Remembering Vi Loo | Honolulu Museum of Art
Source: https://honolulumuseum.org/stories-remembering-vi-loo-cw91
Archived: 2026-04-23 17:09
Remembering Vi Loo | Honolulu Museum of Art
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Fri Mar 13 2026
Remembering Vi Loo
The Honolulu Museum of Art is deeply saddened by the passing of Violet S.W. Loo, known as Vi. Holding an MA in education from the University of California, Berkeley, she was passionate about art and education and had a lasting impact on the Museum as a trustee, serving as chair of the board from 2013 to 2019. She played a key role in the integration of the Honolulu Academy of Arts and The Contemporary Museum.
In an interview in 2013, Loo shared that she was motivated to be a Museum trustee because “volunteer work is very important. I choose to serve an organization that is not only in line with my interests, but that also gives back many benefits to the community, and the Honolulu Museum of Art certainly fits that bill.”
She saw HoMA as “an information center—all the galleries tell you about the history of art and helps us appreciate the multicultural heritage of our community, and the contemporary, provocative art exhibitions link us to the outside, fast-changing world of art. The Mmuseum…enriches our lives by adding a significant cultural dimension to our society.”
During her tenure as chair, Vi brought unwavering support and dedication through the transition of two Museum directors. Prior to serving as chair, Vi served as chair of The Contemporary Museum from 2002 to 2011, as well as vice chair of HoMA from July 2011 to June 2013, helping steer the Museum through the gifting and acquisition of The Contemporary Museum (TCM) in 2011 and championing contemporary art.
Vi Loo and Lynn Johnson signing the agreement to merge the Honolulu Academy of Arts and The Contemporary Museum on May 2, 2011, with then Academy director Stephan Jost.
She strongly supported HoMA’s education initiatives, including the securing of a $1 million grant for the strategic plan to restructure and develop its arts education components to create an Arts Integrated Education Program for Title 1 schools.
“I spent many hours with Vi and I learned so much from her,” says HoMA Trustee Josh Feldman who was vice chair when Vi led the board. “She was a global citizen well before such a term had a name. While her graciousness and civility are well known in our community, I was always struck by her sincere humility and willingness to listen to all comers, friends and foe alike. As HoMA’s board chair, she wanted the best outcomes and was always wanting to solicit as much feedback as possible from all stakeholders. Vi was intrinsically curious and was patient enough to devote the time and energy to learn as much as possible about the issue at hand. This was particularly true when it came to art and the interests of the Museum. And she backed it all up with a generosity of time, spirit, and treasure. Vi’s efforts and contributions over the years helped to make HoMA what it is today.”
Vi grew up with art—her father collected classical Chinese and European art—but it wasn’t until her daughter Pamela was studying art that she became truly intrigued. Pamela took Vi to a contemporary art exhibition and, Vi recalled, “I said do you call that art? She looked at me and said, Mom, you’re so close-minded.” The incident spurred her to become a docent at The Contemporary Museum where she “got absolutely hooked.”
At HoMA, she was a graceful, warm, and witty presence—staff who had the good fortune to work here while she was active in leadership remember her fondly.
Vi had long given back to the community. She and her husband, Paul Loo, built a philanthropic legacy—giving generously to education institutions. Loo also served on the boards of Chaminade University and Hawaii Pacific University.
She leaves a lasting impact at the Honolulu Museum of Art that will serve our children, community, and global audiences for years to come.
Vi Loo and fellow trustee Bob Bean share a laugh at a dinner honoring donors in 2017.
Vi Loo in her own words: Revisiting a 2013 conversation
Vi Loo was an engaging, thoughtful person. We let her tell her own story by republishing this conversation with her conducted in October 2013, three months after becoming chair of the HoMA board of trustees.
What motivates you to serve on the Museum’s board?
I feel that volunteer work is very important. Because time is precious I choose to serve an organization that is not only in line with my interests, but that also gives back many benefits to the community, and the Honolulu Museum of Art certainly fits that bill. I see it as an information center—all the galleries tell you about the history of art and helps us appreciate the multicultural heritage of our community, and the contemporary, provocative art exhibitions link us to the outside, fast-changing world of art. The Museum is a great benefactor to all of us, it enriches our lives by adding a significant cultural dimension to our society. Having a great Museum shows that Honolulu is not just a place for beach, sun and swimming—it has much more depth. In addition to being a valuable asset for residents, the Museum helps employers who try to attract talent from the mainland. Given these factors, it is an honor to be given the opportunity to help guide, support, and grow such a vital institution for our community. Having a passion for art and being a collector makes it doubly exciting.
You have a masters degree in education, so clearly education is important to you. What do you think is the Museum’s education role in the community?
Education is the Museum’s most important role. Art education in the public schools has been so compromised, so it is important for the Museum to provide and support much needed art education in our schools.
The Museum is an important educational institution—classes at the Art School teach the young
and
the old the intricacies of art making. The school tours train young minds to look at, question, and analyze art. The Museum has done excellent educational outreach—programs provide important art experiences that help to foster creativity and challenge everyone to think outside the box. These are important values, especially for young people who will be entering the work force.
I’m particularly impressed with the new STEM programs. How innovative is it to use art to strengthen and teach the five basic subjects taught in schools? And adult education is equally important, because they are the ones who are our potential supporters. We reach adults through classes at the Art School, free lectures at Doris Duke Theatre, and events such as Tour + Tea but I do feel we fall short in engaging adults in small groups to discuss art topics or art collection. That is an effective way to engage adults—everybody enjoys camaraderie. To cultivate small groups will help strengthen interest and links to the Museum.
Vi Loo with artist Allyn Bromley at ArtSpree, two months after agreement to merge Honolulu Academy of Arts and The Contemporary Museum was signed.
Do you have a favorite work of art in the collection?
I don’t have a favorite work, but I do have favorite artists whose work I admire and respect. One of the people I admire is Allyn Bromley. She does beautiful work that always informs, and she’s always pushing the boundary and doing something different. She doesn’t rest on her laurels.
What do you collect?
I buy what I really respond to. I have a lot of Bay Area artists. Abstract and contemporary art is very exciting to me. Collecting art is like opium, buy the first piece and you’re hooked!
You are the daughter of Run Run Shaw, one of the world’s best-known filmmakers—what led you to be such a strong supporter of the visual arts instead of filmmaking?
Film is one of my most fond entertainments. There’s nothing like watching a well put together film. And film can convey a strong message, you can be very touched. But it lacks the intimacy of art. You can get up close to an artwork and almost develop a relationship with it. I enjoy contemporary art because you can hang up a painting and react to it emotionally. Depending on your mood, you always see something different in it. It always grows.
I did grow up in a filmmaking family, but because of that I was also privy to cinema’s inner workings. Beneath the external glamour is a very complex, competitive, tough world. But the artistic side of filmmaking did rub off on me and I have always enjoyed the handling of beautiful art objects, and am thrilled by fine, innovative craftsmanship. Also, my father was a passionate art collector. I was fortunate to grow up with a lot of beautiful paintings and objects. He would have dealers come and bring scrolls, paintings, and objects—he leaned toward Chinese paintings and calligraphy, but he also collected European art.
When I became a docent at The Contemporary Museum, I was introduced to contemporary art. I was blown away by how it transformed my perception of the world around me. I take great pleasure in discovering the story or message behind art pieces. Art is a great teacher. It has taught me to respect the environment and curb habits of waste. It is quite a breathtaking experience to come face to face with a horse sculpture made of rusting railings, scenes constructed from rubber tires, or paintings encrusted with things you might discard. You wouldn’t normally think of these materials as art. These are some of the things that make the art world so exciting to me.
Vi Loo, then chair of the HoMA board of trustees, greeting Herb and Nancy Conley at Kama‘āina Christmas 2017
What is your vision for the Museum moving forward?
A dynamic, vital multicultural arts institute with an innovative, vibrant educational center, highly regarded nationally and internationally, is an exciting and compelling dream for our Honolulu Museum of Art. It is an ambitious dream but I believe it is achievable.
Financial stability is an essential ingredient. Under the watchful eye of director Stephan Jost, we have worked tirelessly to wrestle down our loans and are close to having a balanced budget. An organized, efficient, and competent staff—a lean and mean machine—is another must for a strong, sustainable museum where guests can learn and enjoy a transforming art experience. It also ensures that we are prepared for any future expansion.
There is a need to increase classroom spaces to accommodate even more innovative education programs to support schools and enrich the lives of adults. The addition of gallery spaces are important not only to showcase larger notable exhibitions and imaginative on-the-edge shows that keep our community informed and enthused about the continually evolving art world, but will allow for more opportunities to highlight outstanding parts of our permanent collection—gaining the Museum respect and prominence.
Growth in status is important. Notable status attracts donors and of equal importance attracts consideration of meaningful art gifts from serious collectors paving the way to dynamic growth and recognition.
This is a challenging vision but with a dedicated board of trustees and a well-organized and efficient staff led by a visionary director, it is not an impossible dream. And since the successful merger of The Contemporary Museum and the Honolulu Academy of Arts, we have already taken important strides towards reaching it.
10.1.2013
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We have received your application. We will contact you when tickets become available.
Something went wrong. Please call to be put on the waiting list.
Added:
To wishlist
To the cookie settings
To the main content
To the footer
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Fri Mar 13 2026
Remembering Vi Loo
The Honolulu Museum of Art is deeply saddened by the passing of Violet S.W. Loo, known as Vi. Holding an MA in education from the University of California, Berkeley, she was passionate about art and education and had a lasting impact on the Museum as a trustee, serving as chair of the board from 2013 to 2019. She played a key role in the integration of the Honolulu Academy of Arts and The Contemporary Museum.
In an interview in 2013, Loo shared that she was motivated to be a Museum trustee because “volunteer work is very important. I choose to serve an organization that is not only in line with my interests, but that also gives back many benefits to the community, and the Honolulu Museum of Art certainly fits that bill.”
She saw HoMA as “an information center—all the galleries tell you about the history of art and helps us appreciate the multicultural heritage of our community, and the contemporary, provocative art exhibitions link us to the outside, fast-changing world of art. The Mmuseum…enriches our lives by adding a significant cultural dimension to our society.”
During her tenure as chair, Vi brought unwavering support and dedication through the transition of two Museum directors. Prior to serving as chair, Vi served as chair of The Contemporary Museum from 2002 to 2011, as well as vice chair of HoMA from July 2011 to June 2013, helping steer the Museum through the gifting and acquisition of The Contemporary Museum (TCM) in 2011 and championing contemporary art.
Vi Loo and Lynn Johnson signing the agreement to merge the Honolulu Academy of Arts and The Contemporary Museum on May 2, 2011, with then Academy director Stephan Jost.
She strongly supported HoMA’s education initiatives, including the securing of a $1 million grant for the strategic plan to restructure and develop its arts education components to create an Arts Integrated Education Program for Title 1 schools.
“I spent many hours with Vi and I learned so much from her,” says HoMA Trustee Josh Feldman who was vice chair when Vi led the board. “She was a global citizen well before such a term had a name. While her graciousness and civility are well known in our community, I was always struck by her sincere humility and willingness to listen to all comers, friends and foe alike. As HoMA’s board chair, she wanted the best outcomes and was always wanting to solicit as much feedback as possible from all stakeholders. Vi was intrinsically curious and was patient enough to devote the time and energy to learn as much as possible about the issue at hand. This was particularly true when it came to art and the interests of the Museum. And she backed it all up with a generosity of time, spirit, and treasure. Vi’s efforts and contributions over the years helped to make HoMA what it is today.”
Vi grew up with art—her father collected classical Chinese and European art—but it wasn’t until her daughter Pamela was studying art that she became truly intrigued. Pamela took Vi to a contemporary art exhibition and, Vi recalled, “I said do you call that art? She looked at me and said, Mom, you’re so close-minded.” The incident spurred her to become a docent at The Contemporary Museum where she “got absolutely hooked.”
At HoMA, she was a graceful, warm, and witty presence—staff who had the good fortune to work here while she was active in leadership remember her fondly.
Vi had long given back to the community. She and her husband, Paul Loo, built a philanthropic legacy—giving generously to education institutions. Loo also served on the boards of Chaminade University and Hawaii Pacific University.
She leaves a lasting impact at the Honolulu Museum of Art that will serve our children, community, and global audiences for years to come.
Vi Loo and fellow trustee Bob Bean share a laugh at a dinner honoring donors in 2017.
Vi Loo in her own words: Revisiting a 2013 conversation
Vi Loo was an engaging, thoughtful person. We let her tell her own story by republishing this conversation with her conducted in October 2013, three months after becoming chair of the HoMA board of trustees.
What motivates you to serve on the Museum’s board?
I feel that volunteer work is very important. Because time is precious I choose to serve an organization that is not only in line with my interests, but that also gives back many benefits to the community, and the Honolulu Museum of Art certainly fits that bill. I see it as an information center—all the galleries tell you about the history of art and helps us appreciate the multicultural heritage of our community, and the contemporary, provocative art exhibitions link us to the outside, fast-changing world of art. The Museum is a great benefactor to all of us, it enriches our lives by adding a significant cultural dimension to our society. Having a great Museum shows that Honolulu is not just a place for beach, sun and swimming—it has much more depth. In addition to being a valuable asset for residents, the Museum helps employers who try to attract talent from the mainland. Given these factors, it is an honor to be given the opportunity to help guide, support, and grow such a vital institution for our community. Having a passion for art and being a collector makes it doubly exciting.
You have a masters degree in education, so clearly education is important to you. What do you think is the Museum’s education role in the community?
Education is the Museum’s most important role. Art education in the public schools has been so compromised, so it is important for the Museum to provide and support much needed art education in our schools.
The Museum is an important educational institution—classes at the Art School teach the young
and
the old the intricacies of art making. The school tours train young minds to look at, question, and analyze art. The Museum has done excellent educational outreach—programs provide important art experiences that help to foster creativity and challenge everyone to think outside the box. These are important values, especially for young people who will be entering the work force.
I’m particularly impressed with the new STEM programs. How innovative is it to use art to strengthen and teach the five basic subjects taught in schools? And adult education is equally important, because they are the ones who are our potential supporters. We reach adults through classes at the Art School, free lectures at Doris Duke Theatre, and events such as Tour + Tea but I do feel we fall short in engaging adults in small groups to discuss art topics or art collection. That is an effective way to engage adults—everybody enjoys camaraderie. To cultivate small groups will help strengthen interest and links to the Museum.
Vi Loo with artist Allyn Bromley at ArtSpree, two months after agreement to merge Honolulu Academy of Arts and The Contemporary Museum was signed.
Do you have a favorite work of art in the collection?
I don’t have a favorite work, but I do have favorite artists whose work I admire and respect. One of the people I admire is Allyn Bromley. She does beautiful work that always informs, and she’s always pushing the boundary and doing something different. She doesn’t rest on her laurels.
What do you collect?
I buy what I really respond to. I have a lot of Bay Area artists. Abstract and contemporary art is very exciting to me. Collecting art is like opium, buy the first piece and you’re hooked!
You are the daughter of Run Run Shaw, one of the world’s best-known filmmakers—what led you to be such a strong supporter of the visual arts instead of filmmaking?
Film is one of my most fond entertainments. There’s nothing like watching a well put together film. And film can convey a strong message, you can be very touched. But it lacks the intimacy of art. You can get up close to an artwork and almost develop a relationship with it. I enjoy contemporary art because you can hang up a painting and react to it emotionally. Depending on your mood, you always see something different in it. It always grows.
I did grow up in a filmmaking family, but because of that I was also privy to cinema’s inner workings. Beneath the external glamour is a very complex, competitive, tough world. But the artistic side of filmmaking did rub off on me and I have always enjoyed the handling of beautiful art objects, and am thrilled by fine, innovative craftsmanship. Also, my father was a passionate art collector. I was fortunate to grow up with a lot of beautiful paintings and objects. He would have dealers come and bring scrolls, paintings, and objects—he leaned toward Chinese paintings and calligraphy, but he also collected European art.
When I became a docent at The Contemporary Museum, I was introduced to contemporary art. I was blown away by how it transformed my perception of the world around me. I take great pleasure in discovering the story or message behind art pieces. Art is a great teacher. It has taught me to respect the environment and curb habits of waste. It is quite a breathtaking experience to come face to face with a horse sculpture made of rusting railings, scenes constructed from rubber tires, or paintings encrusted with things you might discard. You wouldn’t normally think of these materials as art. These are some of the things that make the art world so exciting to me.
Vi Loo, then chair of the HoMA board of trustees, greeting Herb and Nancy Conley at Kama‘āina Christmas 2017
What is your vision for the Museum moving forward?
A dynamic, vital multicultural arts institute with an innovative, vibrant educational center, highly regarded nationally and internationally, is an exciting and compelling dream for our Honolulu Museum of Art. It is an ambitious dream but I believe it is achievable.
Financial stability is an essential ingredient. Under the watchful eye of director Stephan Jost, we have worked tirelessly to wrestle down our loans and are close to having a balanced budget. An organized, efficient, and competent staff—a lean and mean machine—is another must for a strong, sustainable museum where guests can learn and enjoy a transforming art experience. It also ensures that we are prepared for any future expansion.
There is a need to increase classroom spaces to accommodate even more innovative education programs to support schools and enrich the lives of adults. The addition of gallery spaces are important not only to showcase larger notable exhibitions and imaginative on-the-edge shows that keep our community informed and enthused about the continually evolving art world, but will allow for more opportunities to highlight outstanding parts of our permanent collection—gaining the Museum respect and prominence.
Growth in status is important. Notable status attracts donors and of equal importance attracts consideration of meaningful art gifts from serious collectors paving the way to dynamic growth and recognition.
This is a challenging vision but with a dedicated board of trustees and a well-organized and efficient staff led by a visionary director, it is not an impossible dream. And since the successful merger of The Contemporary Museum and the Honolulu Academy of Arts, we have already taken important strides towards reaching it.
10.1.2013
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GAMAR x HoMA collection reimagines HoMA artworks as ethically crafted gemstone jewelry, inspired by O’Keeffe, Hokusai, Guanyin, and more.
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The Garden Club of Honolulu wants you to “Imagine That!” May 8-10
Experience Imagine That!—the Garden Club of Honolulu’s Major Flower Show at HoMA, May 8–10, featuring stunning floral design, sustainability, and community inspiration.
Story
We have received your application. We will contact you when tickets become available.
Something went wrong. Please call to be put on the waiting list.
Added:
To wishlist