SUMMER 2016 The Asian Art Museum Members’ Magazine
This spring, on the occasion of our 50th anniversary, the Asian Art Museum received a letter from President Barack Obama acknowledging our work sparking conversation and creativity through the arts.
TABLE OF CONTENTS
SUMMER 2016 /// VOL. Vl, ISSUE ll The Asian Art Museum Members’ Magazine MAGAZINE STAFF Tim Hallman, Editor-in-Chief Kate Johnson, Director of Membership Kate Ritchey, Creative Director Amy Browne, Art Director / Graphic Designer Beth Tagawa, Writer / Editor Meghan Lee, Membership Associate Published by the Asian Art Museum Chong-Moon Lee Center for Asian Art & Culture 200 Larkin Street, San Francisco, CA 94102 415.581.3500 · www.asianart.org · magazine@asianart.org Copyright © 2016 Asian Art Museum of San Francisco
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Cover: Vase with revolving core and eight-trigram design, approx. 1744. Jingdezhen, Jiangxi province, Qing dynasty, reign of Emperor Qianlong (1736–1795). Porcelain with golden glaze, polychrome decoration, and appliquéd sculpture. National Palace Museum, Taipei, Guci 017214 Lie-408. Photograph © National Palace Museum, Taipei. Back cover: Walking on a path in spring (detail), by Ma Yuan (active approx. 1160–after 1225), calligraphy attributed to Zhao Kuo (Emperor Ningzong, 1168–1224). Southern Song dynasty, reign of Emperor Ningzong (1195–1224). Album leaf, ink and color on silk. National Palace Museum, Taipei, Guhua 001289-13. Photograph © National Palace Museum, Taipei. Below: Jay Xu. Photography by Quincy Stamper.
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In this issue, you’ll also discover new works in our collection, both modern and traditional. Renowned Chinese artist Liu Jianhua has transformed our Loggia with the contemporary art installation Collected Letters (page 14). We’re also thrilled to have received a major gift of Japanese ink paintings (page 24), many by Edo-period masters, which significantly adds to our holdings in this area. And we’re giving you the inside scoop on our plans for a new pavilion (page 22), which will revolutionize the way we present special exhibitions. We’re proud to move into our next chapter with a clear vision for better fulfilling our mission: to awaken the past and inspire the next. SEE YOU AT THE MUSEUM!
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FROM THE DIRECTOR JAY XU — Fifty is fabulous! And to prove it, the centerpiece of this milestone year is a monumental exhibition, Emperors’ Treasures, which showcases imperial artworks from one of the world’s finest collections of Chinese art (read all about it on page 6). As co-curator of the exhibition, I’m particularly excited that you — our members, supporters and fans — will be the first American audience to see many of these objects as they visit this country for the first time.
ART BITES
NEWS FROM THE ASIAN ART MUSEUM
WELCOME ABOARD After a rigorous search, the museum welcomes Dr. Fan (Jeremy) Zhang as our new senior associate curator for Chinese art. He joins Li He, associate curator, to organize special exhibitions and oversee the care and interpretation of the museum’s renowned collection of Chinese art. Trained as an archaeologist in his native China, Zhang comes from the John and Mable Ringling Museum of Art in Sarasota, Florida, where, as the Helga Wall-Apelt Associate Curator of Asian Art, he oversaw the development of its brand new Center for Asian Art. Zhang holds a Ph.D. from Brown University and an M.A. from Vanderbilt University, both in art history, and has held research positions at the Metropolitan Museum of Art, the Rhode Island School of Design Museum and the Smith College Museum of Art. Among his broad academic interests are the art and archaeology of middle-period East Asia, the material culture of China’s Conquest Dynasties, the Silk Road trade and cultural exchange, and the early history of Asian art collections in North America. Zhang, who officially joins the museum on Jun. 1, brings extensive experience with collection research and enhancement, new gallery launch and expansion program, as well as the organization of international exhibitions. With another major Chinese exhibition in the works (more on that in our next issue), he’s hitting the ground running. n
CAFE ASIA HIGHLIGHT: DONGPO PORK Has the “meat-shaped stone” (page 10) left you with a serious craving? We’ve got you covered. Dongpo rou, the braised pork belly dish rendered so realistically in jasper by an unknown Qing-dynasty artist, is available at Cafe Asia to coincide with Emperors’ Treasures. Chef Melinda Quirino seasons the pork with soy sauce, sugar, ginger and other ingredients for a mouth-
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watering blend of sweet and savory, then braises it for over two hours to achieve the signature succulent texture. Feast your eyes on the art, then enjoy a literal feast. Want more priceless pork belly? Several San Francisco chefs will be offering their take on dongpo rou at their restaurants from Jun. 17 through Jul. 18. For details, visit www.asianart.org. n Above: Photograph courtesy of Fan Zhang. Right: Photograph © Asian Art Museum.
ART BITES
YOUR FAVORITE THINGS (50 OF THEM!) One member fondly recalls sketching Reina, our bronze rhino vessel, for an art history class back in 1978. A fan is instantly calmed by the serenity of a Japanese Buddha sculpture. And a staff member finds inspiration for “Star Wars,” “Harry Potter” and “The Lord of the Rings” in a battle scene from an Indian epic poem. In celebration of our 50th anniversary, these artworks, and 47 more, have been voted as favorites from among our remarkable collection of over 18,000 objects. Visit our galleries and you’ll find out why: We’ve added labels that share, in our fans’ own words, what makes a certain work their number one. That means that alongside the standard label text shedding light on artistic or historical context,
From left to right: Terese Bartholomew, Bruce Bartholomew, Yoshiko Kakudo, Glenn Glasow. Photograph by Air News Photos.
you’ll now find visitor comments, be they poetic,
IN REMEMBRANCE
poignant, nostalgic or just plain quirky (like the fan
Milestone anniversaries are often opportunities to reflect on the past. In
who admits wanting to hug the giant granite bull Nandi). We hope these perspectives encourage you to consider our collection in new ways. As you stroll through the galleries, keep an eye out for labels highlighting our “50 Favorite Artworks.” And if you’re feeling inspired, you can still vote. Visit 50faves.asianart.org and let us know which object makes your heart go pitter-patter. Since you can’t actually hug the art (sorry, Nandi admirer!), share your love with words. n Photograph © Asian Art Museum.
recent months, two sad events remind us of the many who have contributed to building this museum and establishing its world-class reputation, some who are no longer with us. Yoshiko Kakudo, the museum’s first curator of Japanese art, passed away in January. In addition to her three decades serving the museum, she was an accomplished potter, calligrapher and poet. “She was a truly amazing woman and played a significant role in the development of this museum,” says John Stucky, museum librarian. “Our Japanese galleries still reflect her taste and vision.” Last November, former Asian Art Commission chair and longtime docent Phoebe McCoy passed away. Remembered for her keen intelligence and zestful spirit, McCoy was a forceful advocate for the docent program and was actively involved in organizing educational The passing of Yoshi and Phoebe remind us that the museum is able to celebrate 50 years because of the hard work of thousands of staff, volunteers and friends who’ve guided us to this important milestone. We are grateful for their commitment and their leadership. n
Phoebe McCoy. Photograph courtesy of Emily Newell.
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programming for the Society for Asian Art.
EDUCATION & PUBLIC PROGRAMS
TASTING MENU:
SERVING UP A FRESH TAKE ON FOOD AND ART
An artist builds on tradition by expressing a unique vision. The same can be said for a chef developing a new recipe. On the surface, food and art may not seem to have much in common, but parallels abound. Our new series Tasting Menu explores these intersections.
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Bay Area foodies share their culinary philosophies and find resonance in the museum’s collection, such as objects that were created as vessels for food or paintings depicting feasts. “The goal is to get visitors to consider culture, tradition and identity as expressed through food, just as these ideas are conveyed through art,” says Silvia Chang, educator for public programs, who organizes Tasting Menu. “I want our visitors to walk away with a new understanding of how traditions still inform food today.” Chang has chosen presenters whose cooking, at its core, is traditional, but with an innovative spin. During the first program, held in April, chef Mariko Grady of Aedan Fermented introduced the fermentation process central to many Japanese foods and helped guests make their own miso. She referenced traditional Japanese bamboo baskets, symbolizing the values of nature she embodies in her cooking philosophy. The next Tasting Menu, on Jun. 23, will be hosted by Kevin Kiwata and Curtis Lam, the duo behind popular food truck The Chairman, also a brick-and-mortar restaurant just a few blocks up Larkin Street from the museum. They’ll give a behind-the-scenes glimpse into the food truck industry, dish about bao (the signature buns that drive their long lines), and talk about Taiwanese American artist James Jean, who designed their logo and is represented in the museum’s collection. On Jul. 21, meet pop-up restaurateurs Valerie Luu and Katie
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Kwan of Rice Paper Scissors, who fuse Vietnamese street food with Californian sensibilities. Joined by photographer Andria Lo of local blog Chinatown Pretty, they’ll discuss how tradition is passed through generations via both food and fashion. And, as the series’ name suggests, presenters always share a taste of their cuisine. “I’m excited about creating an atmosphere that helps Above: The Chairman’s baos. Photograph by Michelle Nicole Photography. Below: Pho rolls by Rice Paper Scissors. Photograph by Andria Lo.
people appreciate art through the easy access point of food,” Chang says. n
EDUCATION & PUBLIC PROGRAMS
It sounds like the start of a joke: A filmmaker walks into an art museum, and they let him take over. Two restaurateurs do the same, then a comedian. It’s unconventional to be sure, but it’s no gag. TAKEOVER, a Thursday evening series launched this spring, invites creative minds in film, music, food, design and other fields to
TAKEOVER:
CREATIVE MINDS SEIZE THE MUSEUM
use the museum as a forum to share their ideas and influences. “The museum is a center for culture, and that goes beyond visual arts,” says Marc Mayer, senior educator of contemporary art and organizer of TAKEOVER. “Our collection
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delves into so many facets of life — from theater to spiritual thought to food to design — so it’s important to provide a contemporary lens that speaks to those different facets.” For the inaugural program on Mar. 17, Bay Area filmmaker H.P. Mendoza, best known for his celebrated micro-budget film “Colma: The Musical,” brought his movies, music and other inspirations to life in a rowdy mash-up of chiptune beats, 3D video and a museum-specific alternate reality game. The next event, on Aug. 4, will be helmed by Karen Leibowitz and Anthony Myint, founders of revolutionary restaurants Mission Chinese Food and The Perennial (dedicated to environmental sustainability), which opened this January. “We’ve always tried to think of our restaurants as if they were also art projects, in the sense that they can be used to communicate and inspire different kinds of thoughts and feelings,” says Leibowitz. “We’re happy to have the opportunity to work through our ideas in a new context.” Writer, performance artist and comedian Kristina Wong, who explores and explodes racial stereotypes, will take over the museum on Sep. 8. “It’s exciting that the museum is celebrating individuals and ideas that are shaping our cultural landscape,” Mayer says. “Simultaneously, through TAKEOVER, these individuals are helping us understand and define what a museum in the 21st century can be. In short, something extraordinary.” n
The first TAKEOVER was a mash-up of video games, film and chiptune music. Photograph by Quincy Stamper. Thursday Nights are supported in part by The Hearst Foundations, Inc., The Joseph & Mercedes McMicking Foundation, Dodge & Cox, and The Morrison & Foerster Foundation.
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from the
N AT I O N A L PA L AC E M U S E U M, TA I P E I
Jay Xu readily admits that his job title (which is, of course, museum director and CEO) does not do full justice to his passion. “What motivates me in all that I do is art,” says Xu, a seasoned curator and respected scholar. “I’m dedicated to advancing this institution as its director, but in my heart I’ll always be a curator.” Luckily for Xu, and for museum visitors, he got to take on both roles to spearhead this summer’s once-in-a-lifetime exhibition. Balancing the hustle and bustle of his directorial duties, Xu jumped back into the curatorial saddle to help bring more than 150 fascinating objects from one of the world’s greatest collections of Chinese art to the United States, many for the first time. From Jun. 17 through Sep. 18, the Asian Art Museum presents Emperors’ Treasures: Chinese Art from the National Palace Museum, Taipei, a survey of exceptional imperial art explored through the stories of nine rulers. Art from this world-renowned institution rarely travels outside of Asia — in fact, this exhibition represents the first time in 20 years that many of its masterpieces will be on view in this country. “This is the absolute ‘best of the best’ of Chinese imperial art,” Xu says. “Jade, paintings, ceramics, calligraphy … This will be a rare opportunity to experience these priceless treasures.”
JU N 17 – S E P 18, 2 016
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Opposite: Glass vase with design of peony blossoms (detail), by the Imperial Workshop, Beijing. Qing dynasty, reign of Emperor Kangxi (1662–1722). Glass with polychrome decoration. National Palace Museum, Taipei, Guci 017588 Lie-360-73. Photograph © National Palace Museum, Taipei. Above: Pillow in the shape of a reclining boy. Ding kiln, Hebei province, Northern Song dynasty (960–1127). High-fired ceramic with glaze. National Palace Museum, Taipei, Guci 004923 Wei-526. Photograph © National Palace Museum, Taipei.
SUMPTUOUS ARTIFACTS FIT FOR (AND MADE BY) EMPERORS For millennia, Chinese emperors collected luxurious goods, arts and antiquities — treasures of extraordinary splendor, beauty and richness. But the decision to amass the exquisite was not only aesthetically motivated; it was also a distinctly political action. Deeply rooted in the Chinese psyche was the idea that the custodianship of culture bestowed political legitimacy. Emperors justified their power by developing their own artistic talents and accumulating artworks made by their most talented contemporaries and skilled craftsmen from dynasties past. During the 800 years covered in Emperors’ Treasures, dynastic tastes
“Gazing upon rulers’ treasure troves, we get a sense not only of how their tastes influenced the creative endeavors of their time, but also how they wielded art as a tool to shape history,” Xu explains.
ranged from the dignified Song (960–1279) to the bold yet subtle Yuan (1271–1368), and from the brilliant Ming (1368–1644) to the dazzling Qing period (1644–1911). The fact that rulers built collections that were rarely seen outside the court created a mysterious aura around the artworks that captured public fascination — an allure that still endures. Some rulers boasted remarkable artistic talents, and their impact on
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Grotesque Stones in the slender-gold style of calligraphy (detail), by Zhao Ji (Emperor Huizong, 1082–1135). Northern Song dynasty (960–1127), reign of Emperor Huizong (1100–1125). Album leaf, ink on paper. National Palace Museum, Taipei, Gushu 000242-2. Photograph © National Palace Museum, Taipei.
the arts was profound. Emperor Huizong of the Song dynasty, for example, developed a one-of-akind calligraphic style called “slender-gold,” with thin but forceful strokes evoking the twists and turns of gold filament. Ming dynasty emperor Xuande was recognized as an accomplished painter and calligrapher, and Qing dynasty emperor Qianlong as the most comprehensive collector, whose holdings formed the core of the imperial collection as we know it today. Works created by these and other emperors are a must-see component of this summer’s exhibition.
EXHIBITION CATALOGUE A 272-page catalogue accompanies the exhibition. Edited by Museum Director Jay Xu and Associate Curator of Chinese Art Li He, the book includes stunning images of nearly 180 works. Insightful essays by Ho Chuan-hsin, Alfreda Murck, Tianlong Jiao and Li He and lively descriptions of the works by curators from the National Palace Museum, Taipei, and the Asian Art Museum of San Francisco offer a wealth of material for Chinese art novices and enthusiasts alike. Paperback $35 (member price $31.50) Hardcover $50 (member price $45) This publication is made possible with generous support from the Bei Shan Tang Foundation.
AN OUTPOURING OF SUPPORT White Falcon (detail), by Lang Shining (Giuseppe Castiglione; Italian, 1688–1766). Qing dynasty, reign of Emperor Qianlong (1736–1795). Hanging scroll, color on silk. National Palace Museum, Taipei, Guhua 000958. Photograph © National Palace Museum, Taipei.
Emperors’ Treasures has received more philanthropic support than any exhibition in the museum’s history, from a wide range of individuals, corporations and foundations. This enthusiastic and generous participation is underscored by the unprecedented support
A TOP-FLIGHT SPONSOR
of presenting sponsor The Robert H. N. Ho Family Foundation. The Foundation is recognized for its influential
process with lots of moving parts — and people. To get
work sharing Chinese art and culture around the
artworks, museum staff and special guests from point A to
world, among myriad other achievements.
point B, the museum has been fortunate to receive generous
“I hope that audiences will gain a deeper ap-
support from United Airlines. Since the inauguration of its
preciation for China’s vibrant culture, an important
daily nonstop flight from San Francisco to Taipei in March
aspect often overlooked with today’s overwhelming
2014, United has donated flights for research trips, courier
emphasis on geopolitics and the economy,” says
travel to ensure art arrives safely, and to enable dignitaries to
founder Robert H. N. Ho. “There is much to be
attend the exhibition’s opening.
learned from the ageless beauty on display."
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Organizing a major international exhibition is a complicated
A HOME FOR UNPARALLELED TREASURES The Palace Museum opened in Beijing in 1925 to protect and display the country’s cultural artifacts. But after Japan invaded, to ensure the collection’s safety, tens of thousands of treasures were moved to Shanghai and Nanjing and then onward to inland regions in southwest China starting in 1933. Some of the collection’s most precious objects were then relocated by the Nationalist government to Taiwan in 1948 and 1949 amid the Nationalist-Communist Civil War. In 1965, a permanent museum facility, the National Palace Museum (NPM), opened in Taipei. It was expanded and enhanced in subsequent years to become an appropriately magnificent home for the artifacts within. One of the NPM’s most celebrated objects appears in this country for the first time. The “meat-shaped stone,” a piece of jasper intricately carved into the mouthwatering shape of braised pork belly, is expected to captivate visitors. (When the stone was on view in Japan in 2014, it was seen by an average of 6,000 people a day.) Emperors’ Treasures also features some of the world’s finest examples of Chinese ceramics,
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Left: Meat-shaped stone, approx. 1800–1900. Qing dynasty (1644–1911). Jasper with gold stand. National Palace Museum, Taipei, Guza 000178 Lü-413. Photograph © National Palace Museum, Taipei. Right: Vase with West Asian entertainers. Jingdezhen, Jiangxi province, Ming dynasty, reign of Emperor Yongle (1403–1424). Porcelain with underglaze cobalt decoration. National Palace Museum, Taipei, Guci 012549 Que-441. Photograph © National Palace Museum, Taipei.
a particular delight to Associate Curator of Chinese Art Li He, who curated the exhibition with Xu and is a renowned expert in the field. Objects include a rare vase from the official Ru ware of the Northern Song dynasty; one of only two surviving blue-and-white Ming vases depicting West Asian entertainers; and what is known by experts as the “holy grail” of Chinese porcelains, a cup with a chicken design (a similar piece sold at auction for $36 million in 2014). “This is a great opportunity to appreciate the elegance and beauty of Chinese ceramics,” Xu says. “We don’t have these kinds of pieces in our collection, and you’ll rarely see a grouping of ceramics of this caliber anywhere in this country.”
Left: Vase carved with Emperor Qianlong’s poem on the base. Official Ru kiln, Henan province, Northern Song dynasty (960–1127). High–fired ceramic with celadon glaze. National Palace Museum, Taipei, Guci 017856 Kun-223-5. Photograph © National Palace Museum, Taipei. Right: Cup with chicken design. Jingdezhen, Jiangxi province, Ming dynasty, reign of Emperor Chenghua (1465–1487). Porcelain with underglaze and overglaze polychrome decoration. National Palace Museum, Taipei, Guci 005189 Cang-164-19-1. Photograph © National Palace Museum, Taipei.
AN EXTRAORDINARY EXHIBITION FOR A L ANDMARK YEAR The NPM partnership comes with a valuable exchange opportunity.
President Avery Brundage, which had Chinese art at its core. Add-
Late next year, works of art from the Asian Art Museum will serve
ing another layer of resonance is the fact that Brundage was ac-
as ambassadors traveling to the NPM’s newly opened Southern
tually inspired to start his collection in 1936 after seeing a major
Branch, where they’ll be part of a three-month special exhibition.
exhibition of Chinese art at the Royal Academy in London — which
“We’re always grateful for chances to raise awareness about the excellence of our collection, particularly in Asia, and to share our art with global audiences,” Xu says. Arranging this exchange — the presentation of Emperors’
featured objects from the Palace Museum. “Having this exhibition coincide with our 50th birthday seems a fitting way to recognize Mr. Brundage’s legacy and the museum’s roots,” Xu says.
Treasures here and the reciprocal travel of Asian Art Museum
But it’s also about looking toward the future: giving new
masterpieces to Taiwan — was a multiyear undertaking, one likely
audiences rare access to significant art, furthering the museum’s
helped along by Xu’s cachet as museum director and his infectious
reputation for organizing groundbreaking exhibitions — in short,
passion for the project. He began making inroads at NPM soon after
starting the next 50 years on the right note. “I’m excited to launch the next chapter of our history with an exhi-
2014 to mount the exhibition as the centerpiece of the Asian Art
bition of such profound importance,” Xu says. “Balancing my duties
Museum’s 50th anniversary year. The timing is especially apt, Xu says, since the museum was founded based on the stellar collection of Olympic Committee
as director and curator has been challenging, but it’s also immensely rewarding. I hope visitors will be as thrilled with this exquisite body of work as we are about sharing it.” n
Emperors’ Treasures: Chinese Art from the National Palace Museum, Taipei is co-organized by the Asian Art Museum of San Francisco and the National Palace Museum, Taipei. Presentation is made possible with the generous support of The Robert H. N. Ho Family Foundation, Henry Luce Foundation, Doris Shoong Lee and Theodore Bo Lee, Robert and Vivian Tsao, Diane B. Wilsey, East West Bank, United, Alphawood Foundation, E. Rhodes and Leona B. Carpenter Foundation, BizLink Technology, Inc., Jamie and Steve Chen, Lee Chen, Christie's, C.M. Capital Corporation, Fred Eychaner, Winnie and Michael Feng, Doug Tilden and Teresa Keller Tilden, The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, The American Friends of the Shanghai Museum, Julia K. Cheng, Cheng & Tsui Company, Fred M. Levin and Nancy Livingston, The Shenson Foundation, H. Christopher Luce and Tina Liu, Ministry of Foreign Affairs, R.O.C., and anonymous donors. This exhibition is supported by an indemnity from the Federal Council on the Art and the Humanities. Media sponsors: ABC7, KQED, Sing Tao Daily, World Journal, Sina. Presenting Sponsor
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becoming director in 2008, eventually reaching an agreement in
MEMBER SWEEPSTAKES
WIN THE TRIP OF A LIFETIME TO TAIWAN! The Membership department is thrilled to present a sweepstakes for a trip for two to Taiwan! One lucky winner and a guest will spend five unforgettable days in Taiwan, including a visit to the National Palace Museum, Taipei.
Grand prize includes: • Five days of adventure and exploration, led by My Taiwan Tour • Business-class, round-trip airfare provided by China Airlines • Hotel accommodations
Ready to pack your bags? You’ll fly in style with China Airlines, whose innovative 777 NexGen cabin design won the prestigious Red Dot Design Award in 2015. China Airlines’ 777-300ER Premium Business Class is loaded with luxury features, including 180-degree flat-bed seats and 18-inch personal screens. The Ray
Enter the sweepstakes by visiting www.asianart.org/taiwantrip and completing the opt-in form.
Chen-designed Sky Lounge integrates Eastern and Western cultures through
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culinary and literary experiences, including the “Literary Tea-Tasting Area.”
Below: National Palace Museum, Taipei. Photograph by Daniel M. Shih.
MEMBER SWEEPSTAKES
Day 1, Taipei: REVERENCE AND MEDITATION Explore the oldest temple in Taipei surrounded by the stunning, contemporary architecture of the Taipei Expo Park area.
Day 2, Taipei: BUSTLING MARKETS AND SKY-HIGH VIEWS Experience the lively markets of Dihua Street, the historic and colorful town houses of Bo-Pi-Liao, and Taipei 101, the first “world’s tallest building” completed in the 21st century and celebrated for its distinctive, bamboo-inspired shape.
Day 3, Taipei: 5,000 YEARS OF ART AND HISTORY Discover the National Palace Museum, Taipei, with your own private guide, tour the historic Fort San Domingo and Tamsui Old Street, and end the day cycling along the beautiful Tamsui River.
Day 4, Hualien: WONDERS OF THE NATURAL WORLD Journey into the marble canyons of the Taroko National Park and admire the black crystals and pure blue seas of Chishingtan Beach. After the sun sets, ignite your senses at a night market.
Day 5, Hualien, Taipei: ART COMES ALIVE After taking in the sweeping views of the
Above: Taipei, Taiwan. Below: Taroko Gorge. Photographs courtesy of My Taiwan Tour.
Songshan Cultural and Creative Park, as well as Asia’s first Liuli (crystal art) workshop, Liuligongfang. That evening, cap your visit at Din Tai Fung, selected as one of the top ten restaurants in the world by the New York Times and internationally celebrated for its xiaolongbao dumplings. n
Not a current member? Join or renew by calling 415.581.3740, visiting us on-site at the member desk, or going online at www.asianart.org/membership. No purchase necessary. Enter now through Sep. 18, 2016. Limit one entry per household. Open to legal U.S. residents who are 18 or older at time of entry. Void where prohibited or restricted by law. See Official Rules at www.asianart.org/taiwantrip. Sweepstakes winner must book trip between Sep. 20, 2016 through Dec. 20, 2016 and trip must occur within three months of the booking date.
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Chingshui cliffs, visit “the creative hub of Taipei,”
ON VIEW
COLLECTED LETTERS
AN INSTALLATION BY LIU JIANHUA ONGOING | 2ND FLOOR | LOGGIA
Climb the grand staircase to our elegant Loggia and be amazed. Porcelain letters and elements of Chinese characters, suspended in midair, mingle in an artistic and engineering marvel that invites you to hunt for meaning. In honor of our 50th anniversary, Liu Jianhua, one of China’s foremost installation artists, has created Collected Letters, a thought-provoking, site-specific artwork that resonates with the museum’s architecture, collection, history and mission. Opened in 1917 as San Francisco’s Main Library, the building was reinvented as a modern museum in 2003. But traces of its past linger, nowhere more noticeably than in the Loggia. The gallery’s upper lintels are inscribed with solemn quotes about education and morality that call to mind the building in its former life, filled with books and industrious readers. “Gold can be taken away but knowledge is thine forever,” the walls intone from above. “To be content with what we possess is the greatest of all riches.” After exploring the museum and considering possibilities for the piece, Liu was inspired to deconstruct these maxims into their most basic form (letters of the alphabet) and juxtapose them with Chinese radicals (the building blocks of characters), playing on the historic ceramics on view nearby. “I want to give a visual experience of language. The letters and radicals are very closely linked up top and more sparse toward the bottom,” Liu says. “I want to give the impression of moving from the past to today.” Balancing the traditional and the cutting edge makes sense for this artist. At age 14, Liu began his studies at the Jingdezhen Ceramics Factory in China’s longtime center for porcelain production, where he worked for the next eight years to master the craft. From there, he charted his own path, emerging with the Chinese avant-garde in the 1980s. “This installation functions as an interruption, creating something surprising for visitors as they progress through the galleries,” explains Karin Oen, assistant curator of contemporary art. “It’s also something that people relate to differently on a physical level because it’s large and suspended from the ceiling rather than a small object in a case. It helps people slow down and think about art in a new way.”
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The fabrication and engineering expertise behind Collected Letters are also worth pausing to consider. In summer 2015, Liu Jianhua and his team began calculating and sketching to determine the installation’s weight and size limits. Liu then used a computer program to model three-dimensional forms for 40 Chinese radicals and the letters of the Roman alphabet Above: Liu Jianhua. Opposite: Collected Letters, 2016, by Liu Jianhua (Chinese, b. 1962). Porcelain, steel, and monofilament. Asian Art Museum, Acquisition made possible by the Society for Asian Art in honor of the Asian Art Museum’s 50th Anniversary, F2016.2. © Liu Jianhua. Photographs © Asian Art Museum.
(both upper- and lowercase) and created foam mockups. Liu traveled to Jingdezhen, home of his workshop, to begin the painstaking fabrication process. Each piece was individually cast, then dried, glazed white and fired. It took the artist and his team of 20 assistants more than five months to produce 3,000 pieces, 1,600 of which are used in the installation.
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ON VIEW
Meanwhile, back in San Francisco, preparation was in full swing. A custom steel lattice had to be fabricated to support the artwork’s weight — more than a ton. And the lattice itself weighs an additional 1,200 pounds. Figuring out how the Loggia’s ceiling could support this massive load presented a challenge, says Patrick Gillespie, head of preparation. The building’s historic status dictated that the installation had to be completed without damaging its “historical fabric” (anything from travertine to plaster), which meant that no drilling could occur. With guidance from a structural engineer, the preparation team came up with a solution. A service catwalk above the ceiling is held up by two large beams. The team designed a support system to attach to these beams, passing it through emptied-out light
The space gradually became dense with dangling language, as if a library book from the building’s past had been plucked off a shelf and shaken violently.
fixtures to brace the lattice, which in turn holds the art. No drilling required. “Working with contemporary artists is thrilling. They have a vision, and I enjoy trying to figure out how to help fulfill that vision,” Gillespie says. “In the end, we measure our success by how invisible our effort is. What should be visible is the artwork, and all the work that goes into installing it should blend into the background.” Speaking of invisible, another challenge facing the prep team was how to secure the ceramic pieces to the lattice to achieve the effect of hovering in midair. Various monofilament threads (think fishing line) were vetted with conservation staff to ensure the material would not degrade over time. The team then made a loom to roll out the required 57,600 feet of thread and cut strands of equal length. After that, each ceramic piece was tied by hand. Liu arrived in mid-March for the installation. Over a week, the space gradually became dense with dangling language, as if a library book from the building’s past had been plucked off a shelf and shaken violently, its shattered sentences ejected and frozen in air. This work underscores the museum’s focus on commissioning and collecting contemporary artworks, inviting visitors to reflect on living traditions. “Collected Letters is about giving new audiences memorable experiences with a significant work of contemporary art in a meaningful, and maybe unexpected, way,” says Jay Xu, museum director. “This installation furthers our commitment to sparking conversations about what’s next.”
16 /// ASIAN ART MUSEUM
That sentiment reflects one of Liu’s driving goals. “To me, good art inspires audiences to think,” he says. “Art creates a shared experience. It allows people to spend time together, think together and talk together about issues we are facing today.” n
Collected Letters: An Installation by Liu Jianhua An 80-page book documents the creation of Collected Letters, from the artist’s initial sketches, to casting its forms, to the final installation, and discusses the artwork’s relationship to the history of the museum. $19.95 (member price $17.96)
ON VIEW
Left: Installing Collected Letters required advanced engineering expertise. Right: Liu Jianhua discusses his art with Jay Xu, museum director. Photographs © Asian Art Museum. Collected Letters is organized by the Asian Art Museum of San Francisco. This acquisition was made possible by the Society for Asian Art in honor of the Asian Art Museum’s 50th Anniversary.
A Gift from the Society for Asian Art Collected Letters is a 50th birthday present from the Society for Asian Art (SAA), the museum’s most enduring source of support. Founded in 1958 by dedicated art lovers who lobbied Avery active ever since as a distinct nonprofit organization that supports the museum. “We’re so proud that we’ve championed the museum from day one, and in honor of the 50th anniversary, we wanted to give something that’s meaningful to us as well as the museum,” says Linda Lei, SAA president. As soon as she heard Liu’s vision, Lei knew it was exactly what the SAA had in mind for its gift. “Because the installation is made up of the building blocks of words, it takes visitors to put them together, to use their imagination,” Lei says. “We think it fits well with both the SAA’s educational goals and with the museum’s mission to ‘awaken the past and inspire the next.’”
SUMMER 2016 /// 17
Brundage to donate his massive collection to the city of San Francisco, the SAA has remained
ON VIEW
WORSHIPING WOMEN
POWER AND DEVOTION IN INDIAN PAINTING
Female power and its personifications hold an important place in Hindu devotional practices and are expressed in numerous ways. As Devi (Great Goddess) or Ma (Mother), the divine feminine energy is worshiped under different names and visual forms. She may be the local village goddess, the powerful Durga, the formidable Kali, the benevolent Lakshmi or the devoted Sita. The goddess represents the primordial female force underlying the cosmos (prakriti), power (shakti) and creative energy (maya).
JUN 28, 2016 – MAR 26, 2017 | 3RD FLOOR SOUTH ASIA GALLERIES
In this intimate exhibition, 12 Indian paintings from the museum’s collection focus on three aspects of female devotion — as goddesses and consorts to male
18 /// ASIAN ART MUSEUM
gods; as ascetics (yoginis); and as devout worshipers. n
The Hindu deity Lakshmi with elephants (front), approx. 1825–1875. India; Mysore, Karnataka state. Ink and colors on paper. Asian Art Museum, Acquisition made possible by the George Hopper Fitch Bequest, 2013.17.3.a-.b. Photograph © Asian Art Museum. Worshiping Women: Power and Devotion in Indian Painting is organized by the Asian Art Museum.
ON VIEW
MOTHER-OF-PEARL LACQUERWARE FROM KOREA
CONTEMPORARY WORKS
THROUGH OCT 23 | 2ND FLOOR TATEUCHI & KOREAN GALLERIES
Pebble (P1501), 2015, by Hwang Samyong (Korean, b. 1960). Mother-of-pearl and lacquer on fiberglass. Crosspoint Cultural Foundation, Korea. © Hwang Samyong. Photograph © Crosspoint Cultural Foundation, Korea.
On your next visit, be prepared to ponder an object that typically gets
ocean, from which the glimmering shells originate, adding another
overlooked: the humble pebble.
layer of resonance.
In the last issue of Asian magazine, we told you about Mother-of-Pearl
At first glance, Hwang’s pebbles could almost be mistaken for
Lacquerware from Korea, an exhibition celebrating a time-honored art
naturally occurring phenomena, but each one takes about 250
form — but it’s not just a vestige of the past. Skilled artisans continue
hours to create. For Hwang, mother-of-pearl “can express every-
to refine the art today. Among these groundbreaking artists is Hwang
thing in the world.”
Samyong, whose work — now on view to complement the traditional lacquerware — may prompt a double take.
The presentation of contemporary mother-of-pearl art features two additional works: Kim Yousun’s large work of mother-of-pearl on fiberboard; and a fantastical video artwork by Lee Leenam, specially
(kkeun’eum-jil) developed during the Joseon dynasty (1392–1910).
created for this exhibition, featuring a traditional painting from the
He puts thousands of strips of mother-of-pearl, cut as thin as the width
museum’s collection, a modern San Francisco scene and a mother-
of a dime, on the surface of a larger-than-life fiberglass “pebble,” then
of-pearl spaceship.
finishes by applying several layers of lacquer. The result is a stunning pearlescent surface, illuminated with infinitesimal ripples.
“We want to show how contemporary artists explore mother-of-pearl art in various mediums,” says Hyonjeong Kim Han, associate curator
To craft his pebbles, Hwang uses abalone shells of different
of Korean art. “As with all mother-of-pearl art, when you see these
types and origins, showcasing the natural beauty of these raw materials.
works up close, no matter the media, you’ll appreciate the artists’
Using a pebble as the shape for his work also calls to mind the
craftsmanship and also the beauty of the natural materials.” n
Mother-of-Pearl Lacquerware from Korea is organized by the Asian Art Museum. Presentation is made possible with the generous support of the Koret Foundation and Korea Foundation.
SUMMER 2016 /// 19
Hwang’s art lends a fresh perspective to the “thin-slicing” technique
SOCIETY FOR ASIAN ART
FROM MONET TO AI WEIWEI: HOW WE GOT HERE
FALL 2016 ARTS OF ASIA LECTURE SERIES
What is “modern” Asian art? What is “contemporary” Asian art? Is there a difference? (Yes!) Inspired by the recent exhibitions Looking East: How Japan Inspired Monet, Van Gogh, and Other Western Artists; 28 Chinese; and First Look: Collecting Contemporary at the Asian, the Society for Asian Art’s Fall 2016 Arts of Asia lecture series will explore how art trends beginning in the late 19th century influenced modern and contemporary Asian art. The series will start with a two-lecture overview covering important 19th- and 20th-century art movements, such as impressionism, surrealism, abstraction and conceptualism. Prominent scholars will then examine the development of late 19th-century and early 20th-century pre-war Asian art from areas like Meiji Japan and colonial Southeast Asia through post-war movements like the Gutai Group in Japan, the ‘85 New Wave in China and Korea’s Avant-Garde Association. The legacy of classical Chinese traditions, Indian nationalism and Islamic attitudes toward art will also be considered against the backdrop of modernism, concluding with an examination of globalism, new media and biennials. The popular Arts of Asia lecture series takes place Fridays, Aug. 19 through Dec. 2 from 10:30 AM to 12:30 PM in Samsung Hall. For ticket information and a full list of lecturers and topics, please visit the Society for Asian Art’s website www.societyforasianart.org. n
SOUK IT TO ME! SAVE THE DATE: SAT & SUN, OCT 29 & 30, 12–5 PM FORT MASON CENTER, FIREHOUSE
Mid-Autumn Festival, 1969, by Liu Guosong (Chinese, b. 1932). Ink and colors on paper. Asian Art Museum, 2003.22. © Liu Guosong. Photograph © Asian Art Museum of San Francisco.
Looking to start or enhance a collection? Join us for the Society for Asian Art’s much-anticipated Souk (which takes its name from the traditional Arab marketplace) on Oct. 29 and 30 at Fort Mason’s Firehouse. It is a unique opportunity
20 /// ASIAN ART MUSEUM
for members and the public to shop for Asian art, antiques and collectibles at fabulous prices. We anticipate over 3,000 items to be donated for sale by fellow Asian art enthusiasts. Proceeds will support the Society’s educational programming and the Asian Art Museum. n
For more information, visit www.societyforasianart.org/souk Photograph by Trista Berkovitz.
UPCOMING
THE RAMA EPIC:
OCT 21, 2016 – JAN 15, 2017
Fierce battles, daring rescues, passionate romance and a shape-shifting monkey warrior. One of the world’s greatest works of literature, the Rama epic teems with excitement and, for many, is a sacred tradition. For centuries, this beloved tale has been told through visual and performing arts, literature and religious teachings in the Indian subcontinent, Southeast Asia and beyond. Through this major international survey of 135 artworks, discover timeless struggles and poignant moments that will resonate with your own story. The Rama Epic: Hero, Heroine, Ally, Foe is organized by the Asian Art Museum. Presentation at the Asian Art Museum is made possible with the generous support of Helen and Rajnikant Desai, The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, and Society for Asian Art. Vishvamitra leads Rama and Lakshmana to the forest, approx. 1594. India; Agra, Uttar Pradesh state. Opaque watercolors and gold on paper. Museum Rietberg Zurich, Gift of the Rietberg Society, RVI 1840. Photograph © Rainer Wolfsberger.
SUMMER 2016 /// 21
Hero, Heroine, Ally, Foe
MUSEUM NEWS
ANNOUNCING A PREMIER NEW SAN FRANCISCO ART SPACE RIGHT HERE AT THE MUSEUM Throughout our 50-year history, the Asian Art Museum has
Over the past two years, the museum has raised more
educated and inspired millions of visitors from across the Bay
than $50 million, primarily from board members, to support
Area and around the globe — first in Golden Gate Park, and,
this capital project, strengthen its operations and grow its
since 2003, in the heart of San Francisco's Civic Center.
endowment.
Based on insights gleaned over 13 years in our down-
Architect Kulapat Yantrasast and his firm wHY will design
town home, we’ve recently announced some exciting plans.
the pavilion and update other spaces. Yantrasast has a track re-
We’re building a premier new venue for special exhibitions: a
cord of creating inviting, beautiful and functional museum envi-
12,000-square-foot pavilion, with about 9,000 square feet
ronments. wHY’s other projects include the new Speed Art Muse-
of exhibition space.
um in Louisville and the Marciano Art Foundation in Los Angeles.
This new pavilion dedicated to Asian art underscores San
“We are enjoying the process of working with the Asian
Francisco’s diversity and will be one of the city’s largest art
Art Museum to enhance their physical spaces,” says Yantrasast.
exhibition spaces, allowing us to better serve audiences for
“Our team has taken a thoughtful, integrated approach, and
generations to come. The facility, to be located on the east
we are looking forward to seeing it bring a new dimension to
“Our team has taken a thoughtful, integrated approach, and we are looking forward to seeing it bring a new dimension to San Francisco’s burgeoning cultural landscape.” side of our current site, is in the design phase, and construc-
22 /// ASIAN ART MUSEUM
tion is slated to begin in 2017.
San Francisco’s burgeoning cultural landscape.” wHY’s design for a stimulating and unified interior space
“We are a hub for art, education, culture and community,”
solves several issues that constrain the museum’s presentation
says Jay Xu, the museum’s director and CEO. “As we envision
of large exhibitions. The current special exhibition galleries
our next 50 years, we see powerful relevancy in fostering
are disjointed and not well suited for showing large-scale
human understanding and cultural appreciation by sharing
works of art or contemporary art requiring complex presen-
art and cultural experiences.”
tation techniques.
As part of a broader $25 million facility project, which
Importantly, the new pavilion will enable the museum to
is fully funded by private support, we also expect to upgrade
feature more than one sizable special exhibition at a time, and
select spaces throughout the building, including our educa-
present more shows from its own celebrated collection, which
tion classrooms. Repurposing other spaces will also create
includes art spanning vast regions from China, Japan, Korea
more flexible areas for cultural and community engagement.
and the Himalayas, to South, Southeast and West Asia.
These changes will better enable the museum to serve
While the project is still in its early stages, we are thrilled
50,000 Bay Area schoolchildren and teachers a year, over
at the possibilities it holds for presenting richer and more
a third more than the 35,000 school program participants
diverse art experiences. We look forward to sharing more
the museum welcomes today.
details in the months ahead. n
MUSEUM NEWS
SUMMER 2016 /// 23
Above: Conceptual Hyde Street view. Image courtesy of wHY. Below: Existing Hyde Street view. Photograph © Asian Art Museum.
For more information, visit www.asianart.org/regular/project-plans
NEWLY ACQUIRED
BRUSH WITH GREATNESS
GIFT OF JAPANESE INK PAINTINGS ENHANCES MUSEUM COLLECTION
Dramatic calligraphy. Enchanting landscapes. Evocative, sometimes comical, figures from Zen Buddhist lore, conjured in expressive brushstrokes. The Asian Art Museum has received a gift of 140 Japanese works in ink from the collection of George Gund III (1937–2013), spirited sports entrepreneur, generous supporter of world cinema and keen-eyed connoisseur of East Asian art. With artworks spanning the period from 1600 through 1900, the acquisition comprises a diverse survey of ink paintings created mostly during Japan’s Edo period (1615–1868). “This gift is significant because it includes superlative examples of works by masters in the ink traditions who were not previously represented in our collection,” says Jay Xu, director of the Asian Art Museum. The core of the Gund gift consists of zenga, ink paintings and calligraphic works by Zen monks, brushed with religious maxims and a pantheon of characters that express Buddhist teachings. Works by acclaimed monk-painters Fugai Ekun, Hakuin Ekaku, Sengai Gibon and Jiun Onko are included. The collection also features masterworks by luminaries of Edo-period literati painting: Taiga, Uragami Gyokudo and others. “Mr. Gund had a clear appreciation for artists’ skills and fondness for the humor of many of the later Zen paintings — some of which are quite playful,” says Laura Allen, interim chief curator and curator of Japanese art. That’s no surprise, considering the unique personality of the man who selected the paintings. Known for his zest for life, Gund, the son of a prominent Cleveland banker, pursued diverse and seemingly incongruous interests, including cowboy poetry, Native American history and world cinema. He was best known as a sports entrepreneur; he owned the San Jose Sharks and several other hockey teams, and, at one time, the Cleveland Cavaliers basketball team. Gund first discovered his passion for Japanese ink painting when serving as a Marine in Japan. The body of work he amassed over the years captured the attention of former museum director Emily Sano, who arranged to borrow 20 pieces for the 2001 exhibition Zen: Painting and Calligraphy, 17th–20th Centuries. The exhibition was a hit with audiences and critics alike, deemed by the San Francisco Chronicle “the best survey of its type in a decade.” Gund was thrilled, Sano says, with the positive reviews and high attendance and was
24 /// ASIAN ART MUSEUM
deeply fulfilled by the museum’s appreciation of his connoisseurship. While Sano says it was an “extraordinary surprise” that the museum received such a major bequest from Gund, she adds that it was in keeping with his “exceeding generosity” and fondness for the museum. “He knew that we did not have a focus on Japanese ink paintings and calligraphy, and that his collection would substantially add to ours,” Sano says. “It was also significant Bodhidharma (detail), by Hakuin Ekaku (Japanese, 1685–1768). Ink on paper. Asian Art Museum, Gift from The Collection of George Gund III, 2016.82. Photograph © Asian Art Museum.
to him that the art be enjoyed by the public forever — and in that way his passion would continue to live on.” A sampling of highlights from the Gund bequest will go on view in the museum’s Japan galleries beginning Jul. 20. n
NEWLY ACQUIRED
SUMMER 2016 /// 25
Above: Scholar’s pavilion by a stream (detail), by Uragami Gyokudo (Japanese, 1745–1820). Ink on paper. Asian Art Museum, Gift from The Collection of George Gund III, 2016.56. Photograph © Asian Art Museum. Right: Hotei with one raised hand (detail), by Hakuin Ekaku (Japanese, 1685–1768). Ink on paper. Asian Art Museum, Gift from The Collection of George Gund III, 2016.53. Photograph © Asian Art Museum.
RETAIL
SHOP THE EXHIBITION: EMPERORS’ TREASURES In 2014, a Shanghai-based art collector paid $36 million for a 15th-century cup with a chicken design, the highest price ever reached for a Chinese porcelain at auction. As astounding as the cup’s record-setting cost was, the buyer managed to set off another wave of surprise when, to celebrate winning the tense bidding war, he proceeded to sip tea from the antiquity. Only a small number of these tiny but iconic vessels exist worldwide, and you can see one in Emperors’ Treasures (page 6).
Meat-Shaped Stone Magnet $7.95 (member price $7.16)
But if you want to drink from a chicken cup (albeit a reproduction), we’re giving you the chance to do so on a budget. On sale at the museum store, you’ll find high-quality porcelain replicas of the chicken cup, one of the National Palace Museum, Taipei’s most popular objects, featuring intricate details of colorful flowers and pecking hens. Only a handful will be stocked, so shop early if you want to experience the thrill of taking tea like an emperor — or a mega-rich art collector. These porcelain replicas aren’t as fragile and can be placed in the dishwasher for easy care. Each cup comes packaged in an elegant box, perfect for gift giving or storage. If your tastes tend toward the savory, we’ve also got you covered. In Emperors’ Treasures, you can view the legendary “meat-shaped stone,” an uncannily accurate rendition of
26 /// ASIAN ART MUSEUM
braised pork carved out of jasper. Not only can you sample the dish at our cafe (see page 2), if you’ve still got an appetite for pork, head to the store for meaty mementos (paperweights, pens, magnets and more, all under $20). Bonus: If an attractive stranger asks to borrow a pen, you’ll be equipped with a conversation starter that immediately identifies you as an art
Chicken Cup
$125 (member price $112.50)
lover and a foodie. n
Sound enticing? Shop online or get more information at www.store.asianart.org
RETAIL
“TREASURE” YOU CAN TAKE HOME A dragon curls around the sun, hovering above a peony in full bloom and a cascade of crashing waves. These elements, viewed together, form the Chinese character for “treasure.” What may sound like a painting straight out of our summer special exhibition Emperors’ Treasures (page 6) is an intricate image on a piece of wearable art. Look for the design on a custom T-shirt at the museum store. We commissioned Taiwan-born, San Francisco-based artist Martin Hsu to create an exclusive design to complement Emperors’ Treasures. Hsu is best known for his signature character Dragon Boy, a charming, cheeky kid (outfitted in a dragon suit) who explores the world with his dog, looking for adventure. It was Dragon Boy that first captured the attention of Raymond McKenzie, the museum’s manager of retail operations. Since meeting Hsu several years ago, McKenzie has been eager to find the right project to partner on. “Who wouldn’t love a little kid dressed up as a dragon finding the magic in life?” McKenzie says. “I like that Martin’s work is playful, and that it looks very much like San Francisco but is also clearly influenced by traditional Chinese aesthetics.” That’s pretty much how Hsu describes his artistic point of view, which evolved from his experience as an immigrant in the U.S. drawing on his rich cul-
Above: Wish by Martin Hsu Prints $40 and up.
tural heritage for creative fuel. His body of work — which has been exhibited at the Japanese American National Museum, Google’s headquarters and galleries in San Francisco, Los Angeles and Taipei — includes fantastical retellings of folktales, adorable Chinese zodiac animals, and quirky cartoon renderings of anime visionary Hayao Miyazaki, one of his idols. “My strength lies in fusing East Asian sensibilities with Western subject matter,” he says. “In my humble attempt to create ‘New Traditional Asian Art,’ I hope to pay homage to the classics by introducing contemporary ideas.”
dear. Some of his fondest childhood memories, he says, are of exploring the National Palace Museum, Taipei, with his family. And since moving to San Francisco, the Asian Art Museum has become his “creative refuge.” Hsu filled his design with auspicious symbols to make the shirt not only visually striking but also meaningful. “I hope this design encompasses my love, respect and appreciation for both museums,” he says. “And I hope it awakens the explorer spirit in people of all ages.” Dragon Boy would approve. n
Martin Hsu’s family helped out with his 2012 Dragon Boy exhibition in Taipei. Photograph courtesy of Martin Hsu.
SUMMER 2016 /// 27
Hsu says he was “over the moon” when tapped for the Emperors’ Treasures project because it gave him the chance to honor two institutions that he holds
SCENE AT THE ASIAN
GOLDEN GALA
Tim Kahn, Anita Lee, Mayor Edwin Lee, Akiko Yamazaki and Jay Xu. Photograph by Drew Altizer Photography.
Gala Co-Chairs Helina Au and Nanci Nishimura, Gala Chair Akiko Yamazaki, Gala Co-Chairs Ken Wilcox and Bill Kim.
February’s sold-out Golden Gala fundraiser, commemorating our 50th anniversary, dazzled 500 guests, among them Lt. Governor Gavin Newsom, Mayor Edwin Lee and former Mayors Willie Brown and Frank Jordan. The gala, chaired by Akiko Yamazaki and co-chaired by Helina Au, Bill Kim, Nanci Nishimura and Ken Wilcox, raised more than $1.7 million for museum programming. The diverse roster of entertainment included Korea’s OngDance Company, “Bian Lian” face-changing artists, jazz musician Emi Meyer and dance troupe Bhangra Empire. The Pan-Asian banquet concluded with a live auction featuring items including a custom gown by designer Andrew Gn inspired by an ancient Song Dynasty vase in the museum’s collection. Immediately following the gala, 300 after-party revelers danced the night away, also supporting the museum’s fundraising. Co-chairs Jenny Chiuchiarelli, Camilla Cotchett and Hannah Harden ensured that the next generation of Asian art enthusiasts recognize the museum as a place where their support matters. n
Photograph by Drew Altizer Photography.
26 /// ASIAN ART MUSEUM
SOLID GOLD 50TH ANNIVERSARY PARTY
On Mar. 3, we channeled the camp-tastic ’80s TV hit “Solid Gold” with an epic birthday party. Disco Energi, Non Stop Bhangra, Mix’d Ingrdnts, the Ladies of AsiaSF and other Bay Area dance troupes — decked out in gold, naturally — thrilled guests with choreography spanning time and cultures. More than 1,500 partiers, many also dressed in head-to-toe gold (think sequins, Spandex and lamé), busted a move to music spun by DJs Umami and Proof. n Solid Gold partiers. Photograph by Quincy Stamper.
SCENE AT THE ASIAN
50TH ANNIVERSARY COMMUNITY WEEKEND
Mayor Lee declared Sunday, Mar. 6 as Asian Art Museum Day in San Francisco, and the Board of Supervisors, California State Senate and California State Assembly also recognized our 50th anniversary. State Senator Mark Leno, Assemblymember Phil Ting, a representative of Assemblymember David Chiu, Supervisors Jane Kim and Eric Mar, and Public Defender Jeff Adachi also stopped by to show support.
We threw a party the first weekend in March — and invited everyone. Our free community weekend was jampacked with festive cultural events (and some pretty fantastic art), courtesy of longtime museum supporter Target. Nearly 7,000 visitors were treated to acrobatics, Balinese music, large brush calligraphy demonstrations and the Korean wrapping-cloth art of bojagi. n All photographs by Quincy Stamper.
Artist Julie Chang leads a screen-printing activity.
DON’T FRET — WE’RE NOT DONE CELEBRATING YET!
FALL 2014 /// 27
On Sunday, Mar. 6, the Moreno family walked through our doors as the 500,000th visitors to enjoy free admission courtesy of Target® since 2003.
On Saturday, Jun. 11 (the date the museum opened 50 years ago), members are invited to a BIG Thank You Party featuring live music, special gallery tours, arts and crafts, and a Bhangra dance demonstration. Visit www.asianart.org/memberevents for details. n Performers the Knuckle Neck Tribe
SCENE AT THE ASIAN
Taiwan’s Cloud Gate Dance Theatre performs at the museum. Photograph © Asian Art Museum.
26 /// ASIAN ART MUSEUM
Nexus members visit Art Basel in Hong Kong. Photograph by Yuk Chiu/CYS Productions Co.
#AsianArtMuseum Nexus members visit the studio of artist Takashi Murakami during Asia Week New York. Photograph by JasonSmith.com.
Photograph by Alex Woo.
SCENE AT THE ASIAN
Natasha Reichle, Ford Bell and Antoni Ucerler view the 1602 Ricci map. Photograph by Noah Berger.
CELEBRATING THE MUSEUM AT 50
We’re shining just a little brighter this year. A giant replica of Reina, our beloved bronze rhino, roamed San Francisco in the Chinese New Year Parade. Members, supporters and fans partied with artists. Our grand staircase became a stage for Taiwan’s renowned Cloud Gate Dance Theatre. And we still have six more golden months to go. n
A visitor enjoys an art activity at our Lunar New Year celebration. Photograph by Quincy Stamper.
FALL 2014 /// 27
Asian Art Commissioner David Lei introduces artist Tyrus Wong and his painting Chinese Jesus. Performers©the Knuckle Neck Tribe Photograph Asian Art Museum.
Reina parades through San Francisco. Photograph © Asian Art Museum.
MEMBERSHIP UPDATES
50 FOR 50: CELEBRATE WITH US As we blow out the candles and celebrate 50 years, we encourage members to help us meet two birthday goals that sustain and support the museum: • 1,000 birthday gifts of $50 — a dollar for each of our 50 years • 50 new members to our legacy society, the Richard B. Gump Society These contributions help us continue to serve as a vital touchstone for Asian art and culture. To members who have made a 50th birthday gift to the museum this year, we can’t thank you enough. So far, we’ve raised $32,474 through
652 donations and welcomed 18 new members to the legacy society. One of those
There are three ways to give a special 50th birthday gift: 1. Visit www.asianart.org/donate
new members, Anne Adelmann, who also made a 50th birthday gift, has included the museum in her trust to support our work educating the public about Asia’s artistic and cultural traditions. “As a docent, the museum is a second home,”
2. Call 415.581.3740
she says. “I love seeing the artworks in the wonderful
3. Mail a check made payable to
collection and introducing these works to the public
“Asian Art Museum Foundation” to: Asian Art Museum Attn: Museum Fund 200 Larkin St. San Francisco, CA 94102
on tours. Knowing that my legacy will help continue the museum’s message brings me satisfaction.”
Anne Adelmann. Photograph © Asian Art Museum.
To join the more than 100 Richard B. Gump Society members who have made the museum a part of their legacy, please contact Kate McNulty, director of planned giving, at 415.581.3683 or kmcnulty@asianart.org. Visit www.plannedgiving.asianart.org for more information. n
50TH ANNIVERSARY TOTE BAG 32 /// ASIAN ART MUSEUM
Show your museum pride wherever you go with a unique Asian Art Museum tote bag commemorating our 50th anniversary. Designed by Bay Area artist Julie Chang specifically for Asian Art Museum members, this limited-edition bag comes in midnight black or merlot and is available to members at the Member Premium level ($179) or above. Supplies are limited, so pick yours up from the member desk while you still can! n
Photograph © Asian Art Museum.
CALENDAR
FEATURED MEMBER EVENTS
Preview Day Emperors’ Treasures:
Chinese Art from the National Palace Museum, Taipei
Thursday, Jun 16 10 AM–5 PM Open to all members
Jade Circle Opening Brunch Reception Emperors’ Treasures
Thursday, Jun 16 10:30 AM–12:30 PM Open to Jade Circle members ($3,000) and above
BIG Thank You Party
Member Opening Reception Emperors’ Treasures
Saturday, Jun 11 10 AM–5 PM Open to all members
Thursday, Jun 16 6:30–9:30 PM Open to Friend ($500) and Patron ($1,000) 7:30–9:30 PM Open to Member Premium ($179)
Tour, Talk & Tea: Tea Ceremonies Tuesday, Jun 14 1–3 PM Open to all members
Rhino Club Art Roundup
Rhino Club Art Roundup
Tour, Talk & Tea: Emperors’ Treasures
Tour, Talk & Tea: Korean Lacquer
Rhino Club Art Roundup
Closing Weekend Emperors’ Treasures Extended Member Hours
Tour, Talk & Tea: Chinese Ceramics
Rhino Club Art Roundup
Sunday, Jun 19 10:30–11:30 AM Open to Rhino Club families
Sunday, Aug 21 10:30–11:30 AM Open to Rhino Club families
Tuesday, Sep 13, 1–3 PM Saturday, Sep 17, 11 AM–1 PM Open to all members
Tuesday, Jul 12 1–3 PM Saturday, Jul 16 11 AM–1 PM Open to all members
Sunday, Jul 17 10:30–11:30 AM Open to Rhino Club families
Friday, Sep 16, 5–8 PM Saturday, Sep 17, 9–10 AM Sunday, Sep 18, 9–10 AM Open to all members
Sunday, Sep 18 10:30–11:30 AM Open to Rhino Club families
Tuesday, Aug 16 1–3 PM Saturday, Aug 20 11 AM–1 PM Open to all members
Curator’s Choice Lecture: Flower Power
Check out our calendar at www.asianart.org/events
Wednesday, Sep 28 6:30–8:30 PM Open to Friend ($500) and above
Want more access? Upgrade your membership or contact us for details at 415.581.3740. If you renew at a higher level before your current membership expires, we’ll add 12 months and upgrade your benefits immediately. For more information, call 415.581.3740 or email members@asianart.org.
JUNE
JULY
AUGUST
SEPTEMBER
Emperors’ Treasures: Chinese Art from the National Palace Museum, Taipei Jun 17 – Sep 18, 2016
OCTOBER
NOVEMBER The Rama Epic Oct 21, 2016 – Jan 15, 2017
Mother-of-Pearl Lacquerware from Korea Through Oct 23, 2016
EXTRACTED Through Aug 14, 2016
FOR MORE INFORMATION ABOUT UPCOMING EXHIBITIONS: WWW.ASIANART.ORG
SUMMER 2016 /// ASIAN ART MUSEUM
EXHIBITIONS
ASIAN ART MUSEUM Chong-Moon Lee Center for Asian Art & Culture www.asianart.org 200 Larkin Street San Francisco, CA 94102 USA
Non-Profit Organization U. S . Po s t a g e P A I D Asian Art Museum of San Francisco