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X-WR-CALNAME:Ruth Asawa
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X-WR-CALDESC:Events for Ruth Asawa
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DTSTART:20210101T000000
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BEGIN:VEVENT
DTSTART;TZID=UTC:20220616T080000
DTEND;TZID=UTC:20230430T170000
DTSTAMP:20260417T083507
CREATED:20220727T173848Z
LAST-MODIFIED:20220727T174755Z
UID:2466-1655366400-1682874000@ruthasawa.com
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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BEGIN:VEVENT
DTSTART;TZID=UTC:20220706T110000
DTEND;TZID=UTC:20260706T170000
DTSTAMP:20260417T083507
CREATED:20220702T024349Z
LAST-MODIFIED:20250704T013213Z
UID:2435-1657105200-1783357200@ruthasawa.com
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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BEGIN:VEVENT
DTSTART;TZID=UTC:20221014T120000
DTEND;TZID=UTC:20230213T170000
DTSTAMP:20260417T083508
CREATED:20221005T205207Z
LAST-MODIFIED:20221005T205746Z
UID:2493-1665748800-1676307600@ruthasawa.com
SUMMARY:Ink\, Paper\, Stone: Six Women Artists and the Language of Lithography
DESCRIPTION:Ink\, Paper\, Stone: Six Women Artists and the Language of Lithography examines the prints of six critically acclaimed artists who visited Los Angeles in the 1960s to explore the art of lithography: Ruth Asawa\, Gego\, Eleanore Mikus\, Louise Nevelson\, Irene Siegel and Hedda Sterne. Each woman received a two-month fellowship at the famed Tamarind Lithography Workshop\, founded by the visionary printmaker June Wayne in 1960. With its mission to train master printers and pair them with visiting artists\, Tamarind was a nexus for the revival of the medium in America. Though each of the artists in this exhibition had already established her reputation in other media by the time of her visit—and only two had made lithographs before—they all found that lithography offered fascinating\, new possibilities for exploring their aesthetic interests. \nAt Tamarind\, Gego\, Mikus and Nevelson engineered unique approaches to geometric abstraction\, kineticism and minimalism in their lithographs. Sterne and Asawa created imagery derived from literature and nature\, sources that had provided them with lifelong inspiration. Irene Siegel alone composed stylized\, figurative vignettes that pop with vibrant color and bold lines. In the lithography workshop\, these six distinct artists shared an interest in the physical properties of their materials\, including ink and paper\, which they exploited to convey a sense of the artist’s own hand in the process of making an image. \nDescribing her folded paper drawings from this period\, Eleanore Mikus advised viewers to pay close attention\, for “the more you look\, the more you see.” Ink\, Paper\, Stone explores the significance of that observation in the works of art themselves\, as well as in the lives of these groundbreaking women artists\, who navigated the complex and competing expectations of an art world in which female achievement was measured by a different set of standards. \nThe museum is closed Tuesdays and Wednesdays\, open from 12-5 all other days except Saturday\, when it’s open until 7:00.  \nAdults	$15.00\nSeniors (ages 62 and above)	$12.00\nChildren (ages 18 and under)	Free\nStudents with valid I.D.	Free\nMuseum Members	Free \nVisit >
URL:https://ruthasawa.com/exhibition/ink-paper-stone-six-women-artists-and-the-language-of-lithography/
LOCATION:Norton Simon Museum
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/10/plane-trees.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20230112T100000
DTEND;TZID=UTC:20230331T170000
DTSTAMP:20260417T083508
CREATED:20230104T210432Z
LAST-MODIFIED:20230104T213740Z
UID:2508-1673517600-1680282000@ruthasawa.com
SUMMARY:Generation: The Roots of Making in the Asawa-Lanier Family
DESCRIPTION:Top image: Aiko Lanier Cuneo\, Dancing Dots and Triangles\, 2021.  \nRuth’s Table is pleased to present Generation: The Roots of Making in the Asawa-Lanier Family\, a group exhibition that brings together four generations from a San Francisco family of makers. Inspired by our namesake\, world-renowned artist Ruth Asawa\, the exhibition serves as an opportunity to honor Asawa’s life-long commitment to community-based art education and activism in the arts.  \nThe word generation can have several meanings. A generation is a group of people born and living at the same time. It can also mean creating or making. Timed to coincide with Asawa’s birthday month\, Generation is a tribute and a testament that Asawa’s values live on through generations – in the Asawa-Lanier family\, in communities and organizations\, like Ruth’s Table – that share her unwavering belief that creative engagement is essential and can impact the lives of people of all ages. \nThe exhibition brings together works in wire and lithography by Ruth Asawa; paintings\, drawings\, and birthday envelopes by Albert Lanier; paintings and a clay platter by Paul Lanier; textile\, collage\, and painting by Aiko Lanier Cuneo; origami portraits\, paintings\, and paper construction by Lilli Lanier; and paintings by Lucia Ruth Soriano. All of these artists have worked with one another on public commissions\, as teaching artists in schools\, and collaborated on pieces in this show.  \nThe work exhibited in Generation spans 57 years from 1965 to 2022. Motifs rooted in interwoven patterns of line\, repetition\, and dynamic interactions between geometric shapes\, color\, and forms\, appear in all artists’ works creating inherent conversation and visual connections carried through varying media. Together\, they form a story of four generations of a family that is joined not only in relationship\, but by the curiosity and love of materials\, color\, and pattern. \nLilli Lanier\, Origami Ruth Asawa\, 2022. Origami paper. 50” x 40”. \nROOTS OF RUTH’S TABLE\nEstablished in 2009\, Ruth’s Table is named after an actual table\, constructed by Ruth Asawa’s husband architect Albert Lanier\, at which Asawa created her own art and then donated to the organization\, thus officially launching the start of the program. Generation: The Roots of Making in the Asawa-Lanier Family exhibition also pays homage to the roots of Ruth’s Table which was profoundly shaped by Asawa’s values and continues to use the power of art to build a more connected\, resilient\, and inclusive community. \nHours:\nTuesday- Friday\n10am-5pm\nSelect Saturdays\nor by appointment
URL:https://ruthasawa.com/exhibition/generation-the-roots-of-making-in-the-asawa-lanier-family/
LOCATION:Ruth’s Table\, 3160 21st Street\, San Francisco\, 94110\, United States
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2023/01/generation-reception-crop.webp
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