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X-WR-CALDESC:Events for Ruth Asawa
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20051017
DTEND;VALUE=DATE:20201018
DTSTAMP:20260410T133248
CREATED:20160316T220109Z
LAST-MODIFIED:20160324T232952Z
UID:727-1129507200-1602979199@ruthasawa.com
SUMMARY:Ruth Asawa: Permanent Installation
DESCRIPTION:In 2005\, in celebration of the opening of the redesigned de Young Museum in San Francisco’s Golden Gate Park\, Ruth Asawa donated 15 sculptures to the Fine Arts Museums for a permanent installation. This grouping was personally selected by Asawa as being excellent examples of many of her sculptural forms. In keeping with Asawa’s belief that art should be readily accessible to all\, these works are housed in the Education Tower\, where there is no charge for visitors. \nCheck their website for exact dates and times they are open.
URL:https://ruthasawa.com/exhibition/ruth-asawa-permanent-installation/
LOCATION:de Young Museum\, Education Tower\, 50 Hagiwara Tea Garden Drive\, San Francisco\, 94118\, United States
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BEGIN:VEVENT
DTSTART;TZID=UTC:20190222T080000
DTEND;TZID=UTC:20200501T170000
DTSTAMP:20260410T133248
CREATED:20190906T041156Z
LAST-MODIFIED:20190918T204013Z
UID:1389-1550822400-1588352400@ruthasawa.com
SUMMARY:The Medium Is the Message: Art since 1950
DESCRIPTION:It is the medium that shapes and controls the scale and form of human association and action.  \n—Marshall McLuhan\, The Medium Is the Message\n\nUsing works created since 1950\, this exhibition explores the relationship between subject\, content\, and the materials that informed each object’s production.  \nThe exhibition is divided into three broad categories that explore the notion of “medium” in its various contexts: a means of communication\, the materials from which an art object is created\, and a mediating apparatus between objects and subjects. \n“In the Abstract\,” explores how paint\, metal\, and fabric can be used as means of abstract communication. “The Sum of Its Parts” explores how artists have used nontraditional art materials for critical and expressive inquiry. Lastly\, “The Faces We Present” reconsiders the limits of figural representation\, investigating how portraiture can serve as a mediating apparatus between the past and the present.  \nViewed collectively\, these works suggest that an exploration of medium is one way of challenging dominant discourses around art\, culture\, and history. \nRead the Stanford Arts story about the exhibition > \nPhoto: Edward Kienholz and Nancy Reddin Kienholz (Edward Kienholz: U.S.A.\, 1927–1994; Nancy Kienholz: U.S.A.\, b. 1943)\, The Billionaire Deluxe\, 1977. Metal\, Fresnel lens system\, light bulb\, and solid-state electronic second counter. Gift of the Marmor Foundation (Drs. Michael and Jane Marmor) from the collection of Drs. Judd and Katherine Marmor\, 2007.57
URL:https://ruthasawa.com/exhibition/the-medium-is-the-message-art-since-1950/
LOCATION:Cantor Arts Center\, 328 Lomita Drive at Museum Way\, Stanford\, CA\, 94305\, United States
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BEGIN:VEVENT
DTSTART;TZID=UTC:20190913T080000
DTEND;TZID=UTC:20210503T170000
DTSTAMP:20260410T133248
CREATED:20190906T033553Z
LAST-MODIFIED:20190906T033553Z
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SUMMARY:Women Take the Floor
DESCRIPTION:“Women Take the Floor” challenges the dominant history of American art by focusing on the overlooked and underrepresented work and stories of women artists. This reinstallation—or “takeover”—of Level 3 of the Art of the Americas Wing advocates for diversity\, inclusion\, and gender equity in museums\, the art world\, and beyond. With more than 250 works drawn primarily from the MFA’s collection\, the exhibition is organized into seven thematic galleries. \nPresented in the Saundra B. and William H. Lane Galleries\, Beyond the Loom: Fiber as Sculpture highlights pioneering artists who radically redefined textiles as modern art in the 1960s and 1970s: Anni Albers\, Olga de Amaral\, Ruth Asawa\, Sheila Hicks\, Kay Sekimachi and Lenore Tawney. The second rotation\, opening in spring 2020\, focuses on contemporary artists using the medium of textiles (embroidery\, weaving\, printed fabric\, and quilts) to challenge notions of identity\, gender\, and politics.
URL:https://ruthasawa.com/exhibition/women-take-the-floor/
LOCATION:Museum of Fine Arts Boston\, 465 Huntington Avenue\, Boston\, 02115
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BEGIN:VEVENT
DTSTART;TZID=UTC:20191122T103000
DTEND;TZID=UTC:20220201T180000
DTSTAMP:20260410T133248
CREATED:20191213T022056Z
LAST-MODIFIED:20210720T000152Z
UID:1415-1574418600-1643738400@ruthasawa.com
SUMMARY:Making Knowing: Craft in Art\, 1950–2019
DESCRIPTION:Making Knowing: Craft in Art\, 1950–2019 foregrounds how visual artists have explored the materials\, methods\, and strategies of craft over the past seven decades. Some expand techniques with long histories\, such as weaving\, sewing\, or pottery\, while others experiment with textiles\, thread\, clay\, beads\, and glass\, among other mediums. The traces of the artists’ hands-on engagement with their materials invite viewers to imagine how it might feel to make each work. \nWhile artists’ reasons for taking up craft range widely\, many aim to subvert prevalent standards of so-called “fine art\,” often in direct response to the politics of their time.  \nIn challenging accepted ideas of taste—whether by embracing the decorative or turning away from traditional painting and sculpture in favor of functional items like bowls or blankets—these artists reclaim visual languages that have typically been coded as feminine\, domestic\, or vernacular. By highlighting marginalized modes of artistic production\, these artists challenge the power structures that determine artistic value. \nThis exhibition provides new perspectives on subjects that have been central to artists\, including abstraction\, popular culture\, feminist and queer aesthetics\, and recent explorations of identity and relationships to place. Together\, the works demonstrate that craft-informed techniques of making carry their own kind of knowledge\, one that is crucial to a more complete understanding of the history and potential of art. \nDrawn primarily from the Whitney’s collection\, the exhibition will include over eighty works by more than sixty artists\, including Ruth Asawa\, Eva Hesse\, Mike Kelley\, Liza Lou\, Ree Morton\, Howardena Pindell\, Robert Rauschenberg\, Elaine Reichek\, and Lenore Tawney\, as well as featuring new acquisitions by Shan Goshorn\, Kahlil Robert Irving\, Simone Leigh\, Jordan Nassar\, and Erin Jane Nelson. \nMaking Knowing: Craft in Art\, 1950–2019 is curated by Jennie Goldstein\, assistant curator\, and Elisabeth Sherman\, assistant curator\, with Ambika Trasi\, curatorial assistant. \nSupport for Making Knowing: Craft in Art\, 1950–2019 is provided by the Lenore G. Tawney Foundation. \nPhoto: Liza Lou\, Kitchen\, 1991-96. Beads\, plaster\, wood and found objects\, 96 × 132 × 168 in. (243.8 × 335.3 × 426.7 cm). Whitney Museum of American Art\, New York; gift of Peter Norton 2008.339a-x. © Liza Lou. Photograph by Tom Powel\, courtesy the artist \nAll museum visitors must book timed tickets in advance.\nhttps://whitney.org/visit \n$25\nAdults \n$18\nSeniors\, Students\, and Visitors with Disabilities \nFree\n18 and under \nThe museum is closed on Tuesdays\, and is open 10:30 to 6:00 every day except Friday\, when it’s open until 10pm
URL:https://ruthasawa.com/exhibition/making-knowing-craft-in-art-1950-2019/
LOCATION:Whitney Museum of American Art\, 99 Gansevoort Street\, New York\, NY\, 10014\, United States
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