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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:20220706T110000
DTEND;TZID=UTC:20260706T170000
DTSTAMP:20260501T164552
CREATED:20220702T024349Z
LAST-MODIFIED:20250704T013213Z
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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
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BEGIN:VEVENT
DTSTART;TZID=UTC:20240127T120000
DTEND;TZID=UTC:20240420T170000
DTSTAMP:20260501T164552
CREATED:20240206T213027Z
LAST-MODIFIED:20240207T004119Z
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SUMMARY:In the Presence of:  Collective Histories of the Asian American Women Artists Association
DESCRIPTION:Curated by Christina Hiromi Hobbs \n“What is an Asian American woman artist?” \nKarin Higa’s influential essay from 2002 recounts the historical exclusion of Asian American women from the male-dominated Asian American movement and the second wave feminists of the 1960s and 1970s by tracing the art and lives of the following Asian American women artists: Ruth Asawa\, Hisako Hibi\, Theresa Hak Kyung Cha\, Rea Tajiri\, and Hung Liu. The author recognizes the specificities of the artists’ personal and collective histories\, generational differences\, and artistic practices\, and she concludes\, “What is the wisdom in grouping the diverse and divergent practices of these artists?” \nWhile recent theorizations of Asian American femininity animated through the registers of ornamentalism\, inscrutability\, invisibility\, and silence have been organized around an understanding of gender formation as an individual process\, In the Presence Of returns to Higa’s question “What is an Asian American woman artist?” through the frameworks of kinship\, mentorship\, intergenerational friendship\, and community-building between artists in the group. \nThe Asian American Women Artists Association (AAWAA) was founded in 1989 by the artists Flo Oy Wong and Betty Kano with the ardent support of art historian Moira Roth as an ecology of support for Asian American women that provided the space for experimentation and the reimagining of “a place of one’s own.” Through the production of exhibitions\, slide presentations\, symposia\, and publications\, AAWAA has sought to address Asian American women artists’ historical absence within mainstream art institutions and their misrepresentation within the historical record. Over the past thirty-five years\, the association has fostered the creative practices of hundreds of artists and writers in the Bay Area including Lucy Arai\, Ruth Asawa\, Bernice Bing\, Theresa Hak Kyung Cha\, Lenore Chinn\, Terry Acebo Davis\, Shari Arai DeBoer\, Hisako Hibi\, Nancy Hom\, Betty Kano\, Genny Lim\, Hung Liu\, Barbara Jane Reyes\, Pallavi Sharma\, Cynthia Tom\, Flo Oy Wong\, and Nellie Wong. Founded in the same year that Carlos Villa held the symposia Sources of a Distinct Majority at the San Francisco Art Institute and one year prior to the creation of Godzilla: Asian American Arts Network in New York\, AAWAA’s ongoing history over the past thirty-five years traces the development of Asian American art from the era of multiculturalism to the present. \nFollowing the Women’s Caucus for Art held in San Francisco in February 1989\, Wong and Kano recognized the lack of Asian American participation and leadership\, and with the support of Roth the artists reached out to other Asian American women in their network leading to the first meeting of AAWAA. According to Kano\, an important recognition that influenced the group’s formation was the realization that “in order to be successful in an art world dominated by white males\, people of color needed to control the whole apparatus of art production\,” and therefore the association has not only produced exhibitions but also published writing on Asian American women artists and developed relationships with curators and scholars focusing on Asian American art including Karin Higa\, Elaine Kim\, and Margo Machida. In the Presence Of takes its title from the feeling expressed by members at the early AAWAA meetings that the purpose of the organization at its founding was simply to be together. The exhibition foregrounds the relationships between artists involved in AAWAA as well as forms of remembrance that offered space for healing\, reflection\, and historicization on the artist’s terms. Through the practices of tributes\, gift-giving\, and coalition-building\, the exhibition seeks to highlight the collective practices between artists that the association has cultivated in order to present an archive that is at once celebratory\, messy\, caring\, disjointed\, and most of all\, in process\, as the association continues to the present day. \nThe Berkeley Art Center is open from Thurs – Sun 12pm to 5pm. \nPhoto: Betty Kano. Love Letter #3 (1992) Acrylic on canvas. 36 x 36”
URL:https://ruthasawa.com/exhibition/in-the-presence-of-collective-histories-of-the-asian-american-women-artists-association/
LOCATION:Berkeley Art Center\, 1275 Walnut Street\, Berkeley\, CA\, 94709\, United States
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2024/02/love-letter.webp
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BEGIN:VEVENT
DTSTART;TZID=UTC:20240207T080000
DTEND;TZID=UTC:20240506T170000
DTSTAMP:20260501T164552
CREATED:20240206T225409Z
LAST-MODIFIED:20240207T005148Z
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SUMMARY:When Forms Come Alive
DESCRIPTION:Spanning over 60 years of contemporary sculpture\, this exhibition highlights ways in which artists draw on familiar experiences of movement\, flux and organic growth. \nInspired by sources ranging from a dancer’s gesture to the breaking of a wave\, from a flow of molten metal to the interlacing of a spider’s web\, the artworks in When Forms Come Alive conjure fluid and shifting realms of experience. \nUndulating\, drooping\, erupting\, cascading and promiscuously proliferating\, these sculptures invite a tactile gaze\, and trigger physical responses. In an era when our encounters are increasingly digitised and disembodied\, these artworks call to mind the pleasures of gesture and movement\, the poetics of gravity and the experience of sensation itself. \nPalpably dynamic\, they proclaim that nothing in the world stays the same\, that everything is moving\, seething\, changing and transforming. \nInviting a tactile gaze and triggering a physical response\, When Forms Come Alive is one of the most anticipated exhibitions of 2024 according to Time Out\, Evening Standard and AnOther Magazine. \nThe exhibition features work by 21 international artists: Ruth Asawa\, Nairy Baghramian\, Phyllida Barlow\, Lynda Benglis\, Michel Blazy\, Paloma Bosquê\, Olaf Brzeski\, Choi Jeong Hwa\, Tara Donovan\, DRIFT\, Eva Fàbregas\, Holly Hendry\, EJ Hill\, Marguerite Humeau\, Jean-Luc Moulène\, Senga Nengudi\, Ernesto Neto\, Martin Puryear\, Matthew Ronay\, Teresa Solar Abboud and Franz West. \nThe exhibition is generously supported by the When Forms Come Alive Exhibition Supporters’ Group: Bianca and Stuart Roden\, Simon Morris and Annalisa Burello\, White Cube\, Thomas Dane Gallery\, Gagosian\, Sprüth Magers\, David Zwirner Gallery and Sarah Cannon. Additional support has also kindly been provided by the Henry Moore Foundation\, Hauser & Wirth and Fluxus Art Projects. \nThe Hayward Gallery is open: \nWed – Fri\, 10am – 6pm\nSat\, 10am – 8pm\nSun\, 10am – 6pm \n 
URL:https://ruthasawa.com/exhibition/when-forms-come-alive/
LOCATION:hayward gallery\, Southbank Centre\, Belvedere Road\, London\, SE1\, 8XX\, United Kingdom
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BEGIN:VEVENT
DTSTART;TZID=UTC:20240317T100000
DTEND;TZID=UTC:20240728T170000
DTSTAMP:20260501T164552
CREATED:20240207T003811Z
LAST-MODIFIED:20240207T003811Z
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SUMMARY:Woven Histories: Textiles and Modern Abstraction
DESCRIPTION:Want to appreciate more art and design in your daily life? Just look down. The apparel we wear reflects not only our personal tastes and values but also a profound relationship to modern art. Woven Histories: Textiles and Modern Abstraction reveals the myriad ways textiles intersect with and influence world-renowned modern artists and movements. \nWoven Histories delves into dynamic moments when social and political issues have activated textile production and artmaking with heightened focus and urgency. Traced chronologically with 160 works made in a range of techniques—from oil painting to weaving\, basketry\, netting\, knotting\, and knitting—the exhibition explores the overlap between abstract art\, fashion\, design\, and craft. \nPictured (L to R): Untitled (S.310\, Hanging Five-Lobed Continuous Form Within a Form with Spheres in the Second\, Third\, and Bottom Lobes)\, Untitled (S.089\, Hanging Asymmetrical Twelve Interlocking Bubbles)\, and Untitled (S.027\, Hanging Six-and-a-Half Open Hyperbolic Shapes that Penetrate Each Other) \nInstallation photo of the exhibition Woven Histories: Textiles and Modern Abstraction at the Los Angeles County Museum of Art (Sep 17\, 2023 – Jan 21\, 2024)\, Artwork @ 2023 Ruth Asawa Lanier\, Inc./Artists Rights Society (ARS)\, New York. Courtesy David Zwirner\, photo @ Museum Associates/LACMA
URL:https://ruthasawa.com/exhibition/woven-histories-textiles-and-modern-abstraction-2/
LOCATION:National Gallery of Art\, National Gallery\, Constitution Ave. NW\, Washington\, DC\, 20565\, United States
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BEGIN:VEVENT
DTSTART;TZID=UTC:20240322T110000
DTEND;TZID=UTC:20240721T190000
DTSTAMP:20260501T164552
CREATED:20230613T171611Z
LAST-MODIFIED:20230918T205922Z
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SUMMARY:Ruth Asawa Through Line
DESCRIPTION:The exhibition presents drawings\, collages\, watercolors\, and sketchbooks alongside stamped prints\, paperfolds\, and copper-foil works\, showing the breadth of Asawa’s innovative practice. Many of the more than one hundred works from public and private collections have not been previously exhibited. Organized thematically\, the presentation begins with foundational lessons that the artist absorbed and built upon at Black Mountain College in the late 1940s. Subsequent sections examine the function of repetition and the development of specific motifs and approaches—from the Greek meander to paper folded in structural patterns—and how they recur and change throughout her career. Surveying the artist’s impressive range and expansive approach\, Ruth Asawa Through Line offers an unparalleled window into Asawa’s resourceful approach to drawing\, with her particular attention to materials\, line\, surface\, and space. \nRuth Asawa Through Line is co-organized by the Menil Collection and the Whitney Museum of American Art\, in close collaboration with the estate of Ruth Asawa. \nThis presentation is accompanied by a copiously illustrated\, scholarly catalogue co-published by the Menil Collection and the Whitney Museum of American Art\, and distributed by Yale University Press. The book\, with more than 200 illustrations\, reproduces many previously unpublished works as well as archival materials. \nThe Menil Collection is open from Wed – Sun from 11-7.\nClosed Mon and Tues\, and major holidays\nReserve free timed entry > \nRuth Asawa Through Line is co-curated by Edouard Kopp\, John R. Eckel\, Jr. Foundation Chief Curator of the Menil Drawing Institute and Kim Conaty\, Steven and Ann Ames Curator of Drawings and Prints at the Whitney Museum of American Art\, with Kirsten Marples\, curatorial associate at the Menil Drawing Institute\, and Scout Hutchinson\, curatorial fellow at the Whitney Museum. \nMajor funding for this exhibition is provided by The Henry Luce Foundation; The Andy Warhol Foundation for the Visual Arts; and Christie’s. Additional support comes from The Brown Foundation\, Inc./ Nancy Abendshein; Clare Casademont and Michael Metz; Barbara and Michael Gamson; Dillon Kyle and Sam Lasseter; Franci Neely; Susanne and William E. Pritchard III; Ann and Mathew Wolf Drawing Exhibition Fund; Nina and Michael Zilkha; the City of Houston through Houston Arts Alliance.
URL:https://ruthasawa.com/exhibition/ruth-asawa-through-line-2/
LOCATION:Menil Drawing Institute\, 1412 W. Main St.\, Houston\, TX\, 77006\, United States
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