Asian Art Museum of San Francisco, Fall 2017

FALL 2017 Members’ Magazine

LOTUS LIVE: A WORLD TITLE We did it! On July 15, 2017, we gathered together 2,405 members of the community to form a colorful lotus flower that could be seen from the sky. This earned the Asian Art Museum the Guinness World Records title of largest human flower and, more importantly, showed the world our cherished San Francisco values of diversity and inclusion. Thanks to all those who came out to show their flower power! Top: Photograph by Fred Benenson, Eddie Codel and Gian Paul Villamil. Bottom: Photographs Š Asian Art Museum.

TABLE OF CONTENTS

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FALL 2017 /// VOL. VII, ISSUE 3 The Asian Art Museum Members’ Magazine MAGAZINE STAFF Tim Hallman, Editor-in-Chief Kate Johnson Lafferty, Director of Membership and Guest Experience Kate Ritchey, Creative Director Sheng Moua, Art Director / Graphic Designer Nina Lewallen Hufford, Writer / Editor Kevin Candland, Museum Photographer 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 © 2017 Asian Art Museum of San Francisco

MUSEUM HOURS Tue–Sun. . . . . . . . . . . . . . . . . . 10 AM–5 PM Mon. . . . . . . . . . . . . . . . . . . . . . . . . . Closed

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

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Front Cover / Back Cover: Asian Art Museum Pavilion exterior, concept design by wHY, 2017. The 13,000-square-foot Pavilion will be clad in faceted terra-cotta that complements the rusticated granite facade of the existing beaux arts building. Rendering © wHY and Asian Art Museum.

SEE YOU AT THE MUSEUM!

FALL 2017 /// 1

FROM THE DIRECTOR JAY XU — Last year we celebrated our 50th anniversary; now we are looking ahead to the next chapter in our history, shaping the museum for the 21st century.

Thanks to our capital campaign leadership donors, we’re poised to begin construction of a new Pavilion, which will be one of the nation’s premier exhibition spaces dedicated to Asian art, and rooftop Art Terrace. Other changes include a gallery devoted to contemporary art, novel approaches to displaying masterpieces in our renowned collection, new digital tools and enhanced spaces for education programs.

We invite members to join us in watching this project unfold over the next two years.

We hope you will discover fresh connections between Asian art and the world, engage with cutting-edge ideas that inspire artists working today and gain a new understanding of Asian art as an evolving, ongoing tradition.

Our major fall exhibition, Couture Korea (page 4), is an example of one of the ways we are striving to put historical works in dialogue with contemporary creations. The first major U.S. exhibition to focus on the past, present, and future of Korean fashion design, Couture Korea delves into the rich meanings embedded in traditional Korean dress and considers how contemporary designers continue to find inspiration in history.

ART BITES

NEWS FROM THE ASIAN ART MUSEUM

LLOYD COTSEN AND THE JAPANESE BAMBOO BASKET COLLECTION Admiring the myriad twists, clever turns and graceful swoops of the Japanese baskets on perennial display on the second floor is a highlight of any visit to the museum. These works are drawn from the nearly 900 donated to the museum by former trustee Lloyd Cotsen, who passed away on May 8, 2017.

One of the first to recognize bamboo as an art form, Cotsen was an avid and visionary collector: he collected stamps and marbles as a kid and later amassed significant holdings of children’s literature and folk art. His passion for the artistry of Japanese bamboo ignited the interest of other collectors around the world and helped revive the livelihoods of contemporary bamboo artists in Japan.

Cotsen, the former CEO and chairman of the Neutrogena Corporation, explained why he was drawn to the art form: “I was attracted by the tensions created by the balancing of forces: of cohesion and chaos, structure and nature, refinement and exuberance, and ultimately, simplicity and complexity.”

Thanks to Cotsen’s gift, the Asian Art Museum has one of the most important collections of bamboo art in the world. It has allowed us to share with you not only the beauty of these humble yet striking works, but also to tell stories about the use of bamboo in daily life and the evolution of traditional art forms over generations. This wonderful array of bamboo art, ranging from traditional baskets for ikebana to powerful abstract forms, continues to inspire and delight

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visitors of all ages. n

Lloyd Cotsen. Photograph © Asian Art Museum.

ART BITES

RAND CASTILE, 1938–2017 We were saddened to learn that Rand Castile, former director of the Asian Art Museum, passed away in May in New York City. Castile, a certified master of the tea ceremony and author of The Way of Tea (1971), came to the Asian Art Museum in 1986 from the Japan House Gallery in New York. His inaugural exhibition, Spectacular Helmets of Japan: 16th–19th Century, was followed by groundbreaking exhibitions focusing on Indonesian sculpture, Chinese tomb art and sacred art from Tibet.

Under Castile’s leadership, the museum initiated community outreach programs that aimed to bring in new audiences and began to present works in more accessible contexts. Another important legacy from his tenure was the creation of independent departments of Southeast Asian and Korean art — the first in any U.S. museum.

Eager to increase the number of works on display at any one time, Castile was an early supporter of moving the museum from Golden Gate Park to its current Civic Center location. He retired as director in 1995, just months after San Francisco voters approved a bond measure to support relocating the museum. n

Art Forrest McGill, was honored with a 2017 Award for Excellence

We are pleased to share the news that two recent Asian Art Museum

from the Association of Art Museum Curators & AAMC Foundation.

publications have been honored with national awards.

“From its earliest days, the Asian Art Museum has published

The 21st Annual Independent Publisher (IPPY) Awards selected

books to promote its collection, celebrate its exhibitions and cultivate

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

scholarship. It is gratifying to know that these books are receiving

Chief Curator and Curator of Japanese Art Laura W. Allen for a sil-

well-deserved recognition," says Clare Jacobson, head of publications.

ver medal in its fine art category. The Rama Epic: Hero, Heroine, Ally,

Both books are available for purchase from our online store,

Foe, edited by Wattis Senior Curator of South and Southeast Asian

store.asianart.org. n

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PUBLICATIONS GARNER ACCOLADES

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NOV 3, 2017 – FEB 4, 2018 FIRST FLOOR SPECIAL EXHIBITION GALLERIES

Couture Korea is the first major exhibition in a U.S. museum to focus on the past, present and future of Korean clothing design. The exhibition reveals the rich, multilayered meanings of traditional clothing from the Joseon period (1392–1910) and shows how that deep history is informing contemporary fashion innovation, both in Korea and around the world.

The exhibition begins in Osher Gallery, which

presents historical fashion and considers how

collaborators included exhibition curator Hyonjeong

design choices were guided by rigid social and

Kim Han, exhibition designer Marco Centin,

cultural norms. Hanbok, traditional Korean clothing,

contemporary art educator Marc Mayer, registrar

articulated the wearer’s gender, age and social

Cathy Mano and textile conservator Denise Migdail.

status as well as the season and occasion. Works on

In the pages that follow, they discuss their roles

view — from a bridal outfit to a scholar’s ensemble —

in the creation of Couture Korea, providing

were painstakingly re-created from historical sources.

a behind-the-scenes look at the making

of the exhibition.

The second gallery, Hambrecht, showcases two

At the Asian Art Museum, the core team of

designers — one European, one Korean — whose

work has been inspired by traditional Korean art and

crucial in shaping the ways the team

fashion. Karl Lagerfeld (for Chanel) and Jin Teok

approached this exhibition. In Seoul,

have reinterpreted Korean aesthetics for today.

museum staff examined the re-creations

The final gallery, Lee, looks to the future of Korean

of historical clothing that were being

fashion, spotlighting two emerging designers,

made at Arumjigi and visited the

Im Seonoc and Jung Misun, who use innovative

ateliers of Jin Teok, Jung Misun

materials to make their Korean heritage relevant to

and Im Seonoc. A key experience

a new generation.

for some team members was

This groundbreaking exhibition, more than

spending two days in a house built

three years in the making, is the result of a rich

according to historical design and

collaboration. The Asian Art Museum worked

construction methods.

closely with Seoul-based Arumjigi Culture Keepers

Foundation, a nonprofit organization dedicated

contemporary Korean life, including

to researching traditional Korean aesthetics and

the current fad among teens for

exploring how this heritage can shape contemporary

dressing in traditional hanbok,

design. Most of the traditional garments on view in

evidence of the enduring

Couture Korea are loaned from Arumjigi’s collection.

influence of the past.

Two research trips to Korea were

Museum staff also witnessed

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Left page: Woman’s ensemble (detail), 2016. Reconstruction based on an eighteenth-century painting.

Ramie, silk, and polyester. Arumjigi Culture Keepers Foundation. Photograph © Arumjigi Culture Keepers Foundation. Daily Wear (detail), 2016, by Im Seonoc (Korean, b. 1962). Neoprene. Arumjigi Culture Keepers Foundation. Photograph © Arumjigi Culture Keepers Foundation. Right page: Ensemble inspired by traditional Korean wrapping cloth (bojagi), from the Cruise collection (detail), 2016, by Karl Lagerfeld (German, b. 1938) for Chanel. Jacket and pants: silk pongee; blouse: cotton poplin; coat: toile; jewelry: glass. Chanel Patrimoine Collection, Paris. Photograph © Chanel.

STYLING KOREA: REDEFINING TRADITION

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HYONJEONG KIM HAN, ASSOCIATE CURATOR OF KOREAN ART Curator Hyonjeong Kim Han is proud that the Asian Art

for new ways to reinterpret tradition within global and

Museum is presenting the first large-scale exhibition of Korean

contemporary contexts.

fashion in the U.S. “The museum has a strength in Korean

studies and a long history of promoting Korean art outside of

market but is deeply influenced by her Korean identity. “My

Korea,” she says. It is thus uniquely positioned to consider

design starts with my heritage, and I can do nothing without

the works on view in Couture Korea in the context of Korean

it,” she says. Jin is known for bringing traditional Korean

art and culture, to “uncover what is beneath the clothing.”

motifs and materials into her Western designs. For one

Traditional Korean clothing is not as recognizable to

dress, for example, she adapted part of a traditional Korean

Westerners as that of China or Japan. When the country first

wedding robe as a Western-style vest and combined it with a

opened to the West at the end of the 19th century, the last

denim skirt. Her clothes may look modern, but her desire to

East Asian nation to do so, the government encouraged the

“create fundamental stories” with her designs recalls the rich

adoption of modern, Western clothing; hanbok was reserved

symbolism of Joseon dynasty fashion.

for special occasions and religious ceremonies. Now, partly

because of a wealth of information revealed by recent tomb

Korean art for his 2016 Chanel Cruise Collection. “As an

excavations, scholarship on traditional Korean clothing is booming.

outsider, he took an unconventional approach to traditional

“Because it has such a short history of Western exposure,”

Korean clothing and arts,” Han observes. For some works,

Han explains, “Korean fashion can offer new possibilities

Lagerfeld borrowed patterns and embellishments from those

for the global world of fashion, a platform to explore novel

on Korean wrapping cloths (bojagi); for others, he attached

interactions between East and West.”

glowing white metal pieces to simulate the shimmering effect

of mother-of-pearl lacquerware.

To bring out this dynamic between tradition and

Jin Teok designs Western clothes for the international

Karl Lagerfeld looked closely and thought deeply about

modernity, East and West, Han chose to dedicate one of the

exhibition galleries to the work of two senior designers who

and relationship to Korean culture,” Han says, “but both adapt

represent different approaches to that duality. Each searches

traditional Korean art and fashion into their signature styles.”

“Each of these designers has a different knowledge of

A WEB OF RELATIONSHIPS MARCO CENTIN, EXHIBITION DESIGNER For exhibition designer Marco Centin, experiencing the open-ended nature of Korean domestic architecture firsthand was critical to forming his design concepts for Couture Korea. “Korean architecture is complex. It offers the potential for experiences to change,” he explains. “I wanted to take advantage of that quality.”

In contrast to the houses of Centin’s native Italy, where permanent walls

define rooms with fixed functions, the traditional Korean house is flexible.

Organized on a modular grid, sliding panels and doors can be opened and closed throughout the day, redefining spaces and restructuring family dynamics.

Centin’s design for Couture Korea is similarly fluid — it avoids linear progression, challenging the Western idea of space as a fixed experience.

For Osher Gallery, which displays traditional Korean clothing design, Centin

designed three main volumes to echo the traditional three-house domestic compound. This layout encourages us to peer through openings into each “room.”

As we move through the gallery, shifting viewpoints dynamically reveal the works on view, each representing a type of person you might find in the house.

“Architecture regulates a web of relationships around daily life,” Centin says. His design invites us into an open-ended exploration, encouraging the discovery of previously hidden connections.

When we move into the second gallery, Hambrecht, we confront a markedly

different spatial experience. This gallery displays work by established Korean designer Jin Teok and Korean-inspired fashion designed for Chanel’s 2016 Cruise Collection by Karl Lagerfeld. Unlike the symbol-laden traditional clothing on view in Osher Gallery, “these garments are about design,” says Centin. To reflect that transparency, Centin opens up this gallery so that all garments can be seen at once. Two central cases are spotlighted in the center of the room.

The design of the final gallery, Lee, is more fragmented, suggesting the

ongoing act of creation. It features the work of up-and-coming Korean designers Im Seonoc and Jung Misun. Instead of showcasing final products, Centin focusses the room on two work tables. The drawings, materials and tools on these tables present the process of fashion design.

Like the design of the traditional Korean house, working together as a team

on this exhibition depended upon “an orchestrated connectivity between parts,” Centin says.

Left page: Woman’s winter ensemble (detail), 2016. Reconstruction based on an eighteenth-century painting.

Wool, silk, cotton, and linen. Arumjigi Culture Keepers Foundation. Photograph © Arumjigi Culture Keepers Foundation. Dress and skirt inspired by a traditional Korean embroidered wedding robe with peony, phoenix, and butterfly motifs, from the Blood series (detail), 1995, by Jin Teok (Korean, b. 1934). Dress: silk; skirt: cotton denim with cotton lace. Jin Teok Studio. Photograph © Arumjigi Culture Keepers Foundation. Right page: Man’s sleeveless robe (jeonbok) and coat (durumagi) (detail), 2015. Reconstruction based on a Joseon dynasty ensemble. Silk. Arumjigi Culture Keepers Foundation. Photograph © Arumjigi Culture Keepers Foundation.

FALL 2017 /// 7

SAFE TRAVELS

“I get to work with beautiful works of art every day,” says

CATHY MANO, ASSOCIATE HEAD OF REGISTRATION

the same condition in which it was received. “An object is

registrar Cathy Mano, who is responsible for ensuring that each exhibition object travels safely and is returned in handled approximately ten times during the process, from its initial condition checking and packing to its final unpacking,” she says. Mano orchestrates the exhibition installation with the help of an elaborate spreadsheet.

For Couture Korea, Mano visited Arumjigi in Seoul to assess the condition of each object the foundation is lending to the exhibition. There she made careful note of the component materials of each artwork, keeping an eye out for coral, mother-of-pearl, ivory, tortoiseshell and other protected plant and animal products. “Some of the antique objects in the exhibition — the fashion accessories and furniture — include materials governed by the ESA [Endangered Species Act] or its international version, CITES [Convention in International Trade in Endangered Species of Wild Fauna and Flora],” Mano explains.

A ceremonial coronet made of silk, jade, gold thread,

amber, pearl, coral and kingfisher feathers; a cap of hemp and ebony; and a pair of tortoiseshell glasses — all dating from the 19th century — required federal permits to travel to the U.S. for inclusion in Couture Korea. “I started talking to the freight forwarders early, about a year in advance of the exhibition,” Mano says, “so they knew what to expect.”

Still, these objects were packed separate from other works in the exhibition; “in case they were held by customs for inspection, an entire crate wouldn’t be delayed.”

After coordinating the logistics of insurance, permits,

packing, crating and shipping, Mano choreographs the 8 /// ASIAN ART MUSEUM

installation process. “There is usually a tight turnaround time between exhibitions, just two to three weeks,” Mano says, “so it is important to figure out ahead of time when each item will be unpacked and installed.”

When Couture Korea closes in February, Mano will again be on hand to ensure that the condition of each of the 105 objects remains the same and to send each one safely back to the lenders.

Left: Ceremonial costume for a boy’s first birthday (dolbok), 2017. Reconstruction based on a Joseon dynasty ensemble. Silk with jade buttons and gold-stamped belt. Arumjigi Culture Keepers Foundation. Photograph © Arumjigi Culture Keepers Foundation.

#HANBOK

Hanbok-clad teens wielding selfie sticks have become a common sight in Seoul’s historic districts. Textile conservator Denise Migdail couldn’t help but notice

this phenomenon when she visited Korea. “They adopt this kind of costuming as a way to assert national pride,” she posits. Groups of kids wearing traditional dress — polyester versions rented for the day — gather at historical monuments, museums and cafes, where they receive discounts or free admission for arriving in hanbok. Ironically, this impulse to reclaim one aspect of traditional Korean culture seems driven by 21st-century social media, the desire to post selfies on Instagram and other sharing platforms. Check out #hanbok for a sampling.

Girls in traditional Korean clothing on the streets of Seoul. Photograph © Asian Art Museum.

MANNEQUIN MADNESS DENISE MIGDAIL, TEXTILE CONSERVATOR As someone who works closely with textiles, Denise Migdail is acutely aware that clothing, such as the works on view in Couture Korea, can express volumes about individual people and particular societies. But displaying costume in museums presents specific challenges. For one thing, she notes, “textiles don’t tend to have shapes by themselves.”

Her mission: to work with the exhibition designer

and curator to find a way to safely exhibit the clothing in a realistic way. After a trip to a local retailer, it became clear that display mannequins with rigid runway poses were not appropriate for historical garments. A key concern for Migdail was finding mannequins that she could dress without damaging the garments — “mannequins don’t bend at the hips,” she notes.

In the end, Migdail borrowed mannequins from

Arumjigi for the historical women’s clothing, used standard mannequins for the contemporary fashions and constructed three-quarter-length forms using FOSSHAPE for the traditional men’s garments. This inert polyester felt can be

When Migdail visited Korea to view and measure

the clothing firsthand, she was awed by the impeccable craftsmanship, compound weaves and complex stitching of the historical garments re-created by Arumjigi. Her thoughtful selection of mannequins — as well as mounts to display ribbons, purses and other accessories — will not only preserve these finely crafted works but also allow museum Strata, from the Earth series, 2000, by Jin Teok (Korean, b. 1934). Cotton. Jin Teok Studio. Photograph © Arumjigi Culture Keepers Foundation.

visitors to experience this same sense of wonder.

FALL 2017 /// 9

steam-molded to any desired shape.

FASHION IN MOTION MARC MAYER, SENIOR EDUCATOR OF CONTEMPORARY ART How do traditional Korean clothes move on the body?

Educator Marc Mayer’s task, as he saw it, was to reinsert

the body into the exhibition, to ask the key question for any display of clothing, “How is the body implicated?”

Mayer’s thinking about this issue was greatly shaped by

his trip to Korea. “It was exciting not only to see the work that would be included in the exhibition, but also to see it in the context of Korean architecture, cuisine, landscape — even the weather.”

Mayer initially proposed to include a performance as

part of the exhibition, to show the clothing in motion. But as the exhibition planning progressed, he began to consider creating a video installation. Like the design of a traditional Korean house, a multimedia installation could tightly focus sightlines and vistas, framing the experience for the viewer.

Mayer, working closely with Arumjigi, commissioned

noted Korean filmmaker Lee Myung-Se (M, Duelist) to capture dancers Kim Yong-geol and Kim Mi-Ae in the act of donning the multiple layers of traditional Korean dress. The video installation reveals how layers of undergarments were used to create an idealized human form, which then became the armature for the top layers of clothing.

While not a documentary — Mayer calls it a combination

of dance, film and performance art — the installation shows

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how the various pieces of traditional Korean clothing fit together and how they move on the body. “I was inspired by the young designers in the exhibition, thinking about how gestures and movements can quote tradition but still be fresh and dynamic.”

Installed on multiple screens in North Court, the videos

put movement and the body in the middle of the exhibition, a central node binding together the clothing on display in Osher, Hambrecht and Lee Galleries. n

Couture Korea is co-organized by the Asian Art Museum of San Francisco and the Arumjigi Culture Keepers Foundation, Korea. Presentation is made possible with the generous support of the Korea Foundation, Sulwhasoo, The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, Warren Felson and Lucy Sun, Anne and Timothy Kahn, Fred Levin and Nancy Livingston, The Shenson Foundation, in Memory of Ben & A. Jess Shenson, John Maa, M.D., Stephanie and James Marver, Suno Kay Osterweis, and Salle E. Yoo and Jeffrey P. Gray. Support for the exhibition catalogue is provided by Sung Jin and Frank Ingriselli. Above: Korean Suit for PO (detail), 2016, by Im Seonoc (Korean, b. 1962). Neoprene with metal brooch. Arumjigi Culture Keepers Foundation. Photograph © Arumjigi Culture Keepers Foundation.

PUBLIC PROGRAMMING

KOREAN FASHION IN A GLOBAL CONTEXT JIN TEOK

Pioneer of Korean Fashion SATURDAY, NOV 4 | 2–3:30 PM Designer Jin Teok discusses her career, the work on view in Couture Korea and her most recent collection in this afternoon conversation with fashion historian Neil Wu-Gibbs. Jin is internationally renowned as the pioneer of contemporary Korean haute couture. Her work has been included in museum exhibitions in London, Paris and Seoul. Wu-Gibbs is an independent curator who contributed to the recent exhibition Rei Kawakubo/Comme des Garçons: Art of the In-Between at the Costume Institute at the Metropolitan Museum of Art, New York. n

Dress and skirt inspired by a traditional Korean embroidered wedding robe with peony, phoenix, and butterfly motifs, from the Blood series (detail), 1995, by Jin Teok (Korean, b. 1934). Dress: silk; skirt: cotton denim with cotton lace. Jin Teok Studio. Photography by Ahn Joo Young.

KOREAN FASHION

From the Joseon Dynasty to Today SATURDAY, DEC 9 | 2–3:30 PM

Delve into Couture Korea with textile historian Lee Talbot and costume historian Minjee Kim. Talbot will present on the key fashion trends in 18th-century Korea and Kim in contemporary Korean and global fashion. After these short presentations, the historians will engage in a Bridal robe (hwarot) (detail), 2015. Reconstruction based on a Joseon dynasty garment. Silk.

Arumjigi Culture Keepers Foundation. Photograph © Arumjigi Culture Keepers Foundation.

Docent Tours: Couture Korea

discussion and answer questions from the audience.

Talbot is curator at the George Washington

University Museum and The Textile Museum, where

12 & 3 PM DAILY NOV 3, 2017–FEB 4, 2018 Meet at the information desk

he specializes in East Asian textile history. Kim is an independent historian who received her doctorate from Seoul National University with a dissertation on the sartorial culture of the Balhae dynasty. n

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will talk about inspiration, appropriation and innovation

PUBLIC PROGRAMMING

THE ART/LIT LIZ

A PLATFORM FOR CREATIVITY As part of a city initiative to revive underutilized public spaces with

corner of Fulton and Larkin streets. The Art/Lit LIZ is a platform

art, performance and community activities, San Francisco has cre-

for installations, performances, art-making and other events and

ated several Living Innovation Zones (LIZ). We are honored to share

includes a 30-foot-long mural wall that presents a rotating display

a LIZ with the San Francisco Public Library: the Art/Lit LIZ, on the

of site-specific artworks.

The Art/Lit LIZ with an installation, Flower Interruption: San Francisco Summer of Love 2017, 2017, by Megan Wilson (American, b. 1969). Mixed media. Photograph by Quincy Stamper.

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#StickyQuestions Participatory Mural Project Art-Making Workshops DAILY THROUGH JAN 2018

FIRST SUNDAYS, 12–4 PM, THROUGH JAN 7, 2018

Artists Mary-Claire Amable, Celi Tamayo-Lee and Jason Wyman

Stop by the corner of Fulton and Larkin streets on the first Sunday of

have been working with community members, including the

each month to join our “village artist” in a free, collaborative, hands-

museum’s Art Speak high school interns, to create a new mural for

on activity. Every three months, a different artist or group takes over

the Art/Lit LIZ as part of the #StickyQuestions project. The project

the LIZ to engage the community with fun interactive projects. This

asks questions that spark sometimes unexpected observations

season, students from the Academy of Art College together with the

about ourselves and the world and invites us to write responses

museum’s Art Speak interns are in charge: Expect to be surprised! n

on metallic stickers that will be applied to the Art/Lit LIZ mural wall. The artists have been holding a series of workshops to gather content for the wall and you are invited to come and add your own voice during the course of the installation. The ever-changing participatory mural will be on view at the museum’s outdoor Art/ Lit LIZ from mid-October through January.

The Art/Lit LIZ is generously supported by funding from Housing-Related Parks Program from the State of California, facilitated by San Francisco Recreation and Parks Department; California Arts Council; The Hearst Foundations, Inc.; San Francisco Grants for the Arts; and The NFL Foundation and 50 Fund, the legacy fund of the Super Bowl 50 Host Committee.

PUBLIC PROGRAMMING

KEEPING TRADITIONS ALIVE 32nd Annual Japanese New Year’s Bell-Ringing Ceremony SUNDAY, DEC 31 | 9:30 AM | MEMBERS ONLY

11:30 AM | OPEN TO THE PUBLIC You’re invited to welcome the new year by ringing a 2,100-pound, 16th-century Japanese temple bell, leaving behind any unfortunate experiences, regrettable deeds or ill luck from the previous year. While you wait your turn, paint a Year of the Dog charm (netsuke) and make a wish for the new year.

Pick up tickets at the admissions desk.

To ensure you have a chance to ring the bell, we recommend that you arrive at Samsung Hall no later than 12 PM. n

Lunar New Year Celebration: Year of the Dog SUNDAY, FEB 18 10:30 AM–4 PM

Mochi Pounding (Omochitsuki) SATURDAY, JAN 20 | 11 AM–2 PM

Celebrate the Japanese New Year with Kagami Kai, an acclaimed mochi group, as it presents the New Year’s tradition of

Roll in the Year of the Dog with acrobatics, art, drumming and stories!

Join the Red Panda Acrobats for an with a playful lion dance, which is believed to scare away evil spirits

ly music, energetic dance and traditional costumes.

Plus you can make folded paper cranes for luck and prosperity in the new year. n

and ensure a bright beginning to the year. Then, enjoy author Oliver Chin’s story about Chinese zodiac animals’ characteristics, have your name written in Chinese calligraphy, and make art projects to bring you prosperity in the Year of the Dog. n

Above and left: Visitors enjoying the traditional celebrations at the Asian Art Museum. Photographs by Quincy Stamper.

Lead funding for the Asian Art Museum’s cultural celebrations is generously provided by Kaiser Permanente. Major funding is provided by Bank of America. Additional support for the Bell-Ringing Ceremony is provided by The Henri and Tomoye Takahashi Charitable Foundation.

FALL 2017 /// 13

afternoon of circus arts and tumbling,

mochi pounding with live-

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TRANSFORMATION

A Museum for the 21st Century

TRANSFORMATION

Pretty soon, you’ll notice big changes at the

throughout the museum that will be singled out for

museum. So this is the perfect time to share with you

enhanced interpretation. Tablets, projections, photo

some details about the upcoming transformation,

murals and other didactic materials will enable you

including the latest architect’s renderings, and how

to learn more about each object and explore its

these changes will enhance your Asian Art Museum

cultural, historical and geographic contexts. This

experience. The project includes the enlargement

new approach will ensure that each visitor has a

and improvement of gallery and education spaces,

meaningful, multilayered experience of some of the

implementation of new curatorial approaches

most significant works in the collection.

and display strategies, and a reimagining of our digital presence.

the tools you need to curate your own visit. Within

The goal of the transformation is to impart

the museum, interactive touchscreen displays and

the vital story of Asian art, from prehistory to the

tablets will offer multilingual support and provide

present, as an evolving, globally relevant tradition.

information about admission and membership,

You will discover fresh connections between Asian

current exhibitions, daily programs and special

art and the world and engage with cutting-edge

events, and how to navigate the museum. Contextual

ideas that inspire artists working today.

and interpretive content, delivered via location-

In early 2018, construction will begin on the

aware technology, will enrich your understanding of

centerpiece of this project, a brand-new, state-

artworks on view. Our digital footprint will extend

of-the-art special exhibition Pavilion. Designed

beyond the walls of the museum, engaging people

by architect Kulapat Yantrasast of wHY (see next

from around the world via our website, social media

page), who recently completed the Marciano Art

platforms and mobile apps.

Foundation in Los Angeles, the 13,000-square-

Improving your experience of the museum’s

foot Pavilion constructed on the Hyde Street side

education and public programs is a significant aspect

of the building will be the largest exhibition space

of the transformation project. The Koret Education

dedicated to Asian art in the country.

Center, a multifunctional room accommodating up

A purpose-built, industry-standard, continuous

to 75 people, equipped with a sophisticated audio-

gallery space will give our curators unprecedented

visual system, will become the hub for an integrated

freedom and flexibility to create exhibitions that

suite of educational programs. This enlarged and

raise the bar for interpretation, technology and

enhanced venue dedicated to education will give you

design. Another plus: for the first time, we will be

opportunities to hear distinguished speakers from

able to present large-scale contemporary artworks,

across the globe and will be a comfortable setting

bringing our historical collections into dialogue with

for viewing films on topics related to our mission.

important new work and giving the museum a voice in the international contemporary art world.

We believe that encounters with Asia’s history, culture and values broaden our worldview and

A key feature of the Pavilion is the rooftop

encourage us to look and think beyond the borders

Art Terrace, an outdoor venue for contemporary

of our own life experiences. By situating Asian

sculpture and commissioned installations where you

art within a global context, juxtaposing art of

will be able to enjoy live performances and other

the past and present and introducing stimulating

special events.

new ideas through exhibitions and programs,

We have also reimagined your experience of the

the transformed museum will offer you fresh

collection galleries with our Masterpieces Center

perspectives on the culture of the Bay Area,

Stage project. Curators have identified 15 objects

world history and current events.

FALL 2017 /// 15

Asian Art Museum Pavilion Art Terrace, concept design by wHY, 2017. The rooftop Art Terrace will connect the museum to the city and be a dramatic venue for outdoor events. Rendering © wHY and Asian Art Museum.

An array of digital enhancements will give you

“This project has critical potential for culture in our time,” design architect Kulapat Yantrasast says of the Asian Art Museum expansion. “As an immigrant who came to America 12 years ago after living in many Asian cities, I absolutely believe in the power of culture to connect people.”

Born and raised in Bangkok, educated in

Japan, and now based in Los Angeles and New York, Yantrasast is fast becoming the go-to architect for breathtaking museum spaces that foreground the art, not the architecture. After receiving graduate degrees from the University of Tokyo, he worked closely with Pritzker-winning Tadao Ando for eight years, responsible for international projects including the Modern Art Museum of Fort Worth.

Having imbibed Ando’s design language, in

2004 Yantrasast founded his own practice, wHY, so he could experiment with multiple languages.

Since then, he has brought his sublime aesthetic and focus on functionality to a range of projects, including private residences, but he seems to have found his niche in museum and gallery design.

His first independent commission was for the LEED Gold-certified Grand Rapids Art Museum in Michigan, whose rigorous simplicity and use of concrete are reminiscent of Ando’s work. Other recent projects include the acclaimed Marciano Art Foundation in Los Angeles; the renovation and

16 /// ASIAN ART MUSEUM

expansion of the Speed Art Museum in Louisville,

Meet Architect Kulapat Yantrasast

KY; a new showroom for Christie’s in Beverly Hills; the San Francisco outpost of the Gagosian Gallery; and the gallery space design for the Harvard Art Museums.

“By respecting yet enhancing the unique

character of the historic building, I envision a completely transformed experience of the Asian Art Museum, even before people set foot in the galleries,” Yantrasast says. “We want to release the power of art objects to inspire visitors, but also deepen and widen those artful encounters into understanding and empathy.”

Kulapat Yantrasast. Photograph © Jack Prichett Photography.

TRANSFORMATION

Museum Hours The museum will remain open during the transformation project, so you will still be able to visit many of your favorite works from the collection as well as special exhibitions such as Divine Bodies (page 21). Collection galleries will close only briefly on a rotating basis for reinstallation, so there will always be something to see!

Visit www.asianart.org to make the most of your visit.

Top: Asian Art Museum lobby interior, concept design by wHY, 2017. New wHY-designed admission desks open up the lobby to restore the central axis of the original building and allow access to the grand staircase. Left: Asian Art Museum Koret Education Center interior, concept design by wHY, 2017. This hub for education features a window that doubles as art display. Above: Asian Art Museum Pavilion interior, concept design by wHY, 2017. Spacious special exhibition galleries in the new Pavilion will have ceiling heights suitable for contemporary art. Renderings Š wHY and Asian Art Museum.

During the transformation, enjoy all the member benefits

providing you with even more benefits during this momentous

you’ve come to love, such as museum store and parking

time. Stay tuned for an email survey asking which additional benefits

discounts, free admission to special exhibitions and invitations

you would most value during the transformation project.

to preview events.

you this exciting new chapter of our history!

We want to thank you for remaining a loyal member by

We look forward to hearing your thoughts and sharing with

FALL 2017 /// 17

New Member Benefits Coming Soon

TRANSFORMATION

18 /// ASIAN ART MUSEUM

Asian Art Museum Pavilion exterior (night view), concept design by wHY, 2017. Large faceted windows facing the street open the museum up to the surrounding neighborhood. Rendering Š wHY and Asian Art Museum.

For All

THE CAMPAIGN FOR THE ASIAN ART MUSEUM We are excited that the museum transformation project is moving

forward on all fronts: designs are finalized, construction will begin

ership donors, whose passion for the museum and its mission has

Here’s an introduction to a few of our capital campaign lead-

next year and we have made significant progress in securing the

translated into significant gifts. They are thrilled to support a project

necessary funding. For All, the Campaign for the Asian Art Museum,

that will have such a profound impact on museum visitors of all ages

is a five-year, $90 million capital campaign that will not only make

and walks of life. To learn how you can join them in supporting the

the expansion possible but will ensure the future success of the mu-

transformation as a leadership donor, contact Nancy Sackson, chief

seum by providing financial support for programs and endowment.

philanthropy officer, at nsackson@asianart.org.

TRANSFORMATION

Akiko Yamazaki and Jerry Yang Akiko Yamazaki has served as a museum trustee since 1999 and

Campaign brought us to the current Civic Center building in 2003.

currently chairs the museum’s dual governing boards—the Asian

For All, the Campaign for the Asian Art Museum, will build on the ef-

Art Commission and the Asian Art Museum Foundation, the private

forts of these past leaders by aligning the museum experience more

fundraising arm. As chair of the Campaign Executive Committee,

closely with the times in which we live. We will double our special

she is spearheading the capital campaign.

exhibition space, which also allows us to expand our contemporary

She and her husband, Silicon Valley entrepreneur Jerry Yang,

art program. The permanent collection galleries will be reinstalled

are honored to support For All, the Campaign for the Asian Art

with a focus on masterpieces. The expanded use of digital tools

Museum, as lead donors.

throughout the museum will allow visitors to engage and learn in

“Many people have made significant contributions to make the

ways that resonate with their daily lives. The rooftop Art Terrace will

Asian Art Museum what it is today, beginning with Avery Brundage’s

be the biggest of its kind in the city of San Francisco. Our hope is

gift of his world-class collection 50 years ago. The New Asian

to make the Asian Art Museum a ‘must-go’ place for all!”

Kumar Malavalli & Malavalli Family Foundation Leaders in the Bay Area Indian American community, Kumar

“We are honored to be able to support the transformation

and Vijaya Malavalli first became involved with the Asian Art

of the Asian Art Museum, which has the power to change lives,”

Museum in 2011 when Kumar Malavalli served as gala chair for

Malavalli says.

Maharaja: The Splendor of India’s Royal Courts. “I was looking for

an opportunity to promote South Asian art and culture, not only to

the boards of the UC Santa Cruz Foundation, American Indian

the younger generation of Americans of South Asian descent, but

Foundation and Cal State East Bay Educational Foundation. An

to Americans of all backgrounds,” Malavalli says. He was delighted

inductee of the Silicon Valley Engineering Council Hall of Fame,

by the success of the Maharaja exhibition, as well as that of Yoga:

Malavalli was co-founder of Brocade Communication and is

The Art of Transformation two years later.

presently co-founder and executive chairman of Glassbeam.

In addition to being a museum trustee, Malavalli serves on

Allison and Dan Rose looking forward to the Art Terrace as a venue for contemporary

Allison Rose joined the board of trustees earlier this year after learn-

sculpture. “Having more pieces like that will be a game-changer for

ing about the transformation project and its focus on contemporary

the museum.”

art. “There are so many possibilities for bringing modern and con-

temporary art and artists to the museum,” Rose says.

Area restaurants and food concept companies, and her husband is

She is delighted that she and her husband are able to give a

vice president of partnerships at Facebook. “We want to help make

leadership gift to the capital campaign. “We really like to be part

something great for the city that will also attract visitors from Silicon

of something from the beginning,” Rose says. They are especially

Valley and beyond.”

Rose is founder of Rose Culinary Ventures, which invests in Bay

FALL 2017 /// 19

Allison and Dan Rose share a passion for contemporary Asian art.

TRANSFORMATION

Asian Art Museum Pavilion Art Terrace, concept design by wHY, 2017. The Art Terrace will be a venue for outdoor sculpture and special commisions (artworks pictured are for illustration only).

Rendering Š wHY and Asian Art Museum.

For All

THE CAMPAIGN FOR THE ASIAN ART MUSEUM LEADERSHIP DONORS The Asian Art Museum is grateful to the following donors for their leadership investments in our capital campaign.

$25 Million

$500,000

$100,000 to $249,999

Akiko Yamazaki and Jerry Yang

Gerson and Barbara Bakar

Patricia and Edwin L. Berkowitz

Dixon and Carol Doll

Kathy and Paul Bissinger

John Ta-Chuan and Florence Fang and Family

William Mathews Brooks

Maria and Steven Kahng

Cornelia and Alexander Calhoun Family

Fred Levin and Nancy Livingston,

Jamie and Steve Chen

The Shenson Foundation

Julia K. Cheng

Allison and Dan Rose

Judith and Robert L. Duffy

Kazuko Imagawa Zolinsky

Mimi Gardner Gates

$10 Million Anonymous $7.5 Million William K. Bowes, Jr. Foundation $3 Million Kumar Malavalli & Malavalli Family Foundation

20 /// ASIAN ART MUSEUM

$2 Million

$250,000 to $499,999 Cori and Anthony Bates Eliza and Dean Cash

Koret Foundation

Chen Family Foundation

$1 Million

Kristine Johnson and Timothy Dattels

Joan Danforth

Timothy and Anne Kahn

Roberta and Steve Denning

Stephanie and James Marver

Chong-Moon and Reiko T. Lee

Suno Kay Osterweis

Doris Shoong Lee and Theodore Bo Lee

Leslie T. Schilling and

Gorretti and Lawrence Lui

The Andrew W. Mellon Foundation

Steven and Merrill Randol Sherwin

Anthony and Rosina Sun

Lucy Sun and Warren Felson

Judy Wilbur

Wells Fargo

Anonymous

Anonymous

Marsha Vargas Handley

Institute of Museum and Library Services Dr. Phyllis A. Kempner and Dr. David D. Stein Bill and Mary Kim Alexandra and Dennis Lenehan Society for Asian Art Ken and Ruth Wilcox Anonymous

Alexander H. Schilling

As of August 25, 2017

UPCOMING

MARCH 9 –JULY 29, 2018

divinity? The Hindu, Buddhist and contemporary artworks in this exhibition reveal the intersections between the realms of the divine and secular, body and spirit.

Divine Bodies is organized by the Asian Art Museum. Presentation is made possible with the generous support of The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations and Warren Felson and Lucy Sun. Image: The Buddhist deity White Tara (detail), approx.

1400–1500. Nepal. Copper with gilding, turquoise, lapis lazuli, other gemstones, and glass. Asian Art Museum, The Avery Brundage Collection, B60S22+. Photograph © Asian Art Museum.

FALL 2017 /// 21

DIVINE BODIES

When we look at sacred art do we see humanity or

MEMBERSHIP

TAKE HOME NANDI Members at Premium levels and above ($179+) receive a unique, handcrafted gift each year as a benefit of membership.

Last year, artist Julie Chang created a limited-edition tote bag for these members. In response to a recent poll, members overwhelmingly requested that this year’s premium gift be a replica of an Asian Art Museum artwork.

In partnership with our museum store, we worked with San Francisco–based Dynasty Gallery to create a replica of the bull Nandi, a beloved 15th-century Indian stone sculpture from the museum’s collection. Each replica is individually hand cast and is available in clear or shimmering gold glass. Pick up yours today at the member desk (while supplies last). Not a Premium member? Learn more or upgrade your level by calling us at 415.581.3740.

Go to www.asianart.org/extraperks for a special behindthe-scenes video showing the fabrication of these handcrafted glass replicas. n

Replica of the bull Nandi, approx. 1400–1500. Southern India, former kingdom of Vijayanagara. Granite. Asian Art Museum. Gift of the Atholl McBean Foundation, B68S3.

Photograph © Asian Art Museum.

GUMP SOCIETY TEA HONORS MEMBERS’ LEGACIES Members like you can create a lasting impact by joining the Richard B. Gump Society, a group of forward-thinking donors who have included the Asian Art Museum in their estate plans, ensuring that the museum will continue to engage future generations in the art and culture of Asia. Society members enjoy many special benefits, including the annual Gump Society Tea, which honors 22 /// ASIAN ART MUSEUM

those who have included a gift of any size in their will or trust, or by beneficiary designation.

This year’s Gump Society Tea, scheduled for October 26,

features Mark Fenn, the museum’s associate head of conservation, who’ll lead a tour through the galleries to highlight some of the various techniques he uses to protect, preserve and repair artworks in the museum’s collection.

Become a part of this group of dedicated members and attend

the Gump Society Tea by contacting Kate McNulty at 415.581.3683 or kmcnulty@asianart.org. Visit plannedgiving.asianart.org for Gump Society Tea, 2016. Photograph © Natalie N Photography.

more information. n

MEMBERSHIP

Allison Rose, Rosina Sun, Gorretti Lui, Cori Bates and Eliza Cash at Saint Mark’s Basilica during the Nexus trip to Venice. Photograph by Jerry Yang.

JADE CIRCLE AND NEXUS museum’s art conservation projects, education programs and

culture by joining Jade Circle ($3,000+) or Nexus ($25,000).

dynamic exhibitions. They receive unparalleled access to curators

As a Jade Circle member, you can deepen your connection

and the art world, including captivating private collection visits, unique

with an array of exclusive events such as curator-led exhibition

behind-the-scenes tours, intimate studio visits with celebrated artists

tours, domestic travel opportunities with museum curators and

and customized domestic and international travel opportunities such

conversations with Deputy Director Rob Mintz.

as Asia Week New York and the Venice Biennale.

You can make an even greater impact with a gift to Nexus.

Nexus members provide essential philanthropic support for the

For more about Jade Circle or Nexus, call 415.581.3794 or

email jadecircle@asianart.org or nexus@asianart.org. n

FALL 2017 /// 23

We invite you to delve deeper into the world of Asian art and

SOCIETY FOR ASIAN ART

ARTS OF ASIA LECTURE SERIES ART ON THE MOVE ACROSS ASIA AND BEYOND, PART II Join us on a cross-cultural caravan as the Arts of Asia lecture

the beginnings of US-China trade, and collecting Asian art in

series explores how art and ideas were carried along global trade

the West.

routes. Every Friday morning, leading scholars consider the role

of art in the exchange of knowledge across the great land and sea

10:30 AM to 12:30 PM. The fall series continues through Nov. 17

trade routes of Asia, Europe and the New World.

in Samsung Hall. The spring series, from Jan. 26 to Apr. 27, 2018,

The fall 2017 lectures, the first part of a comprehensive two-

is planned to be held at UC Hastings College, 200 McAllister St.,

semester series, runs through Nov. 17. Upcoming topics include

during construction of the museum’s transformation project. For

textile and costume exchange, the impact of the written word and

ticket information and programming and schedule updates, visit

Byzantine arts.

www.societyforasianart.org. n

The Arts of Asia lecture series takes place on Fridays from

In Part II, beginning Jan. 26, professors and curators focus

on what happens when art changes hands across cultural borders.

The 14 lectures will cover the lives of famous Buddhist images, how East met West under the Mongols, the transmission and cultural impact of metallurgy across Eurasia, architecture and aesthetics in the Ottoman Empire, Chinoiserie and Japonisme,

The spring 2017 edition of Lotus Leaves, a biannual publication of the Society for Asian Art, is now available for download at www.societyforasianart.org.

Articles include “The Bronze Age Cemeteries of Ancient Dilmun” and “Flower Power.”

24 /// ASIAN ART MUSEUM

18th-century exchanges in garden arts, the Empress of China and

Gebel (Jonathan Goble), a Black Man, and a Chinese Man, from the Black Ship Scroll (detail), approx. 1854. Japan, Edo period (1615–1868). Handscroll segment mounted as a hanging scroll; ink and colors on paper. Asian Art Museum, Museum purchase with assistance from the Japan Society of Northern California, 2012.60.6. Photograph © Asian Art Museum.

RETAIL

DON’T MISS OUR FIRST-EVER HOLIDAY ARTISAN MARKET WEDNESDAY, NOV 29 9–10 AM | MEMBERS ONLY 10 AM–8 PM | OPEN TO PUBLIC

Members get first pick, and a warming cup of tea, at a special preview hour!

Get all of your holiday shopping done early this year at our first-ever Holiday Artisan Market, a free event featuring one-of-a-kind handmade goods by local makers.

The store will overflow into the surrounding

North and South Courts with pop-up boutiques.

• Jewelry

•

• Ceramics

accessories

• Books

•

• Specialty

to Couture

Korea exhibition

food products

Fashion & Items relating

• Ornaments

•

Gifts for

• Cards

little ones

Plus local artists and illustrators will be on hand to sign books.

FALL 2017 /// 25

SCENE AT THE ASIAN

Lotus Live, July 15, 2017. Left to right: Dhaya Lakshminarayanan, Lotus Live emcee; Michael Empric, ajudicator, Guinness World Records; Jay Xu, director, Asian Art Museum; Carmen Chu, San Francisco assessor. Photograph © Asian Art Museum.

Members feeling the Flower Power at the exhibition opening reception. Photograph © Natalie N Photography.

Martha Hertelendy, Helen Desai, Ashok and Gita Vaish and Sophia Aldrich listening to curator Qamar Adamjee speak at the Jade Circle Annual Director’s Dinner. Photograph © Natalie N Photography.

Who Do You Trust? by David and Hi Jin Hodge, April 20, 2017. Part of the Artist Drawing Club series. Photograph by Quincy Stamper.

#AsianArtMuseum @jessiccava

SCENE AT THE ASIAN

Visitors create their own tea blends at Tasting Menu: Flowering Teas with Donna Lo. Photograph by Quincy Stamper.

Nexus members on the rooftop terrace of the Peggy Guggenheim Collection during their trip to Venice for the Biennale.

Photograph by Manuel Silvestri.

THE POWER OF FLOWERS

Fifty years after the Summer of Love, flowers brought a burst of color to the museum.

The blooms in Flower Power inspired Lotus Live, where more than 2,400 of you joined together to achieve the Guinness World Records title for the largest human flower.

Installations by Ayomi Yoshida and Lee Mingwei delighted visitors with cherry blossoms and daisies. And at our June Tasting Menu: Flowering Teas, visitors created their own floral tea blends. n Contemporary Council members join artist Ayomi Yoshida and her team to install Yedoensis. Photograph © Asian Art Museum.

Dany Chan, assistant curator for exhibition projects, handing Paola Kulp a flower from Lee Mingwei’s The Moving Garden at the Flower Power opening reception. Photograph © Natalie N Photography.

Honma Hideaki demonstrates the art of bamboo weaving. Photograph by Quincy Stamper.

EVENT CALENDAR

FALL 2017 EVENT CALENDAR

Kearny Street Workshop Presents APAture: Performing Arts Showcase Saturday, Oct 21 1–4 PM The Propeller Group Saturday, Oct 28 2–3:30 PM

NOVEMBER

OCTOBER Filipino American History Month: Celebrating Heritage Sunday, Oct 1 10:30 AM–4 PM Art-Making Workshop Sunday, Oct 1 12–4 PM The museum gets turned inside out at the Art/Lit LIZ, a platform for creativity on the corner of Fulton and Larkin streets. Meet artists, create art and play at these monthly workshops.

Family Fun Day Sunday, Oct 15 10:30 AM–2 PM Explore Korean style in our special exhibition Couture Korea and then make your own fashion statement to take home!

Jin Teok: Pioneer of Korean Fashion Saturday, Nov 4 2–3:30 PM

The Unbearable Lightness of Drawing: Tracking Down 18th-Century Indian Painter Nainsukh and His Work Sunday, Nov 12 2–3:30 PM

Family Fun Day Sunday, Dec 17 10:30 AM—2 PM Kick off the holiday season with festive art-making and storytelling!

K-Fashion Bash 12–4 PM Sunday, Nov 19 Discover the hottest trends on the streets of Seoul and San Francisco and end the day with a K-Pop dance party!

32nd Annual Japanese New Year’s Bell-Ringing Ceremony Sunday, Dec 31 9:30 AM (members only) 11:30 AM (open to the public)

DECEMBER

Family Fun Day Sunday, Jan 7 10:30 AM—2 PM Celebrate the New Year with Year of the Dog–inspired art activities!

Family Fun Day Sunday, Nov 5 10:30 AM—2 PM Explore Korean style in our special exhibition Couture Korea and then make your own fashion statement to take home!

Family Fun Day Sunday, Dec 3 10:30 AM—2 PM Explore Korean style in our special exhibition Couture Korea and then make your own fashion statement to take home!

Art-Making Workshop Sunday, Nov 5 12–4 PM The museum gets turned inside out at the Art/Lit LIZ, a platform for creativity on the corner of Fulton and Larkin streets. Meet artists, create art and play at these monthly workshops.

Art-Making Workshop Sunday, Dec 3 12–4 PM The museum gets turned inside out at the Art/Lit LIZ, a platform for creativity on the corner of Fulton and Larkin streets. Meet artists, create art and play at these monthly workshops.

Artist Workshop: Kristian Kabuay Nov 11, 18; Dec 2, 9 10:30 AM–1 PM $200 General $150 Members Four-week intensive workshop on baybayin, ancient Philippine calligraphy.

Korean Fashion from the Joseon Dynasty to Today Saturday, Dec 9 2–3:30 PM

OH WHAT FUN IT IS TO SHARE An Asian Art Museum membership is truly a gift that keeps giving all year round.

Share the museum with those you love this holiday season. Now through December 31, use promo code SHARE to receive $5 off your gift membership purchase. If you know a family with young children, Rhino Club is a wonderful way to engage little ones at the museum. Call us at 415.581.3740 or stop by the member desk for more information.

SAVE THE DATE

Mochi Pounding (Omochitsuki) Saturday, Jan 20 11 AM–2 PM Lunar New Year Celebration: Year of the Dog Sunday, Feb 18 10:30 AM–4 PM

CALENDAR

FEATURED MEMBER EVENTS

Tour, Talk & Tea: New Acquisitions in Philippine Art Saturday, Oct 14 2–4 PM Open to all members Annual Nexus Dinner Monday, Oct 23 Open to Nexus members Richard B. Gump Society Tea Thursday, Oct 26 2–4 PM Open to Legacy Society members

OCTOBER

The Propeller Group Reception Saturday, Oct 28 3:30–4:30 PM Open to Contemporary Council Members

Philippine Art: Collecting Art, Collecting Memories Friday, Oct 5 10 AM–12 PM Open to Connoisseurs’ Council members

NOVEMBER

Tour, Talk & Tea: New Acquisitions in Philippine Art Tuesday, Oct 10 2–4 PM Open to all members

New Member Welcome Tour Wednesday, Nov 1 10:30–11:30 AM Open to all members

Visualization and Consecration: Religious Technologies in Himalayan Art Friday, Oct 13 2–4 PM Conversation and tour with Assistant Curator of Himalayan Art Dr. Jeff Durham Open to Jade Circle Silver and above

Couture Korea Opening Reception Wednesday, Nov 1 5:30–7:30 PM Open to Jade Circle and Nexus 7:30–9:30 PM Open to Friends and Patrons Couture Korea Preview Day Thursday, Nov 2 10 AM–5 PM Open to all members

Explore the Night Sky Wednesday, Nov 8 7 PM Lunar Society/The Hive planetarium screening and stargazing at California Academy of Sciences Open to Lunar Society members Look out for email invitations to other Lunar Society events. For the full Lunar Society calendar, visit www.asianart.org/lunarsociety.

Member Shopping Day Friday, Nov 10 10 AM–5 PM Open to all members Double your discount! Enjoy 20% off at the museum store.

Member Morning Saturday, Nov 11 9–10 AM Open to all members Visit an hour before doors officially open for bagels, coffee and private time in the galleries.

Member Shopping Day Saturday, Nov 11 10 AM–5 PM Open to all members Double your discount! Enjoy 20% off at the museum store.

Member Shopping Day Sunday, Nov 12 10 AM–5 PM Open to all members Double your discount! Enjoy 20% off at the museum store.

Tour, Talk & Tea: Korean Art and Aesthetics Tuesday, Nov 14 2–4 PM Open to all members

Asian Art Museum of San Francisco – Chong-Moon Lee Center for Asian Art and Culture

DECEMBER Tour, Talk & Tea: A Life in Edo Tuesday, Dec 5 2–4 PM Open to all members New Member Welcome Tour Wednesday, Dec 6 10:30–11:30 AM Open to all members Tour, Talk & Tea: A Life in Edo Saturday, Dec 9 2–4 PM Open to all members

SAVE THE DATE New Member Welcome Tour Wednesday, Jan 3 10:30–11:30 AM Open to all members Tour, Talk & Tea: Relic Runway, Fashion Depicted in the Collection Tuesday, Jan 9 11 AM–1 PM Open to all members Tour, Talk & Tea: Relic Runway, Fashion Depicted in the Collection Saturday, Jan 13 11 AM–1 PM Open to all members

November is Member Appreciation Month!

We’ve planned extra perks for you, including Member Shopping Days and Member Morning. Why? Because we love you. Check the Member and Jade E-news for additional details.

Not subscribed to our emails?

Contact us at members@asianart.org or 415.581.3740, and we can help you sign up!

FALL 2017 /// ASIAN ART MUSEUM

Celebrate with us!

Tour, Talk & Tea: Korean Art and Aesthetics Saturday, Nov 18 2–4 PM Open to all members

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