Asian magazine, Fall 2015

FALL 2015

Even superheroes need their art fix. “Bay Area Hero” Lucas Pastuszka surprised visitors while touring 28 Chinese on Jul. 29. (He especially enjoyed the bats in Huang Yong Ping’s Well, for obvious reasons.)

Pastuszka’s superpowers include cheering up sick children.

TABLE OF CONTENTS

FALL 2015 /// VOL. V, ISSUE llI The Asian Art Museum Magazine MAGAZINE STAFF Tim Hallman, Editor-in-Chief Kate Johnson, Director of Membership Kate Ritchey, Creative Director Amy Browne, Art Director / Graphic Designer Rick Clogher, Writer / Editor Beth Tagawa, Writer / Editor

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Published by the Asian Art Museum Chong-Moon Lee Center for Asian Art & Culture 200 Larkin Street, San Francisco, CA 94102 415.581.3500 · www.asianart.org · magazine@asianart.org Copyright © 2015 Asian Art Museum of San Francisco

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

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

Cover left: Postman Joseph Roulin, 1888 (detail), by Vincent van Gogh (Dutch, 1853–1890). Oil on canvas. Museum of Fine Arts, Boston, Gift of Robert Treat Paine, 2nd, 35.1982. Photograph © 2015, MFA, Boston. Cover right: [Actor Onoe Matsusuke II as] the Carpenter Rokusaburo, approx. 1814–1815, from the series Great Hit Plays (detail), by Utagawa Kunisada I (Toyokuni III; Japanese, 1786–1864). Woodblock print; ink and color on paper. Museum of Fine Arts, Boston, William Sturgis Bigelow Collection, 11.15140. Photograph © 2015, MFA, Boston. Back cover left: The water lily pond (detail), 1900, by Claude Monet (French, 1840–1926). Oil on canvas. Museum of Fine Arts, Boston, Given in memory of Governor Alvan T. Fuller by the Fuller Foundation, 61.959. Photograph © 2015, MFA, Boston.

Back cover right: Bamboo Yards, Kyobashi Bridge (detail), 1857, from the series One Hundred Famous Views of Edo, by Utagawa Hiroshige I (Japanese, 1797–1858). Woodblock print; ink and color on paper. Museum of Fine Arts, Boston, William Sturgis Bigelow Collection, 11.26350. Photograph © 2015, MFA, Boston. Below: Jay Xu. Photo by Quincy Stamper.

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FROM THE DIRECTOR JAY XU — Half a century. It sounds like such a long time. But for those of you who have been part of the museum family since the beginning, it may seem like the blink of an eye. With this issue we look forward to 2016, the Asian Art Museum’s golden anniversary.

Since its beginning, the museum has viewed itself as a bridge connecting East and West.

Our fascinating exhibition Looking East: How Japan Inspired Monet, Van Gogh, and Other Western Artists (see page 6) examines the link between Japan and the West established more than a century ago. Laura Allen, curator of Japanese art, looks at the fervor for all things Japanese that left an indelible mark on Western aesthetics in painting, printing, ceramics and metalwork.

Our celebration year — 2016 — will dazzle with six major exhibitions (see page 12) that include artistic creativity from three great empires of the Islamic world; Korean mother-of-pearl lacquer ware; rare Chinese world maps from the 17th century; artworks that explore the lure, luster and meaning of gold in Asia and California; and the centerpiece for the year, nearly 150 treasures in painting, jade, textiles, ceramics and more from the National Palace Museum, Taipei. Plus, a fresh survey of the Rama epic.

We also take a behind-the-scenes look at our Prototyping gallery (see page 16), examining how our curators and educators use public participation to create exhibits that enhance the visitor experience. And in “Shared Sensibilities” (see page 21) we profile a couple whose passion for contemporary ceramics and planned giving match the museum’s aim to keep an eye on the present and the future. SEE YOU AT THE MUSEUM!

ART BITES

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

FEAST YOUR EYES ON THIS! Today’s reality shows turn food into a high art. But long before “Top Chef” had its first winner, Chinese craftsmen were turning high art into food — sort of.

Next summer, museum visitors will have the chance to salivate over the epitome of art food, the famed “Meat-shaped stone,” one of the most popular and famous artworks from the National Palace Museum, Taipei (see page 12).

Carved from a piece of banded jasper, a naturally occurring stone that forms in layers, the work resembles a thick slab of Dongpo pork, or braised pork belly. Capitalizing on the jasper’s natural appearance, the unknown Qing dynasty artist carved the stone until it resembled layers of pork skin, lean meat and fat. Then the top layer of skin was stained, which, along with the veining of the stone, enhanced the illusion.

Viewing the stone at the National Palace Museum, Taipei, even the noted chef, author

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and TV foodie Anthony Bourdain called it “the pork of my dreams.” n

This page: Meat-shaped stone, approx. 1800–1900.

China, Qing dynasty (1644–1911). Jasper, golden stand.

Courtesy of The National Palace Museum, Taipei, Guza 00178/Lü-413. Photograph © The National Palace Museum, Taipei. Opposite page top: An Object at the Limits of Language – Necromantic KIPPIAN Emancipator: No. 2 (detail), 2000, by Manuel Ocampo (Filipino, b.

1965). Oil on linen. Courtesy of Asian Art Museum of San Francisco, Gift of Malou Babilonia, 2007.78. © Manuel Ocampo. Photograph © Asian Art Museum of San Francisco. Opposite page bottom: A visitor takes a closer look at an interactive element.

ART BITES

COMMEMORATING AN IMMIGRATION MILESTONE We’re all abuzz about our 50th anniversary in 2016, but we’re

Then you can watch an artist demonstration, learn the history of Filipino

commemorating another 50th this year: the anniversary of the

American activism, and enjoy music — both classical and political.

Immigration Act of 1965. With this radical break from a restrictive

You can also check out the range of Filipino art in our collection,

quota system, the U.S. welcomed a surge of immigrants that brought in a

from exquisite textiles to a giant hot-pink painting by contemporary

new wave of Filipinos to the Bay Area. At our annual Filipino American

artist Manuel Ocampo, part of our special exhibition First Look.

History Month Celebration on Sunday, Oct. 4, multiple generations will reflect on this milestone.

The event kicks off with Panawag, a summoning of the gods with auspicious offerings such as sugarcane, betel nut and fire.

“We’re excited to provide a forum for cultivating new community leaders with a strong connection to their Filipino heritage and commitment to their activist roots,” says manager of public programs Allison Wyckoff. n

STATE OF THE ARTS: CALIFORNIANS GET CREATIVE For two decades, the narrative has gone like this: Participation in the arts is declining.

But that all depends on how you define “participation.” Recent research shows that Californians are, in fact, deeply engaged in cultural activities, with particular interest in hands-on experiences that let them pursue their own creativity.

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“The Cultural Lives of Californians,” released by the James Irvine Foundation this May, offers plenty of positive takeaways. Nearly one-third of Californian adults volunteered to help an arts or cultural organization during the past year, and more than half spent time learning how to practice an art form. Technology has provided a popular vehicle for exploration. One third of adults said they visit YouTube at least weekly to learn about artists and their work, and 29 percent use social media. But the study suggests one potential challenge: Some of California’s growing immigrant populations are less likely to participate in traditional arts activities such as going to museums.

We closely follow this kind of research and have conducted our own studies about visitor preferences for years. See page 16 to learn more about our ongoing experiments to create more satisfying art experiences for all of our audiences. n

Photo © Asian Art Museum.

EDUCATION & PUBLIC PROGRAMS

RING IN A NEW YOU

BY RICK CLOGHER

Has the plugged-in world got you so frazzled that you question the meaning of life? Get in line. No, really, get in line. The museum might have just the cure for your ills.

On Dec. 31, you can join in a tradition that is joyful, reflective and a bit unusual for most San Franciscans: the annual Japanese New Year’s Bell-Ringing Ceremony. Each year, people can take a turn at striking the museum’s 16th-century bronze temple bell, which stands nearly 4 feet tall and weighs 2,100 pounds. During the ceremony — based on a similar practice from Buddhist temples — the bell is struck 108 times to suppress the mortal desires that beset humanity. The ritual wipes away the bad experiences and transgressions of the past year, letting you start the New Year with a clean slate. What better way to usher in 2016, the Asian Art Museum’s 50th anniversary?

These days, many museums have a hands-on component. Not so in 1984. That’s when then education director Richard Mellott proposed the bell ringing, inspired by the ceremonies he had viewed as a doctoral student in Japan. “Museums in general frowned on using any of their objects for whatever their original purpose was,” says Mellot, “like food bowls or cups for tea ceremonies.” What Mellott proposed, though, was unheard of: giving museum-goers physical access to a centuries-old art object — and letting them strike it. “The conservationists

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Bottom: Rev. Gengo Akiba leads the museum’s bellringing ceremony, which celebrates its 30th anniversary in December. Opposite page: The ceremony, circa 1990, is a hit among visitors young and old. Photos © Asian Art Museum.

had to make sure there were no cracks in the bell and that we weren’t going to hurt it,” says Mellot. “We also had to get permission from the museum’s director, Yvon d’Argencé, and his response was more, ‘Well … I don’t know.’ But we cajoled him and promised we’d be gentle, so after a day or so he agreed.”

EDUCATION & PUBLIC PROGRAMS

30th Annual Japanese New Year’s Bell-Ringing Ceremony Thursday, Dec 31 9:30 AM (for members only) 11:30 AM (for all visitors) Samsung Hall Free with museum admission

The ceremony includes a purification ritual and chanting of the Buddhist Heart Sutra, followed by participants taking turns ringing the museum’s 16th-century bronze bell. First come, first served. Pick up tickets to ring the bell at the admissions desk.

Doors open at 9 AM for members.

The ceremony was a bit less refined that first year, says Mellott. “We didn’t even have a proper beam to strike the bell, so we held on to a two-by-four, on which we attached a cushion, and only one person at a time could use it.” But the idea caught on, and the ceremony is now a community favorite, marking its 30th anniversary. “That old bell had just been hanging in the museum,” Mellott says, “but when you hear it, it comes alive.”

Rev. Gengo Akiba, director of the Soto Zen Buddhism North America office, will again lead the ceremony, which includes a purification ritual and the chanting of the Heart Sutra.

His wife, Yoshie Akiba (proprietor of Yoshi’s jazz club in Oakland), will provide commentary on the Japanese New Year. If you’re nervous and want to be sure to treat the bell respectfully, a museum-produced video explains the proper technique — Japanese New Year Bell-Ringing Ceremony: Finding Harmony (https://youtu.be/TQb1xFOoIbs). You’ll learn more about the morning and join us: first come, first served.

If you still have strength after you’ve rung in the New Year, literally, you might try hitting something more pliable and far tastier than a bronze bell. On Jan. 10, you can lend a hand for mochitsuki, our annual Mochi-Pounding Ceremony. The Bay Area group Kagami Kai returns to give a lively demonstration of the tradition, and you’ll get a chance to swing a mallet before enjoying a sample of the sticky rice treat.

Finally, mark your calendar as the holidays reach a crescendo with the museum’s annual Lunar New Year Celebration. Music and dance will fill Samsung Hall on Feb. 14, and the traditional lion dance will scare away evil spirits to welcome the Year of the Monkey. n

Major support for this program is provided by The Henri and Tomoye Takahashi Charitable Foundation.

Additional support for the Asian Art Museum's education and public programs is provided by William Randolph Hearst Foundation, The Joseph & Mercedes McMicking Foundation, Dodge & Cox, and The Morrison & Foerster Foundation.

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deeper meaning of the ceremony, too. Then just pick up a ticket at the admissions desk that

ASIAN ART MUSEUM First Floor: Hambrecht, Osher, Lee Galleries

OCT 30, 2015 – FEB 7, 2016

Claude Monet, Vincent van Gogh, Henri Matisse, Mary Cassatt — not names you typically see on our gallery walls. But they, and other renowned Western artists, will be welcomed to the Asian Art Museum starting Oct. 30, when Looking East opens its doors to the public.

A traveling show from the Museum of Fine Arts, Boston, Looking East explores the phenomenon known as japonisme: the craze for all things Japanese that spread in the West after 1853, when Japan was compelled to open its ports to trade after more than 200 years of self-imposed isolation. Surveying more than 170 works of Western and Japanese art, Looking East illustrates the ensuing changes to artistic expression as Western artists responded to the influx of Japanese motifs and aesthetic ideas. And as you will see this fall, the above-mentioned painters were among a roster of major Western artists, critics and collectors swept up in the fervor of japonisme.

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By Laura Allen, Curator of Japanese Art

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Japan itself became a tourist destination, as many sought firsthand contact with a place previously shrouded in mystery.

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Left: The water lily pond, 1900, by Claude Monet (French, 1840–1926). Oil on canvas. Museum of Fine Arts, Boston, Given in memory of Governor Alvan T. Fuller by the Fuller Foundation, 61.959. Photograph © 2015, MFA, Boston.

Right: Bamboo Yards, Kyobashi Bridge, 1857, from the series One Hundred Famous Views of Edo, by Utagawa Hiroshige I (Japanese, 1797–1858). Woodblock print; ink and color on paper. Museum of Fine Arts, Boston, William Sturgis Bigelow Collection, 11.26350. Photograph © 2015, MFA, Boston.

By the late 1870s, Westerners curious about Japan could encounter its art in many places. In Paris, where the term japonisme was coined, the first shop selling Japanese imports opened in 1862. Industrious dealers in that city stoked the passion of enthusiasts like netsuke collector Charles Ephrussi, whose story is captured in Edmund de Waal’s best-selling memoir “The Hare with Amber Eyes” (2010). In San Francisco, George T. Marsh opened a store selling Japanese art and curios in 1876, riding a wave of early enthusiasm on the West Coast. In many cities, private gatherings hosted by collectors and dealers spread an appreciation of Japan’s cultural products, as did a slew of public exhibitions. Access to Japan also came through international expositions in London, Paris and Philadelphia, among other venues, where one could see impressive displays of Japanese ceramics, metalwork and lacquers.

And Japan itself became a tourist destination, as many in the West sought firsthand contact with a place previously shrouded in mystery. Fascinated by what he found there, Bostonian William Sturgis Bigelow spent seven years in Japan in the 1880s and amassed a huge art collection now housed in the Museum of Fine Arts, Boston (31 objects once owned by Bigelow are included in Looking East).

In every group of travelers, fair-goers, club members and spectators, there were Western artists passionate about Japanese art. Their first encounters with Japan galvanized change across mediums from cloisonné enamel to oil painting. In 1862, French writer and critic Ernest Chesneau wrote that Japanese art “conquered all

Looking East illustrates the impact of Japanese art in four thematic areas: women, city life, nature and landscape. Western women played a role in japonisme as enthusiasts and as models costumed in Japanese robes or posed in proximity to imported screens and vases. Japanese women were the subjects of Japanese woodblock prints by Kitagawa Utamaro, Chobunsai Eishi and other ukiyo-e masters who captured the

Top: Textile stencil, 1800–1900, Japan, Edo period (1615–1868) or Meiji period (1868–1912). Cut mulberry paper. Museum of Fine Arts, Boston, William Sturgis Bigelow Collection, RES.11.748. Photograph © 2015, MFA, Boston.

Bottom: Letter rack from the Grapevine desk set, 1900–1920, designed by Louis Comfort Tiffany (American, 1848–1933), manufactured by Tiffany Studios. Metal and glass. Museum of Fine Arts, Boston, Anonymous gift in memory of John G. Pierce, Sr., RES.65.60. Photograph © 2015, MFA, Boston.

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the studios with the speed of a light trail of gunpowder.” Westerners especially admired Japanese lacquer ware and metalwork for their exquisite craftsmanship and stylized organic motifs and asymmetric designs. At first, the West copied and applied Japanese motifs in a direct way to decorate Western tea sets and porcelains, but later more sophisticated interpretations of Japanese design flourished at the heart of movements like Art Nouveau in France. Well after japonisme peaked in Europe in the late 1880s, Americans remained enthralled by Japanese aesthetics. Charles Lewis Tiffany, founder of Tiffany & Co., went as far as declaring that his company’s products would be “even more Japanese than the Japanese themselves.” The studio established by his son, Louis Comfort Tiffany, spread Japanese-style designs through lamps, stained-glass windows and a line of affordable household objects. The letter rack shown here, made of metal and iridescent glass, is decorated with a stencil-like grapevine design likely derived from Japanese textile patterns, or katagami.

“floating world”; Western artists admired these works for their stylized yet intimate presentations of women bathing, relaxing or caring for children. The bustling city views featured in prints from the mid-late 19th century offered Western artists new ways of presenting modern urban life. Nature motifs in prints, lacquer ware and metal objects from Japan inspired creative new pathways in the Western decorative arts and new subjects for a growing cadre of printmakers and photographers. The novel perspectives, bold color contrasts and rhythmic two-dimensional patterns found in Japanese prints provided powerful stimuli to landscape painters seeking alternatives to the academic orthodoxies of the West.

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A surprising number of Western artists collected Japanese woodblock prints in the late 19th century. Edgar Degas is known to have displayed a prized print album in his dining room and a diptych of bathing women above his bed. He owned more than 100 Japanese prints and albums; Monet had twice that amount. Gauguin took his ukiyo-e collection with him when he travelled. Vincent van Gogh collected almost 400 prints from Japan with his brother Theo and organized a ukiyo-e exhibition in 1887 (immortalized in his painting Agostina Segatori Sitting in the Café du Tambourin).

Many other artists found Japanese prints equally stimulating, reveling in the novelty of their themes and fresh approaches to color and composition.

Pervasive misconceptions about Japan accompanied this enthusiasm for the nation’s art. Orientalist fantasies steeped in terms like “exotic” and “quaint” are common among writings of the time, as are disparaging comments about customs viewed as primitive in the West. Woodblock prints of courtesans and geisha, as well as popular novels and operas such as “Madame Chrysanthème” (1887) and “Madama Butterfly” (1904), helped shape stereotypes of compliant Japanese women. Filtered through the lens of imported landscape prints, Japan was perceived as a preindustrial Eden where the populace lived in complete harmony with nature, attuned to the beauty of daily life — a safe and gentle vision at odds with the reality of an increasingly modern and militarized nation. Members of the creative class were not exempt from these fancies: Van Gogh notably moved to southern France in order to create a utopian community of the sort he imagined existing in Japan. Even the most serious print connoisseurs often misunderstood what they saw. Western critics spoke of Katsushika Hokusai’s work as quintessentially Japanese, unaware that his prints often incorporated techniques from Western engravings and employed the imported pigment Prussian blue. Unfamiliar with the low status of ukiyo-e relative to other genres in Japan, Western writers lauded Hokusai as Japan’s most important artist, a genius on par with Rembrandt van Rijn.

As Looking East demonstrates, the phenomenon of japonisme took many forms, from commercial exploitation to profound homage. There was a large measure of cultural appropriation — as witnessed in Monet’s construction of a Japanese-style garden Top: The Century, July 1895, by Charles Herbert Woodbury (American, 1864–1940). Lithograph; ink and color on paper. Museum of Fine Arts, Boston, Gift of Wheaton Holden, 1971.128. Photograph © 2015, MFA, Boston. Bottom: Kinryuzan Temple, Asakusa (detail), 1856, from the series One Hundred Famous Views of Edo, by Utagawa Hiroshige I (Japanese, 1797–1858). Woodblock print; ink and color on paper. Museum of Fine Arts, Boston, William Sturgis Bigelow Collection, 11.16695. Photograph © 2015, MFA, Boston.

at Giverny, complete with a curving bridge and lilies. Yet there were also subtle transformations rendered through the alchemy of experimentation and personal vision, cases in which exposure to Japanese art inspired profound shifts in thinking.

Monet wrote in 1909, “If you insist on forcing me into an affiliation with anyone else . . . then compare me with the old Japanese masters; their exquisite taste has always delighted me, and I like the suggestive quality of their aesthetic, which evokes presence by a shadow and the whole by the part.” His paintings capture this fragmentary aesthetic, but fittingly, perhaps, it is almost impossible to pin down the specific Japanese source for any given work by Monet. Edvard Munch’s mesmerizing Summer Night’s Dream, also in the show, features Japanese pictorial devices filtered through transmission from an earlier generation of painters — no longer the result of excited firsthand encounters with Japanese works, but accepted practices, woven into the fabric of Western modernism. The exhibition is alive with opportunities to discover the depth of these relationships and to tease out the countless different ways, subtle and overt, that Western artists were affected by their exposure to Japanese art. n Laura Allen, curator of Japanese art, was the in-house curator for Looking East: How Japan Inspired Monet, Van Gogh, and Other Western Artists.

Looking East was organized by the Museum of Fine Arts, Boston.

Members pay no special exhibition surcharge and get a free Looking East audio guide.

A full-color catalogue, Looking East: Western Artists and the Allure of Japan, is available in the Asian Art Museum shop and online at store.asianart.org

Above: Summer Night’s Dream (Summernattsdrøm/Sommernachstraum) (The voice) (detail), 1893, by Edvard Munch (Norwegian, 1863–1944). Oil on canvas. Museum of Fine Arts, Boston, Ernest Wadsworth Longfellow Fund, 59.301. Photograph © 2015, MFA, Boston.

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Looking East: How Japan Inspired Monet, Van Gogh, and Other Western Artists was organized by the Museum of Fine Arts, Boston. Presentation is made possible with the generous support of Mr. and Mrs. William K. Bowes Jr., The Bernard Osher Foundation, Diane B. Wilsey, United, Estate of Kazuko Imagawa Zolinsky, The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, Robert Lehman Foundation, Union Bank, and Toshiba International Foundation. Image p. 6: Postman Joseph Roulin, 1888 (detail), by Vincent van Gogh (Dutch, 1853– 1890). Oil on canvas. Museum of Fine Arts, Boston, Gift of Robert Treat Paine, 2nd, 35.1982. Photograph © 2015, MFA, Boston. Image p. 7: [Actor Onoe Matsusuke II as] the Carpenter Rokusaburo, approx. 1814–1815, from the series Great Hit Plays (detail), by Utagawa Kunisada I (Toyokuni III; Japanese, 1786–1864). Woodblock print; ink and color on paper. Museum of Fine Arts, Boston, William Sturgis Bigelow Collection, 11.15140. Photograph © 2015, MFA, Boston.

5OTH ANNIVERSARY HIGHLIGHTS

Y E A R S

WE’RE GOLDEN More than 50 years ago, a champion amateur athlete turned successful businessman made a gift of art to the city of San Francisco. That gift grew to become the Asian Art Museum. Avery Brundage was a native son of the Midwest with a passion for collecting Asian art. When that collection needed a permanent home, the fledgling Society for Asian Art and then Mayor George Christopher helped convince Brundage that San Francisco — gateway to the Pacific — was the logical choice. The museum opened to the public on Jun. 11, 1966, as a wing of the de Young Museum’s former building in Golden Gate Park, and moved to its current home at Civic Center in 2003.

Over the years, we’ve hosted millions of visitors, including hundreds of thousands of students, deepening their appreciation for Asian art and culture. We’ve more than doubled the size of our permanent collection and have presented hundreds of special exhibitions and countless public programs. As we launch our golden anniversary year, we offer an inviting peek at the year to come. Keep an eye out for an expanded winter issue of Asian magazine,

Athlete, art lover and benefactor Avery Brundage.

Photo © Asian Art Museum.

arriving early next year, with a retrospective on the museum’s history and exciting previews of the spring exhibitions. n

EXHIBITIONS: CELEBRATE A GOLDEN ANNIVERSARY PEARLS ON A STRING: ARTISTS, PATRONS, AND POETS AT THE GREAT ISLAMIC COURTS FEBRUARY 26–MAY 8, 2016 An international loan exhibition of Islamic art, Pearls on a String emphasizes the 12 /// ASIAN ART MUSEUM

role of human relationships in inspiring and sustaining artistic creativity. It shows the importance of individualism and collaboration in creating extraordinary works of art. In short, it answers the question “Who’s behind the art?” Spanning from India to Turkey, from the 16th to the 18th century, the exhibition pivots around a main protagonist in three great Islamic empires. Through 74 exquisite artworks, Pearls captures the voices of a writer in 16th-century Mughal India, a painter in 17th-century Safavid Iran and a patron in 18th-century Ottoman Turkey. n Pearls on a String: Artists, Patrons, and Poets at the Great Islamic Courts was organized by the Walters Art Museum, Baltimore, in partnership with the Asian Art Museum of San Francisco.

This exhibition has been made possible in part by a major grant from the National Endowment for the Humanities: Exploring the human endeavor; a grant from the Institute of Museum and Library Services; and an award from the National Endowment for the Arts. Presentation at the Asian Art Museum is made possible with the generous support of The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, and Judy Wilbur. Image: Abu’l Fazl presenting the Akbarnama to Akbar, from the Akbarnama (Book of Akbar) (detail), approx.

1600–1603, attributed to Govardhan (Indian). Opaque watercolors, ink, and gold on paper. Trustees of the Chester Beatty Library, Dublin, In 03.176b.

5OTH ANNIVERSARY HIGHLIGHTS

CHINA AT THE CENTER RARE RICCI AND VERBIEST WORLD MAPS MARCH 4–MAY 8, 2016 For the first time, two rare woodblock-printed maps will be shown together. Jesuit priest Matteo Ricci, working in collaboration with Chinese scholars, created A Complete Map of the Ten Thousand Countries of the Earth during his time in China. Also called the 1602 Ricci map, it is the oldest known Chinese map to depict the Americas. Ferdinand Verbiest, another Jesuit, made his 1674 Complete Map of the World for the Chinese court. This copy has never been exhibited. These massive, densely annotated maps tell fascinating stories about the 17th-century world and illustrate how Europe and Asia exchanged new ideas about geography, astronomy and the natural sciences. n

China at the Center: Rare Ricci and Verbiest World Maps is organized by the Asian Art Museum of San Francisco in partnership with the University of San Francisco. Presentation is made possible with the generous support of The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, and Penelope L. Wong and S. Timothy Kochis. Image: A Complete Map of the Ten Thousand Countries of the Earth, 1602, by Matteo Ricci, on view at the Library of Congress, 2010. Brendan Smialowski/The New York Times/Redux.

HIDDEN GOLD MINING ITS MEANING IN ASIAN ART MARCH 4–MAY 8, 2016 For its golden anniversary, the museum has created an exhibition of 50 artworks that reveal the unique physical and symbolic aspects of the king of metals — qualities that make gold so important to both Asian art and California. Each artwork reveals aspects of gold production and usage across Asia, while an innovative installation with California nuggets and Asian coinage shows how gold ore is transformed into money.

San Francisco’s position on the world stage — as well as the prominence of Asia and Asian culture in California — is rooted in the area’s gold rush legacy. It’s a history that continues to inform the Golden State’s culture. n Hidden Gold: Mining Its Meaning in Asian Art is organized by the Asian Art Museum of San Francisco. Presentation is made possible with the generous support of Bonhams, The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, and Fred M. Levin and Nancy Livingston, The Shenson Foundation. Image: Table screen depicting the Taoist deity Doumu and her entourage, approx. 1500–1700. China. Gilded bronze. Courtesy of Asian Art Museum of San Francisco, Gift of Frances Campbell and the Society for Asian Art, 1991.83. Photograph © Asian Art Museum of San Francisco.

Featuring nearly 20 objects, most from the museum’s collection, Luminous showcases the significance of Korean mother-of-pearl lacquer wares, highlighting aspects of their aesthetics, creation, use and conservation. It will be the first in-depth exhibition in this country to explore this remarkable subject matter. n Luminous: Mother-of-Pearl Lacquer from Korea was organized by the Asian Art Museum of San Francisco. Image: Box, approx. 1500–1600. Korea, Joseon dynasty (1392–1910). Lacquered wood with mother-of-pearl and tortoise shell, brass, gilded brass foil, and silk with gold threads. Courtesy of Asian Art Museum of San Francisco, Gift of the Christensen Fund, BL77M46.a-.b. Photograph © Asian Art Museum of San Francisco.

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LUMINOUS: MOTHER-OF-PEARL LACQUER FROM KOREA APRIL 29–OCTOBER 23, 2016

5OTH ANNIVERSARY HIGHLIGHTS

EMPERORS’ TREASURES CHINESE ART FROM THE NATIONAL PALACE MUSEUM, TAIPEI JUNE 17–SEPTEMBER 18, 2016 The centerpiece exhibit of the museum’s anniversary, Emperors’ Treasures features nearly 150 artworks from the renowned Taipei museum and includes paintings, calligraphy, bronze vessels, ceramics, lacquer ware, jades, textiles and documents. More than 100 pieces will make their debut in this country, 30 of which are extremely rare masterpieces. Highlighting artworks that span from the Song to the Qing dynasties, the exhibition will explore the identities of nine rulers who reigned from the early 12th through the early 20th centuries. By examining each ruler’s contribution to the arts and exploring the eras’ differing styles, subjects and craftsmanship, Emperors’ Treasures will outline how Chinese art came to develop and flourish under Han Chinese, Mongol and Manchu rulers. n Emperors’ Treasures: Chinese Art from the National Palace Museum, Taipei was 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, Robert and Vivian Tsao, Diane B. Wilsey, Lee Chen, Douglas A. Tilden, and The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, and Winnie and Michael Feng. Image: White Falcon (detail), approx. 1736–1795, by Lang Shining (Giuseppe Castiglione) (Italian, 1688–1766). Color on silk. Courtesy of The National Palace Museum, Taipei, Guhua 00958. Photograph © The National Palace Museum, Taipei.

THE RAMA EPIC: HERO, HEROINE, ALLY, FOE OCTOBER 21, 2016–JANUARY 15, 2017 The epic tale of Prince Rama’s struggle to defeat a powerful demonic king, rescue his wife and reestablish virtuous order in the world has inspired 14 /// ASIAN ART MUSEUM

visual and performing arts, literature and religious thought across India and Southeast Asia for centuries. The Rama Epic illustrates key episodes involving the four main characters: Rama; his wife, Sita; Rama’s faithful monkey lieutenant, Hanuman; and the 10-headed demon king, Ravana.

Featuring more than 130 artworks brought from museums around Europe, the U.K. and the U.S., ranging from rare paintings and sculptures to antique theatrical masks and puppets, the exhibition invites visitors to find echoes of themselves in the stories of each character. n The Rama Epic: Hero, Heroine, Ally, Foe was organized by the Asian Art Museum of San Francisco. Presentation at the Asian Art Museum is made possible with the generous support of Helen and Rajnikant Desai and the Society for Asian Art. Image: Hanuman, Angada, and Jambavan climb Mount Mahendra (detail), approx. 1720. India; western Pahari region, Himachal Pradesh state. Opaque watercolors and gold on paper. Museum Rietberg Zurich, RVI 847. Photograph © Museum Rietberg Zurich.

5OTH ANNIVERSARY HIGHLIGHTS

SPECIAL WAYS TO PARTICIPATE

FIND YOUR PLACE IN TIME, SHARE A FAVORITE MEMORY, AND BE AN ONLINE CONNOISSEUR SOCIETY FOR ASIAN ART Of Porcelain and Patronage: Words that Inspire and Inform

Zero to 50+ JANUARY 15–JULY 1, 2016

If you have trouble deciphering the letters and characters hanging in midair at the

A timeline installation on the museum’s first

museum next spring, don’t worry. You won’t be alone. For the museum’s anniversary,

floor will let you trace our history along with

the Society for Asian Art has commissioned a major work by Liu Jianhua, one of

major events in San Francisco and beyond.

China’s best-known contemporary ceramic sculpture artists. The work comprises

Photo and video displays will link the history

approximately 2,500 pieces of white porcelain formed into letters of the English

of the museum and its home city. Stop by

alphabet and components of Chinese characters, suspended from the ceiling of the

and contribute your own stories.

second-floor Loggia. The artist provides only the building blocks of words, leaving it to viewers to create meaning.

Memories & Milestones

To welcome the Emperors’ Treasures special exhibition next summer, the Society for

Through this website, you’re invited to

Asian Art’s spring 2016 lecture series will examine how patronage has influenced Asian

share favorite museum memories that build

art. Scholars will explore patronage by monarchs, merchants and monks throughout Asia,

on the Zero to 50+ timeline and celebrate

and five lectures will focus on Chinese patronage from ancient times through imperial

the museum’s impact. Add your story today.

dynasties. Lectures will occur every Friday, 10:30 AM–12:30 PM, from Jan. 22 to Apr. 29, in Samsung Hall. For full schedule and information: www.societyforasianart.org

DOCENT ACTIVITIES

memories.asianart.org

50 Favorite Artworks Vote for your favorite artwork in our collec­­

Celebrating the Human Treasures of the Museum

tion. Whether you’re a regular or new to

Trained docents have been a critical museum resource from even before we opened

the museum, we want you to chime in.

our doors. During our anniversary year, docents will publish a commemorative book-

50faves.asianart.org

let and offer special interactive tours on the museum’s history and most significant holdings, our building’s architecture, the cultures and people of Asia, and more.

GOLDEN GALA

A 50th Anniversary Benefit

Thursday, Feb 11, 2016

Gala Chair Akiko Yamazaki and Co-Chairs Helina Au, Bill Kim, Nanci Nishimura and Ken Wilcox invite you to celebrate this significant anniversary while raising funds to continue the presentation of world-class exhibitions and education programs.

We’re celebrating all year long! With our anniversary kickoff in March and a Thank You Party on our official birthday in June, we have many surprises planned for you.

We hope you can join us!

50th Anniversary Kickoff March 2016

As we celebrate our anniversary, we also celebrate the members who have sustained us along the way. Benefits include:

Double Your Discount Friday, Mar 18, and Saturday, Mar 19 Take 20% off purchases in the museum store and 10% off in Café Asia.

Member Morning Saturday, Mar 19, 9–10 AM We’ll open early just for you! Enjoy coffee, bagels and private gallery tours.

Member Thank You Celebration Saturday, Jun 11, 2016 Join us on the 50th anniversary of our grand opening as we celebrate all members, past and present. Festivities include: • Live music • Special gallery tours • Crafts and activities • Rhino Club kids parade

FALL 2015 /// 15

FOR MEMBERS ONLY

BEHIND THE SCENES

TEST-DRIVING A GALLERY FOR ALL SENSES

BY BETH TAGAWA

NOVEMBER 15, 2015–MARCH 27, 2016 TATEUCHI GALLERY, 2ND FLOOR

Traditional art museums tend to be look-but-don’t-touch, listen-but-don’t-speak, mind-your-manners environments.

But visit the Tateuchi Gallery on the second floor from November to March and you’ll be invited to participate in a new kind of experience that emphasizes learning through doing.

Simply entitled Prototyping, this experimental gallery is dedicated to what, in the business world, might be called good old R&D — “research and development.” Curators, designers and educators are partnering to develop, or “prototype,” creative experiences that enable visitors to better connect with works of art by going beyond simply viewing them.

Visitors to Prototyping will be encouraged to poke and

Below: During a workshop, curators and educators marked up galleries with ideas for incorporating hands-on experiences. Opposite top and bottom: In one interactive experiment, visitors were asked to comment on art from the special exhibition Gorgeous in 2014. Below is a rendering of the activity station; above is an actual visitor contribution. All photos © Asian Art Museum.

prod, learning through firsthand experience about the universal impulse to touch works of art and (by seeing a bronze lose its glow or a textile fade) also the damage that inquisitive fingers can do over time. In another area, they’ll be transported by an immersive storytelling environment that evokes the story of how the Buddha achieved enlightenment.

“We’re always thinking of new ways to keep our gallery experiences fresh for visitors, and prototyping allows us to involve visitors more by adding their voices and testing our own assumptions about what works,” says Deborah Clearwaters, director of education and interpretation, who leads the interpretive planning team.

In addition to the museum’s signature serene, contemplative spaces and well-researched wall texts, it’s important to provide interactive elements that cater to those who want to dive deeper and talk about their experiences with others, she says.

“We’re working to make the museum accessible to people with different learning styles and motivations,” Clearwaters explains. “Some people may think they don’t know enough to

16 /// ASIAN ART MUSEUM

have a personal connection with Asian art. Instead, we want them to feel empowered by their curiosity.”

And interactive elements have another benefit: They make the museum more fun. “Our goal is to give people experiences they enjoy, that they are surprised by and want to talk about,” she says.

The launch of the prototyping gallery follows more than a year of intensive research. Curators and educators studied and visited renowned institutions all over the world, from Amsterdam’s Van Gogh Museum to the Newseum in

BEHIND THE SCENES

Washington, D.C., discussing what they liked best about the interpretive strategies they saw.

In an intensive workshop back at the museum led by consultant Kathleen McLean, staff took over several of the collection galleries, papering glass displays with layers of Post-its scrawled with questions, diagrams and ideas about how traditional galleries could be transformed with a more interactive approach.

Some initial prototypes for these elements have included writing prompts, magnifying glasses hung next to intricate paintings, and a wall affixed with images of art that visitors could rearrange and draw on (like one guest who sketched a hairy leg emerging from a painting of a sparkly high heel).

With Picturing Sound, Creating Mood, on display through Nov. 22 in the permanent galleries, Qamar Adamjee, associate curator of South Asian and Islamic art, is prototyping an engaging experience using wall labels that highlight the significance of sound in a group of Indian paintings. “Clothes rustle, bracelets jingle, women whisper,� one label points out. A local musician visiting the museum was so inspired that he composed a musical response to a painting of a yogini strumming a stringed instrument. Interpretive media specialist Lorraine Goodwin then developed an audio device next to that painting so visitors could listen to the piece.

FALL 2015 /// 17

BEHIND THE SCENES

“I wanted to use the labels to invite visitors to explore the details in the artworks and ignite their imagination,” says Adamjee. “Having a visitor react in such a creative way, and being able to incorporate his response into the gallery, has been a rewarding experience.”

The museum staff is particularly excited, Clearwaters says, to be taking the next step: using guest comments and the prototyping process to develop and continually evolve the viewer experience in an entire gallery. Staff teams can even imagine incorporating feedback in real time — partnering with a visitor, for example, to create a new wall label or revise an existing label and put up the new text on the spot. And along with real-time guest comments, staff will use written and verbal feedback from focus groups to analyze the experiments’ effectiveness.

“Some of these ideas we may incorporate into a permanent collection gallery or a special exhibition, and some simply might not work and will be discarded,” Clearwaters says.

But the prototyping process itself, she says, will continue as a hands-on tool for staff working every day to improve the visitor experience.

“Learning is most powerful when you are motivated to learn,” Clearwaters says. “We hope to inspire people to think differently about art, not just here at the museum but also to take that curiosity with them to other places.” n

18 /// ASIAN ART MUSEUM

Top: After a brainstorming session, gallery walls were papered with notes. Bottom: Museum staff members put a hands-on activity to the test.

Prototyping was made possible in part by the Institute of Museum and Library Services. The views, findings, conclusions or recommendations expressed in this article do not necessarily represent those of the Institute of Museum and Library Services. Research for this project was supported in part by The Andrew W. Mellon Foundation. All photos © Asian Art Museum.

IN THE GALLERIES

EXTRACTED

LOCAL ARTIST SEEKS MEANING IN GOLD

NOVEMBER 6, 2015– AUGUST 14, 2016 GALLERY 18, 2ND FLOOR

What does it look like when mythology, history and the future intersect?

It’s a conceptual question to be sure, but local artist Ranu Mukherjee has some ideas. From Nov. 6, 2015 through Aug. 14, 2016, we’ll present Extracted, which weaves together artwork from the museum’s collection with what Mukherjee calls “hybrid film.”

Intriguing and surreal, Mukherjee’s films are collage-like combinations of animation, photography, painting and drawing. Developed to resonate with next spring’s special exhibition Hidden Gold (see page 12), Extracted will explore the concept of speculation through the artist’s research of Chinese mythology, the history of California gold mining and the Chinese Exclusion Act of 1882. For a unique twist, Mukherjee will grow the film and add new elements including drawings, paintings and textiles throughout the exhibition’s duration, allowing the visitors’ experience and understanding of the work to evolve.

The museum regularly features work by local Asian American artists, offering opportunities for them to interact with our collection and expand their artistic practice. What makes Mukherjee stand out? “Her perspective,” says senior educator of contemporary art Marc Mayer.

“She envisions a world shaped by history and mythology but also seeks connection to the present day.” n

FALL 2015 /// 19 Extracted was organized by the Asian Art Museum of San Francisco. Far left: Placeholder 1 (detail), 2014, by Ranu Mukherjee (American, b. 1966). C-Print. Courtesy of the artist and Gallery Wendi Norris. © Ranu Mukherjee. Near left: Artist Ranu Mukherjee

MEMBER PROFILE

Q&A WITH PAM ROYSE You weren’t exactly born to the role of museum booster, were you?

ACTIVE WITH THE ASIAN ART MUSEUM SINCE 1996, PAM ROYSE IS ALSO A MEMBER OF THE RICHARD B. GUMP SOCIETY, WHICH RECOGNIZES THOSE WHO HAVE INCLUDED THE MUSEUM IN THEIR ESTATE PLAN. DIRECTOR OF PLANNED GIVING KATE MCNULTY SPOKE WITH HER RECENTLY. How did you first become interested in Asian art?

It sounds like the museum is an important part of your life.

No, I’m originally from northwest Ohio. My

I moved here in 1968 and eventually attended

It seems to me that any place without a

father was a dentist, and his parents grew

San Francisco State University, and one of

museum is sadly lacking. The Asian Art

up poor. I didn’t go to my first museum until

my classes there was on Japanese culture.

Museum shows aspects of different cul-

I was in college.

The aesthetic beauty of Japanese art inspired

tures so that people can gain understand-

me, and I was hooked.

ing about other groups in the Bay Area. It

And where was that?

makes us feel like citizens of the world.

remember what brought me there, but I

What’s your favorite part of the Asian Art Museum?

remember looking at the paintings. Going

It’s the Japanese galleries, of course, and

Why did you want to include a legacy gift for the museum in your will?

to a museum was a step in realizing that

the special exhibitions. But I find that the

It’s good to have beauty in your life. The

I could be part of another world. Before

educational activities also really draw me

museum needs to build its endowment to

that, I’d experienced other worlds only

in. I’m a curious person, and there’s always

continue to be successful, and I want to

through reading.

something new to learn.

contribute to that well-being. n

It was the Toledo Art Museum. I don’t

20 /// ASIAN ART MUSEUM

Pam Royse enjoying the galleries. Photo by Quincy Stamper.

MEMBER PROFILE

SHARED SENSIBILITIES

A PROMISED GIFT ENHANCES MUSEUM’S CERAMICS COLLECTION

By Rick Clogher

Sure, some people may donate art to museums just for the tax benefits. But other folks have more meaningful reasons for giving: generosity, a desire to increase an artist’s exposure, a love for a particular genre or a deeply felt connection to an institution. For Phyllis Kempner and David Stein, it was all these things.

The couple — both psychologists and longtime San Franciscans — are no strangers to the art world, having been involved with SFMOMA’s Society for the Encouragement of Contemporary Art for many years. “We were both interested in contemporary art,” says Kempner, “and began collecting just before we got married.”

American and international pieces still line the walls of their home, but a dozen years ago or so, their collecting shifted noticeably to Asia, and particularly to ceramics. “When we started, we were mostly drawn to traditional forms,” says Kempner. “But we’ve become increasingly interested in the more sculptural area. We tend to like either very expressionistic work or quite minimal reductive pieces. And we have great unanimity in tastes — that may have something to do with the fact that we’re psychologists.”

with the Asian for quite a few years by then, so making a gift to it just seemed a logical fit.”

The recent gift the couple made — the beginning of a promised gift of their entire Japanese contemporary ceramics collection — comprises 19 pieces: 10 Japanese ceramics, one Korean ceramic, one bronze sculpture and a number of prints. “We care a lot about the Asian, its present and its future,” says Kempner. “And we expect to be giving a certain number of pieces every year.” Stein adds that he hopes they might inspire other collectors to do likewise. But primarily, he says, “we hope that it helps the museum build a real niche collection in contemporary ceramics.” n

Top: Blue and black bowl, 1990–2014, by Maeda Masahiro (Japanese). Porcelain. Courtesy of Asian Art Museum of San Francisco, Gift of Dr. Phyllis A. Kempner and Dr. David D. Stein, 2015.7. © Maeda Masahiro. Photograph © Asian Art Museum of San Francisco.

Bottom: Faceted vase, 2013, by Tadashi Nishihata (Japanese, b. 1948). Stoneware with akadobe-yu glaze.

Courtesy of Asian Art Museum of San Francisco, Gift of Dr. Phyllis A. Kempner and Dr. David D. Stein, 2015.21. © Tadashi Nishihata. Photograph © Asian Art Museum of San Francisco.

FALL 2015 /// 21

Being of one mind about acquisitions did lead to a problem, however. “We reached a point when we realized we had a really big collection,” says Stein. “Phyllis had been working

Upper left: David Stein and Phyllis Kempner with Kodo (Beat), one of their gifted ceramics. Photo by Quincy Stamper. Kodo (Beat), 2011, by Mihara Ken (Japanese, b.

1958). Multi-fired unglazed stoneware. Courtesy of Asian Art Museum of San Francisco, Gift of Dr. Phyllis A. Kempner and Dr. David D. Stein, 2015.15. © Mihara Ken.

IN THE GALLERIES

BODHISATTVAS

AWAKENING BEINGS IN HIMALAYAN PAINTINGS

By Jeff Durham Assistant Curator of Himalayan Art

In Buddhist thought, bodhisattvas are beings who vow not to enter the ecstasy of Nirvana until they have liberated all other beings from the cycle of rebirth (samsara). Our upcoming exhibition in the Himalayas gallery features thangka paintings that explore the imagery and ideas surrounding these important religious figures.

Three Protectors of Tibet, a work by contemporary artist Tsherin Sherpa, depicts the most important bodhisattvas in Himalayan Buddhism. Here you’ll see yellow Manjushri brandishing his sword of wisdom, compassionate white

NOVEMBER 16, 2015 – AUGUST 7, 2016 GALLERY 12, 3RD FLOOR

Avalokiteshvara and fierce blue Vajrapani. The Green Tara and White Tara paintings included in the exhibition represent two female forms taken by the male Avalokiteshvara. Finally, another stunning painting of Avalokiteshvara is the visual counterpart of the famous Buddhist mantra, “Om mani padme hum.” n

22 /// ASIAN ART MUSEUM

Bodhisattvas: Awakening Beings in Himalayan Paintings was organized by the Asian Art Museum of San Francisco. Image: The Three Protectors of Tibet (detail), 2008, by Tsherin Sherpa (Nepalese, b. 1968). Ink and colors on cotton. Courtesy of Asian Art Museum of San Francisco, Acquisition made possible by the Tibetan Study Group, F2008.51. © Tsherin Sherpa. Photograph © Asian Art Museum of San Francisco.

IN THE GALLERIES

Native to India, elephants represent strength and power, and they have a long history in Indian mythology, art and culture. They are sociable and intelligent creatures who can be trained to be gentle or violent. Elephants served as prized and beloved imperial possessions, majestic mounts for their royal riders in processions, as well as valuable assets on both hunting grounds and battlefields. With their massive size and strength, elephants were once important also in heavy labor such as construction and logging.

ELEPHANTS WITHOUT NUMBER

By Qamar Adamjee Associate Curator of South Asian and Islamic Art

On view at the Asian Art Museum, nine artworks by Western artists traveling through India in the 1800s feature elephants as their primary subjects, mainly at hunt and in procession. These images, along with select sculptures on display in the

NOVEMBER 24, 2015 – JUNE 26, 2016 SOUTH ASIA GALLERIES, 3RD FLOOR

South Asian galleries, offer a glimpse of the imposing presence of elephants in the Indian landscape and their hold on artists’ imaginations. n Elephants Without Number was organized by the Asian Art Museum of San Francisco. Image: Etching from the series Landseer’s Etchings for Munday’s Travels in India (detail), 1832, by Thomas Landseer (British, 1795 – 1880). Unbound etching in cloth-bound portfolio (Chine collé). Courtesy of Asian Art Museum of San Francisco, From the Collection of William K. Ehrenfeld, M.D., 2005.64.367.11. Photograph © Asian Art Museum of San Francisco.

FALL 2015 /// 23

STORE SELECTIONS

SCENES OF THE TOKAIDO

Vincent van Gogh once called the Impressionists “the Japanese of France” to acknowledge Japan’s tremendous effect on him and his colleagues. To complement the museum’s exhibition Looking East: How Japan Inspired Monet, Van Gogh, and Other Western Artists (see page 6), the store will offer 55 woodblock prints from a complete boxed set of Hiroshige’s The Fifty-three Stations of the Tokaido.

These are not original prints (that is, done during Hiroshige’s lifetime), but connoisseurs know that reproductions are painstakingly done by artists who cut new woodblocks with traditional tools, copying the original designs as exactly as possible.

This set, printed in the early 1960s and acquired with the help of a well-known dealer who specializes in original prints, is based on the Hoeido edition, the most famous series of Hiroshige’s Tokaido images. Along with an opening and closing scene, there are prints of 53 points along the Tokaido, or eastern sea road, which Hiroshige traveled and sketched as part of an official delegation in 1832. It’s rare to find a complete set of reproductions, and rarer still to find one such as this, whose

24 /// ASIAN ART MUSEUM

Above: Nissaka (25th Station of the Tokaido) $250 (member price $225) Below: Kambara (15th Station of the Tokaido) $350 (member price $315)

prints have never been framed and only minimally exposed to light. The prints will be sold individually, and members will have the first opportunity to view and purchase them beginning at 10 AM on Thursday, Oct. 29. Please contact the store for more information: 415.581.3600 or shop@asianart.org. n

STORE SELECTIONS

PATTERNS OF THE EAST First featured in the store in 2004, jewelry by Carol Webb is a perfect fit for our Looking East exhibition. Webb, a California artist, has traveled China and Japan, studying patterns and techniques, and she incorporates those traditions into contemporary jewelry. The store will feature a collection of Webb’s designs, including

handcrafted

earrings

and

necklaces done in her signature technique of photo-etching patterns through layers of copper and silver. n Left: Two View Brooch (fused copper and sterling silver, etched) $650 (member price $585)

GIVE THE GIFT OF MEMBERSHIP

This holiday season, give friends and family something to enjoy all year: an Asian Art Museum membership. Your recipient will receive a beautiful certificate announcing

Call us at 415.581.3740, visit www.asianart.org/membership, or stop by the member desk for more information.

your generous gift. Consider giving the

NOVEMBER IS MEMBERAPPRECIATION MONTH

November is a month to give thanks. We’ve planned extra member benefits for you to

Member Premium ($179) level, which includes access to more than 800 museums around the country. n

14 — pick up unique gifts for friends and family and double your discount (20 percent off all purchases).

Arrive early on Saturday, Nov. 14 for our Member Morning; we’ll open at 9 AM so you can enjoy bagels, coffee and private gallery tours. What’s more, we invite members to bring an unlimited number of guests to the museum for free during Thanksgiving week (Nov. 24–29). Please note that we are closed on Thanksgiving Day (Nov. 26).

We are so grateful to have you as a member of our Asian Art Museum family. Thank you for your support. n

FALL 2015 /// 25

show our gratitude. On Member Shopping Days — Friday, Nov. 13, and Saturday, Nov.

SCENE AT THE ASIAN

Mochi pounders in action.

Champion sumo wrestlers Yama and Byamba.

26 /// ASIAN ART MUSEUM

All photos by Drew Altizer, unless specified.

ONCE UPON A TIME IN TOKYO Sumo wrestlers grappled and mochi pounders swung their mallets on Apr. 17, to the delight of guests at Once Upon a Time in Tokyo, a family event organized by the AAM Council and co-chaired by Caroline Low and Linda Lynch. More than 600 kids and grown-ups marveled at the sumo and mochitsuki demonstrations and enjoyed origami, balloon art and face-painting. Other highlights included the J-Pop lounge and a sake bar.

This was the Council’s fourth year hosting an event that truly offered something for every member of the family. n

Nexus members visit Chambers Fine Art during Asia Week New York. From left: Jay Xu, Akiko Yamazaki, Fred Levin, Linda Lei, Lucy Sun, Jerry Yang, Virginia Foo and John Tancock, director, Chambers Fine Art. Photo by JasonSmith.com.

#AsianArtMuseum @appenzeller

SCENE AT THE ASIAN

Supervisor Scott Wiener, Jerry Yang, Jay Xu, John Maa.

Lt. Gov. Gavin Newsom.

28 CHINESE GALA Illuminated lion dancers welcomed partygoers to the 28 Chinese Opening Night Gala on Jun. 3. More than 375 guests joined Gala Co-Chairs Sung Jin and Frank Ingriselli and Lorna Randlett for cocktails and a viewing of the vibrant exhibition before moving into a pavilion tent for dinner and entertainment. Honorary Chairs Ambassador Gary Locke and California Treasurer John Chiang joined the festivities amid grand artwork banners, and everyone delighted to the gravity-defying hip-hop moves of the Knuckle Neck Tribe. n

Gala Co-Chairs Lorna Randlett, Frank Ingriselli and Sung Jin Ingriselli.

FALL 2014 /// 27

Performersthe theKnuckle KnuckleNeck NeckTribe.

Tribe Performers

Baltimore Mayor Stephanie Rawlings-Blake and Deputy Mayor Andrew Smullian enjoy a break from June’s Conference of Mayors by visiting 28 Chinese. Photo by Karin Oen.

JADE CIRCLE TRAVEL

FLY AWAY WITH THE ASIAN ART MUSEUM

HONOLULU, HAWAII APR 25–29, 2016

World famous for its surf and sun, Honolulu is also home to amazing art experiences.

We invite you to join Dany Chan, our assistant curator for exhibition projects, for an insider’s look at the city’s vibrant arts and culture.

You’ll tour the Honolulu Museum of Art and the Bernice Pauahi Bishop Museum, then visit Shangri La, a 1930s mansion once owned by Asian art connoisseur Doris Duke and transformed into a center for Islamic arts and culture. Receptions in private homes, behind-the-scenes tours and dinners at Oahu’s premier restaurants will be part of our exploration of cosmopolitan island living.

The Jade Circle Travel Program is open to members at the Jade Circle level ($3,000) and above. In addition to annual opportunities to travel with experts, Jade Circle members enjoy numerous exclusive privileges, including:

Want to learn more?

For more details on the Jade Circle or the Honolulu trip, call 415.581.3794 or email jadecircle@asianart.org.

• Access to the Peterson Room and Garden, our elegant donor lounge • 6 VIP admission passes for guests • A complimentary docent tour or storytelling for up to 10 people • Invitations to select exhibition previews and openings • Opportunities to have our curators consult on your personal Asian art collection

28 /// ASIAN ART MUSEUM

Jade Circle members will visit Oahu’s gorgeous beaches and explore the island’s arts and culture.

CALENDAR

FEATURED OCT 29 MEMBER EVENTS 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.

Looking East

Jade Circle Opening Reception 6:30–9 PM Open to Jade Circle and Nexus ($3,000 & above)

NOV

Looking East

NOV

Member Shopping Days Double your discount: Get 20% off at the museum store.

Open to all members

4

13& 14 NOV

14& 17

Member Opening Reception 6:30—8:30 PM Open to Friends ($500) and Patrons ($1,000)

Tour, Talk & Tea: Looking East Sat, Nov 14, 11 AM–1 PM Tue, Nov 17, 1–3 PM Open to all members

NOV

14 NOV

18

Member Morning 9–10 AM Join us for bagels, coffee and tours before we open to the public.

Open to all members

DEC

Tour, Talk & Tea: Slow Art 1–3 PM Open to all members

DEC

Rhino Club Art Roundup 10:30–11:30 AM Storytelling in the galleries, followed by crafts and snacks.

Suggested for ages 4–10 Open to Rhino Club families

DEC

Japanese New Year’s Bell-Ringing Ceremony (see page 4) Member Ceremony: 9:30 AM–11 AM Public Ceremony: 11:30 AM–1 PM Both open to members A private reception for Jade Circle, AAM Council and Nexus members will be held in the Peterson Room.

15 19

Connoisseurs’ Council Dinner Join the Connoisseurs’ Council as they vote on a new acquisition to the permanent collection.

Open to Jade Circle ($3,000 & above)

NOV

24 29

THROUGH

DEC

1

MemberAppreciation Week 10 AM–5 PM Free admission for all of your guests during Thanksgiving Week.

31

Tea + Tour of Looking East with Yuki Morishima Open to Jade Circle Bronze ($6,000 & above)

ONGOING PROGRAMS Looking East Tours Daily, 12 and 3 PM (No tours on Target Sundays) Free with museum admission.

Looking East Kids’ Tours Saturdays, 1 PM Free with museum admission (kids 12 and younger always get in free).

Suggested for families with children ages 7–10.

Stories! The Wicked, the Wily, the Wise Sundays, 1–1:45 PM (Plus 3 PM on Target Sundays) Free with museum admission (kids 12 and younger always get in free).

Suggested for ages 7 and up.

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

Check out our calendar at www.asianart.org/events SEPTEMBER

OCTOBER

First Look Sep 4 – Oct 11, 2015 Woven Luxuries: Indian, Persian, and Turkish Velvets from the Indictor Collection Through Nov 1 Exquisite Nature: 20 Masterpieces of Chinese Painting (14th–18th C.) Through Nov 1

NOVEMBER

DECEMBER

JANUARY

Looking East: How Japan Inspired Monet, Van Gogh, and Other Western Artists Oct 30, 2015 – Feb 7, 2016 Prototyping Nov 15, 2015 – Mar 27, 2016 Extracted Nov 6, 2015 – Aug 14, 2016

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

FEBRUARY

FALL 2015 /// 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