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X-WR-CALDESC:Events for Ruth Asawa
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DTSTART;VALUE=DATE:20051017
DTEND;VALUE=DATE:20201018
DTSTAMP:20260409T040617
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
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2016/03/De-Young-Installation-square-copy.jpg
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DTSTART;TZID=UTC:20190913T080000
DTEND;TZID=UTC:20210503T170000
DTSTAMP:20260409T040617
CREATED:20190906T033553Z
LAST-MODIFIED:20190906T033553Z
UID:1376-1568361600-1620061200@ruthasawa.com
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:20260409T040617
CREATED:20191213T022056Z
LAST-MODIFIED:20210720T000152Z
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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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