Meet Sunwoo Hwang, our first Korea Foundation Curator of Korean Art and Culture! Hwang will use her expertise to grow our collection of Korean art and drive innovative programming around Korean culture. Hwang is a current doctoral candidate at Dongguk University in Seoul, South Korea, where she is specializing in Buddhist wall paintings in Shanxi province, China. You may have already encountered some of her previous contributions to the museum in exhibitions like Sacred Dedication: A Korean Buddhist Masterpiece (2019) and Once Upon a Roof: Vanished Korean Architecture (2022). “It is an exciting moment to begin this new position as the museum starts its next 100 years with a clear commitment to Korean art and culture" Hwang shared. Read the full press release here: https://s.si.edu/4cSeDyi
Smithsonian National Museum of Asian Art
Museums, Historical Sites, and Zoos
Washington, District of Columbia 4,195 followers
About us
Sharing the arts and cultures of Asia with the world since 1923. Be part of #TheNext100.
- Website
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https://asia.si.edu/centennial/
External link for Smithsonian National Museum of Asian Art
- Industry
- Museums, Historical Sites, and Zoos
- Company size
- 51-200 employees
- Headquarters
- Washington, District of Columbia
- Type
- Educational
- Founded
- 1923
Locations
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Primary
1050 Independence Ave SW
Washington, District of Columbia 20024, US
Employees at Smithsonian National Museum of Asian Art
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Hetty Lipscomb
Membership Manager at Smithsonian National Museum of Asian Art
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Mary Kong-DeVito
Senior Content Strategist at Smithsonian National Museum of Asian Art
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Ariel O'Connor
Conservator at Smithsonian National Museum of Asian Art
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Matthew Clarke
Conservation Scientist at Smithsonian Institution
Updates
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On July 24, catch a curator tour double feature highlighting both of our new and innovative American art exhibitions! https://s.si.edu/3KXisXb Blossom Time, Willard Metcalf (1858–1925), United States, 1910, oil on canvas, National Museum of Asian Art, Smithsonian Institution, Freer Collection, Gift of Charles Lang Freer, F1915.27a-b
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We're #hiring a new Administrative Assistant (IS-0341-7) in Washington. Apply today or share this post with your network.
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We're #hiring a new Associate Director for Object History and Provenance Research (IS-1015-14) in Washington. Apply today or share this post with your network.
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This summer, catch classic Hong Kong movies ranging from the sublime (masterpieces from Wong Kar Wai and Ann Hui) to the ridiculous (Bruce Lee clones). https://s.si.edu/3xVVmgy #SmithsonianAsianArt "July Rhapsody" trailer courtesy of Cheng Cheng Films LLC
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Why do the top and bottom halves of this painting look so different? American artist James McNeill Whistler positions four European women dressed in kimono on his Chelsea balcony overlooking the Thames. One plays the shamisen, a Japanese instrument, while another reclines in front of a sake set. In the upper half, the slag heaps of Battersea create an urban counterpoint to Mount Fuji, a natural landmark frequently represented in the Japanese prints Whistler collected. The painting’s uneasy merger of white bodies and Asian objects, idyll and industry, beauty and ugliness, underscores the artist’s daring experimentation in combining seemingly disparate visual and economic systems within a single composition. Take a closer look at the details when “Ruffled Feathers: Creating Whistler’s Peacock Room” opens July 13, 2024 in Gallery 11. https://s.si.edu/3VCDJds Part of our #AmericanArt collection. #SmithsonianAsianArt Image: Variations in Flesh Colour and Green - The Balcony, James McNeill Whistler (1834-1903), 1864-1870; additions 1870-1879, United States, Oil on wood panel, 61.4 × 48.5 cm (24 3/16 × 19 1/8 in), National Museum of Asian Art, Smithsonian Institution, Freer Collection, Gift of Charles Lang Freer, F1892.23a-b
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We're #hiring a new Associate Director for Global Affairs (Program Manager, Strategic Initiatives) (IS-0340-14) in Washington. Apply today or share this post with your network.
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Look closely. What do you see? American painters such as Thomas Wilmer Dewing perpetuated views of New England landscapes as timeless and static, yet our new exhibition “Shifting Boundaries” explores what paintings can show about changes to this region. In “The Lute,” Dewing places female figures within lush natural settings based on the verdant meadows he encountered near his summer home in Cornish, New Hampshire. For the exhibition “Shifting Boundaries,” we partnered with Jerome Foster of Waic Up, who looks at this painting with fresh eyes. Jerome says, “As a member of Generation Z viewing this seemingly tranquil painting, I instantly feel a sense of anxiety rather than calm. The harmonious interaction of figures within the lush green background depicts an idealized relationship with nature—one of balance, respect, and coexistence. "The reality of our environmental impact, however, is often dissonant and exploitative, a tension that the corporate practice of greenwashing obscures by seducing consumers with illusions of sustainability. Yet, I feel a note of hopefulness when I imagine the gathered figures as leaders and changemakers aware of the power in coming together for a common purpose.” Explore a century of human impact on New England land and water, the erasure of indigenous histories, and the environmental changes that are altering this region today in “Shifting Boundaries: Perspectives on American Landscapes,” opening July 13, 2024 in Gallery 10. https://s.si.edu/4bOALsS Part of our #AmericanArt collection. #SmithsonianAsianArt Image: The Lute, Thomas Wilmer Dewing (1851–1938), 1904, United States, Oil on wood panel, 91.5 x 122.1 cm (36 x 48 1/16 in), National Museum of Asian Art, Smithsonian Institution, Freer Collection, Gift of Charles Lang Freer, F1913.34a-b
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If you're in town for the 4th of July holiday, explore the world of American artist James McNeill Whistler, including his masterpiece, the Peacock Room! See the full tour schedule here: https://s.si.edu/3QjCe2h
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Meet these goddesses and more in the online exhibition “Wisdom of the Goddess," with 25 Hindu and Buddhist artworks and resources to explore: https://s.si.edu/3RLBALg #SmithsonianAsianArt Images: The Goddess Uma, 10th century, Cambodia, Sandstone, 124.2 x 37.5 x 24.3 cm (48 7/8 x 14 3/4 x 9 9/16 in), National Museum of Asian Art, Smithsonian Institution, Arthur M. Sackler Collection, Gift of Arthur M. Sackler, S1987.909 Tara (one of the Famed Twenty-one Tara Emanations), Second half of 17th century, Central Tibet, Gilt copper alloy, turquoise, enamel, and coral, 48.3 x 31.8 cm (19 x 12 1/2 in), National Museum of Asian Art, Smithsonian Institution, Arthur M. Sackler Collection, The Alice S. Kandell Collection, S2011.12a-c Saraswati, folio from a Goddess series, Attributed to Wajid (active late 17th century), ca. 1680-1700, Sawar, Rajasthan state, India, Opaque watercolor and gold on paper, 15.9 × 24.4 cm (6 1/4 × 9 5/8 in), National Museum of Asian Art, Smithsonian Institution, Purchase and partial gift from the Catherine and Ralph Benkaim Collection — funds provided by the Friends of the National Museum of Asian Art, S2018.1.40