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X-WR-CALDESC:Events for Ruth Asawa
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DTSTART;TZID=UTC:20220312T100000
DTEND;TZID=UTC:20220918T170000
DTSTAMP:20220407T192351Z
CREATED:20220407T191133Z
LAST-MODIFIED:20220407T192351Z
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SUMMARY:Drawing Without Paper
DESCRIPTION:In the mid-1920s\, the sculptor Julio González abandoned casting and began using the techniques of forging and welding iron to create what he called “drawings in space\,” a series of innovative works that challenged the perception of mass and gravity traditionally associated with the experience of sculpture. \nThe idea of “drawing in space” proved highly influential for a number of artists throughout the mid- to late twentieth century\, especially Alexander Calder\, Ruth Asawa\, David Smith\, and Gego. By exploring notions of transparency and weightlessness with lines and forms\, they redefined how sculpture interacts with the surrounding environment. Other artists complicated the definition of drawing by experimenting with line\, materiality\, process\, and even the outdoor landscape\, including Sheila Hicks\, Dorothea Rockburne\, Richard Tuttle\, Zarina\, Ana Mendieta\, Dennis Oppenheim\, Liliana Porter\, Oscar Muñoz and Richard Long. \nTitled after a work by Gego (1912–1994) recently gifted to The Met by Lilly Scarpetta\, Drawing without Paper features a select group of works that embrace an expanded notion of drawing\, freeing the line into space. The installation is curated by Iria Candela\, Estrellita B Brodsky Curator of Latin American Art\, Modern and Contemporary Art. \nThe installation is made possible by The Modern Circle. \nImage Credit: Gego (Gertrud Goldschmidt). Venezuelan\, born Germany\, 1912–1994. Drawing without Paper (detail) 86/18\, 1986. Iron\, aluminum\, and nylon. 49 5/8 × 18 7/8 × 9/16 in. (126 × 48 × 1.5 cm). Gift of Lilly Scarpetta\, in celebration of the Museum’s 150th Anniversary\, 2020. \nThe museum is open Sunday–Tuesday and Thursday: 10 am–5 pm\nFriday and Saturday: 10 am–9 pm\nClosed Wednesday \nNo advance reservations or timed tickets are required. Once inside\, Members and advance ticket buyers may proceed directly into the Museum galleries. If you’re eligible for suggested admission\, please proceed to the ticketing desk. \nFace coverings are required for all visitors age 2 and older\, even if you are vaccinated. In keeping with public health recommendations\, we strongly recommend vaccinations for our visitors.
URL:https://ruthasawa.com/exhibition/drawing-without-paper/
LOCATION:The Met Museum\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/04/gego-crop.jpg
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DTSTART;TZID=UTC:20220423T100000
DTEND;TZID=UTC:20221030T170000
DTSTAMP:20220209T235634Z
CREATED:20220202T221551Z
LAST-MODIFIED:20220209T235634Z
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SUMMARY:Artmaking as Lifemaking: Kinji Akagawa at Tamarind
DESCRIPTION:Art Making as Life Making: Kinjia Akagawa at Tamarind offers a behind-the-scenes glimpse of life in a 1960s print workshop. At the age of 25\, Akagawa embarked on a fellowship to train as a printer at the Tamarind Lithography Workshop in Los Angeles. While there\, Akagawa collaborated with more than a dozen leading artists\, including Ruth Asawa\, Herbert Bayer\, and Jose Luis Cuevas\, printing their lithographs and creating his own editions of prints. The communal environment at Tamarind had a profound impact on his philosophies of art\, in which he embraced dialogue\, collaboration\, and co-creation as pillars of a democratic vision of art. The exhibition features more than 40 works from the Carter’s collection of more than 2\,500 Tamarind Workshop prints. \nMuseum Hours\nSUNDAY	noon–5 p.m.\nMONDAY	Closed\nTUESDAY\, WEDNESDAY\, FRIDAY\, SATURDAY	10 a.m.–5 p.m.\nTHURSDAY	10 a.m.–8 p.m. \nAdmission is free.
URL:https://ruthasawa.com/exhibition/artmaking-as-lifemaking-kinji-akagawa-at-tamarind/
LOCATION:Amon Carter Museum of American Art\, 3501 Camp Bowie Blvd.\, Fort Worth\, TX\, 76107\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/01/aiko-carter-full.jpg
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DTSTART;TZID=UTC:20220423T110000
DTEND;TZID=UTC:20221127T190000
DTSTAMP:20220425T183428Z
CREATED:20220414T230844Z
LAST-MODIFIED:20220425T183428Z
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SUMMARY:The Milk of Dreams: Biennale Arte 2022
DESCRIPTION:The 59th International Art Exhibition of La Biennale di Venezia\, titled The Milk of Dreams\, is open to the public from Saturday April 23 to Sunday November 27\, 2022\, at the Giardini and the Arsenale; it is curated by Cecilia Alemani and organised by La Biennale di Venezia\, chaired by Roberto Cicutto. “As the first Italian woman to hold this position\, I intend to give voice to artists to create unique projects that reflect their visions and our society”\, Alemani has declared. \nCecilia Alemani is a curator who has organized many exhibitions of contemporary artists. She is currently Director and Chief Curator of High Line Art\, the programme of public art of the urban park in New York\, and is the past curator of the Italian Pavilion at the Biennale Arte 2017. \n“This Exhibition is grounded in many conversations with artists held in the last few years. The questions that kept emerging from these dialogues seem to capture this moment in history when the very survival of the species is threatened\, but also to sum up many other inquiries that pervade the sciences\, arts\, and myths of our time. How is the definition of the human changing? What constitutes life\, and what differentiates plant and animal\, human and non-human? What are our responsibilities towards the planet\, other people\, and other life forms? And what would life look like without us? \nThese are some of the guiding questions for this edition of the Biennale Arte\, which focuses on three thematic areas in particular: the representation of bodies and their metamorphoses; the relationship between individuals and technologies; the connection between bodies and the Earth.” \n“As visitors move through the Exhibition in the Central Pavilion and the Corderie\, they encounter five smaller\, historical sections: miniature constellations of artworks\, found objects\, and documents\, clustered together to explore certain key themes. Conceived like time capsules\, these shows within the show provide additional tools of investigation and introspection\, weaving a web of references and echoes that link artworks of the past – including major museum loans and unconventional selections – to the pieces by contemporary artists in the surrounding space. This wide-ranging\, transhistorical approach traces kinships and affinities between artistic methods and practices\, even across generations\, to create new layers of meaning and bridge present and past. What emerges is a historical narrative that is not built around systems of direct inheritance or conflict\, but around forms of symbiosis\, solidarity\, and sisterhood.” \n“The Milk of Dreams was conceived and organised in a period of enormous instability and uncertainty\, since its development coincided with the outbreak and spread of the Covid-19 pandemic. La Biennale di Venezia was forced to postpone this edition by one year\, an event that had only occurred during the two World Wars since 1895. So the very fact that this Exhibition can open is somewhat extraordinary: its inauguration is not exactly the symbol of a return to normal life\, but rather the outcome of a collective effort that seems almost miraculous. During these endless months in front of the screen\, I have pondered the question of what role the International Art Exhibition should play at this historical juncture\, and the simplest\, most sincere answer I could find is that the Biennale sums up all the things we have so sorely missed in the last two years: the freedom to meet people from all over the world\, the possibility of travel\, the joy of spending time together\, the practice of difference\, translation\, incomprehension\, and communion. \nThe Milk of Dreams is not an Exhibition about the pandemic\, but it inevitably registers the upheavals of our era. In times like this\, as the history of La Biennale di Venezia clearly shows\, art and artists can help us imagine new modes of coexistence and infinite new possibilities of transformation.” –Cecilia Alemani \nView artists > \nBuy tickets > \nMore information about visiting >
URL:https://ruthasawa.com/exhibition/the-milk-of-dreams-biannale-arte-2022/
LOCATION:Arsenale\, Sestiere Castello\, Campo Della Tana 2169/F\, Venice\, +39 0415218711\, 30122\, Italy
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DTSTART;TZID=UTC:20220616T080000
DTEND;TZID=UTC:20230430T170000
DTSTAMP:20220727T174755Z
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SUMMARY:California Modernist Women - Groundbreaking Creativity
DESCRIPTION:California played a central role in the formation of a modern American aesthetic during the mid-twentieth century. Decorative arts and design reflected exciting new technologies and forms of expression. As modernist artists and designers looked beyond traditional methods and towards the future\, some also found inspiration in the handmade qualities of crafts. Many of the Golden State’s most innovative artists and designers were women who faced great adversity due to prevailing gender inequality. The most determined women pushed forward\, driven by enthusiasm\, strength\, and creativity. \nTo protect themselves from potential disadvantage\, some women artists signed only their first initial and last name to their artworks. In defiance\, San Francisco artist Doris Hodgson Bothwell (1902–2000) changed her legal first name to Dorr\, a nickname from childhood that she preferred. Ray Eames (1912–88) was an artist and designer who did not initially receive full recognition for her work. Aligned with mid-century conventions\, her husband Charles Eames (1907–78) was attributed as the designer for all Eames Office products\, although the dynamic couple designed together with the rest of their team. \nMany artists and designers faced other complex challenges. During the Second World War\, Ruth Asawa (1926–2013) escaped extended incarceration in a Japanese American internment camp with a scholarship to Milwaukee State Teachers College (now University of Wisconsin-Milwaukee). After training for three years to become an art teacher\, she was denied the necessary internship for graduation due to postwar racism. Asawa became a renowned artist and advocate for art education\, and in 1982\, she helped establish a public arts high school—renamed the Ruth Asawa San Francisco School of the Arts in 2010. \nCalifornia Modernist Women: Groundbreaking Creativity introduces these and other artists who worked in California and the San Francisco Bay Area. Ruth Asawa and Ray Eames\, along with jeweler Margaret De Patta (1903–64) and potters Edith Heath (1911–2005) and Marguerite Wildenhain (1896–1985)\, are internationally acclaimed\, and appreciation for their work continues to grow. Other outstanding artists including Dorr Bothwell\, sculptors Freda Koblick (1920–2011) and Mary Fuller McChesney (1922–2022)\, potter Eileen Reynolds Curtis (1915–77)\, artist and designer Zahara Schatz (1916–99)\, and multidisciplinary artists Esther (1896–1992)\, Helen (1898–1985)\, and Margaret Bruton (1894–1983)\, enjoyed success in their time\, yet were overlooked in subsequent years. \n\nHarvey Milk Terminal 1\n\nDepartures Level 2\, Gallery 1E\nJun 16\, 2022 – Apr 30\, 2023\n\n\nPhoto © 2022 Ruth Asawa Lanier\, Inc. / Artists Rights Society\, NY. Courtesy David Zwirner
URL:https://ruthasawa.com/exhibition/california-modernist-women-groundbreaking-creativity/
LOCATION:SFO Museum\, San Francisco Airport\, San Francisco\, CA\, 94128\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/07/ca-modernist-women.jpg
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DTSTART;TZID=UTC:20220706T110000
DTEND;TZID=UTC:20280706T170000
DTSTAMP:20260618T230625Z
CREATED:20220702T024349Z
LAST-MODIFIED:20260618T230625Z
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SUMMARY:The Faces Of Ruth Asawa
DESCRIPTION:From the mid-1960s through 2000\, Asawa created hundreds of individual face masks out of clay. With the Cantor’s Asian American Art Initiative\, this wall of 233 masks becomes a permanent part of their collection. \nThe Asian American Art Initiative (AAAI) transforms Stanford into the leading academic and curatorial center for Asian American art. Alexander and Marci Kwon\, assistant professor in Stanford’s Department of Art and Art History\, serve as AAAI co-directors. As part of the initiative\, the Cantor works to build the preeminent collection of Asian American art at a university art museum. \nThe Cantor acquired Untitled (LC.012\, Wall of Masks) in 2020. On July 6\, 2022\, they go on long-term view at the museum\, marking the first time this work has been shown in its entirety at any museum or public institution. The focused exhibition\, The Faces of Ruth Asawa\, curated by Alexander\, features the masks and three vessels by Asawa’s son Paul Lanier. These special vessels were created with clay mixed with the ashes of Asawa\, her husband Albert\, and their late son\, Adam. Upon Asawa’s death—per her request—Lanier took this material and threw a set of vessels\, one for each remaining sibling. The three included in The Faces of Ruth Asawa were borrowed from the family. Their inclusion in the exhibition further demonstrates Asawa’s deeply intimate connection to clay. \nHear from Asawa’s family and friends\, including mask subjects\, about her process making the masks > \nThe museum is open Wed – Sun\, free with reservations. Reserve here > \nEnd date is open-ended.
URL:https://ruthasawa.com/exhibition/the-faces-of-ruth-asawa/
LOCATION:Cantor Arts Center\, 328 Lomita Drive at Museum Way\, Stanford\, CA\, 94305\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/07/faces-ruth.jpg
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