10 AM–11:30 AM

Open to all members

JANUARY

10 / WEDNESDAY

Virtual Lecture Series

Lunar New Year (Year of the Dragon)

10–11:30 AM

Open to all members

FEBRUARY

14 / WEDNESDAY Virtual Lecture Series

TBD

10–11:30 AM

Open to all members

MUSEUM HOURS

From Sept. 15, 2023 to Feb. 12, 2024, the museum will have extended public hours (and adjusted hours in December):

Fri–Mon 10 AM–6 PM (from 5–6 PM, only the Pavilion will remain open; all other galleries will be closed during this hour)

NEW MUSEUM HOURS

Thu 1–8 PM (DECEMBER ONLY: Thu 10 AM–5 PM)

The Cha May Ching Boutique will stay open 30 minutes past closing to accommodate the last remaining guests.

Visit asianart.org for additional closings and special hours, and check calendar.asianart.org for updates.

asianart.org @asianartmuseum

Pioneering local company ShadowLight performing in Samsung Hall on Apr. 13, 2023.

ASIAN ART MUSEUM

Chong-Moon Lee Center for Asian Art & Culture asianart.org

200 Larkin Street San Francisco, CA 94102 USA