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X-WR-CALDESC:Events for Ruth Asawa
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BEGIN:VEVENT
DTSTART;TZID=UTC:20200110T100000
DTEND;TZID=UTC:20200222T170000
DTSTAMP:20260405T161304
CREATED:20191231T190127Z
LAST-MODIFIED:20191231T191414Z
UID:1420-1578650400-1582390800@ruthasawa.com
SUMMARY:A Line Can Go Anywhere
DESCRIPTION:David Zwirner is pleased to announce an exhibition of work by American artist Ruth Asawa (1926–2013) at the gallery’s London location. This will be the first major presentation of the artist’s work outside of the United States and will include a number of her key forms\, focusing in particular on the relationship between her wire sculptures and wide-ranging body of works on paper. \n An influential artist\, devoted activist\, and tireless advocate for arts education\, Asawa is best known for her extensive body of hanging wire sculptures. These intricate\, dynamic\, and sinuous works\, begun in the late 1940s\, continue to challenge conventional notions of sculpture through their emphasis on lightness and transparency. Relentlessly experimental across a range of mediums\, Asawa also produced numerous drawings and prints that\, like her wire sculptures\, are built on simple\, repeated gestures that accumulate into complex compositions. Although she moved between abstract and figurative registers in her sculptures and drawings\, respectively\, viewed together\, the works in this exhibition nevertheless incite a rich dialogue and find commonality in their sustained emphasis on the natural world and its forms\, as well as in their deft use of the basic aesthetic concept of the line.  \n“I was interested in it because of the economy of a line\, making something in space\, enclosing it without blocking it out. It’s still transparent. I realized that if I was going to make these forms\, which interlock and interweave\, it can only be done with a line because a line can go anywhere.” \nImage: Ruth Asawa\, Sculptor\, at Her Door\, 1963 (detail). Photo by Imogen Cunningham. © 2020 Imogen Cunningham Trust
URL:https://ruthasawa.com/exhibition/a-line-can-go-anywhere/
LOCATION:David Zwirner London\, 24 Grafton Street\, London\, W1S 4EZ\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/12/linecangoanywhere.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20191011T120000
DTEND;TZID=UTC:20200105T180000
DTSTAMP:20260405T161304
CREATED:20190918T211227Z
LAST-MODIFIED:20190918T211504Z
UID:1402-1570795200-1578247200@ruthasawa.com
SUMMARY:The Pencil Is a Key
DESCRIPTION:Drawings by Incarcerated Artists\nThe Pencil Is a Key is an exhibition of historical and contemporary drawings by incarcerated people from all over the globe. Works by artists who were or currently are prisoners will be juxtaposed with drawings by prisoners who became artists while incarcerated. Examples include drawings by political prisoners like Gustave Courbet\, who was held in Saint Pélagie Prison for his role in the Paris Commune uprising of 1871; artists incarcerated during World War II as noncombatents like Hans Bellmer\, who was interned in France\, and a young Ruth Asawa\, who was interned by the US government because she was a Japanese American; as well as artists in Soviet Gulags\, Apartheid-era South Africa\, in Central and South American countries under military dictatorships\, and in the post-Arab Spring Middle East. The exhibition will also present drawings by members of contemporary American prison populations who found their talent through prison art programs\, as well as collections of works by anonymous contemporary artist incarcerates working in drawing genres specific to prison life\, like “Paños Chicanos” drawn on handkerchiefs\, or envelope drawings meant to be sold or delivered through the mail. \nDrawing is vital to those in captivity; it is a vehicle through which they proclaim their individuality\, express their hope\, and imagine their freedom. The drawings featured in this exhibition present powerful evidence of the persistence of human creativity in the most inhumane of circumstances and argue for the necessity of art—in the form of drawing—to the life of every human being. Created in extreme circumstances\, the drawings in this show are weapons in the fight for justice\, records that bear witness to terrible circumstances\, containers of memory\, and portals to a better future. Their very existence is of great significance\, but their genius offers the proof of drawing’s purpose as well as the clearest explanation of why institutions like The Drawing Center must continue to present art to the public. \nImage: Azza Abo Rebieh (1980–)\, Nayfeh\, 2016. Pencil on paper. Courtesy of the artist.\nThe Drawing Center is closed on Monday & Tuesday\nAdmission for students and seniors is $3 \nAdmission is free Thursdays\, 6–8pm\,\nand at all times for the following:\nChildren under 12\nMembers\nVisitors with disabilities and\na person accompanying them.
URL:https://ruthasawa.com/exhibition/the-pencil-is-a-key/
LOCATION:The Drawing Center\, 35 Wooster Street\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/09/pencil-key-drawing.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190816T080000
DTEND;TZID=UTC:20200112T170000
DTSTAMP:20260405T161304
CREATED:20190816T154212Z
LAST-MODIFIED:20190906T042227Z
UID:1364-1565942400-1578848400@ruthasawa.com
SUMMARY:In a Cloud\, in a Wall\, in a Chair: Six Modernists in Mexico at Midcentury
DESCRIPTION:The work of Clara Porset\, Lola Álvarez Bravo\, Anni Albers\, Ruth Asawa\, Cynthia Sargent\, and Sheila Hicks has never been shown together before. While some of these artists and designers knew one another and collaborated together\, they are from different generations\, and their individual work encompasses a range of media varying from furniture and interior design to sculpture\, textiles\, photography\, and prints. They all\, however\, share one defining aspect: Mexico\, a country in which they all lived or worked between the 1940s and 1970s. During this period they all realized projects that breached disciplinary boundaries and national divides. \n\n“There is design in everything … in a cloud\, in a wall\, in a chair\, in the sea\, in the sand\, in a pot.” —Clara Porset\, 1952 \nThis exhibition is the first to explore Mexico’s impact on these visionary artists and designers. It takes its title from a quote by Clara Porset\, a political exile from Cuba who became one of Mexico’s most prominent modern furniture designers. Influenced by Bauhaus ideas\, she believed that design could reshape cities\, elevate the quality of life\, and solve large-scale social problems. This approach informed her 1952 exhibition Art in Daily Life\, in whose catalogue she wrote\, “There is design in everything … in a cloud\, in a wall\, in a chair\, in the sea\, in the sand\, in a pot\,” encouraging us to look at both the natural and machine world for inspiration and ideas. \nArriving in Mexico City in 1935\, Porset started her design studio in the early 1940s. Inspired by the country’s climate\, lifestyles\, aesthetic and cultural traditions\, and political progressivism following the end of the Mexican Revolution (roughly 1920)\, she conceived designs to be made from local materials and used both handmade and industrial manufacturing techniques.  \nMexican artist Lola Álvarez Bravo\, a close friend and collaborator of Porset\, was one of few women photographers working in the country during this period. Her photographs are essential to understanding Porset’s no longer extant projects\, and her dynamic photomontages\, created by cutting and pasting together parts of different photographs to create new images\, provide insights into Mexico’s richly layered social\, political\, and geographical landscape during the 1940s and 1950s. \nPorset was also friends with German émigré Anni Albers. Encouraged to visit Mexico by Porset\, she first traveled to the country in 1935 and made 13 subsequent trips. Mexico’s landscape and architecture became a vital source of inspiration and remained so throughout her career\, providing an abstract visual language for her designs. The triangle motif\, for instance\, that she used repeatedly in textiles and screenprints was drawn from archaeological Zapotec sites such as Monte Albán.  \nMexico also left a deep impression on Japanese American Ruth Asawa. In 1947\, two years after taking a class with Porset at the Universidad Nacional Autónoma de México\, she returned to the country and was drawn to the artistry in utilitarian looped-wire baskets that she encountered in Toluca. From then on\, sculptures made with this wire technique became her primary practice. \nLearn more >
URL:https://ruthasawa.com/exhibition/in-a-cloud-in-a-wall-in-a-chair-six-modernists-in-mexico-at-midcentury/
LOCATION:Art Institute of Chicago\, 111 South Michigan Avenue\, Chicago\, IL 60603\, 60603\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/08/chair.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190815T093000
DTEND;TZID=UTC:20191110T171500
DTSTAMP:20260405T161304
CREATED:20190419T233722Z
LAST-MODIFIED:20190419T233951Z
UID:1276-1565861400-1573406100@ruthasawa.com
SUMMARY:Specters of Disruption
DESCRIPTION:Specters of Disruption is the result of an inquiry into the shared encyclopedic collections of the de Young and Legion of Honor museums\, performed with an eye toward patterns that might suggest a storyline within a collective institutional subconscious. The narratives of disruption that emerged from this process speak to the museums’ deep grounding in their origins and geographies. Drawing from their historic holdings and re-contextualizing them with modern and contemporary art\, Specters of Disruption connects the museums’ colonial and geological underpinnings to the current conditions of the Bay Area and the evolving trajectories of American art histories. Unfolding through several galleries\, this presentation is conceived in five chapters that revolve around different manifestations of disruption within nature\, history and myth\, culture and technology. \nThe Museum is open Tuesday–Sunday\, 9:30 am–5:15 pm.\nThis exhibition is included with general admission. \nImage: Carrie Mae Weems\, “Lincoln\, Lonnie\, and Me – A Story in 5 Parts” (detail)\, 2012. Video installation and mixed media © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery\, New York
URL:https://ruthasawa.com/exhibition/specters-of-disruption/
LOCATION:deYoung Museum\, Golden Gate Park 50 Hagiwara Tea Garden Drive\, San Francisco\, CA\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/04/cmw12.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190810T130000
DTEND;TZID=UTC:20190810T170000
DTSTAMP:20260405T161304
CREATED:20190805T233341Z
LAST-MODIFIED:20190805T233341Z
UID:1357-1565442000-1565456400@ruthasawa.com
SUMMARY:Masters of Modern Design Screening and Panel Discussion
DESCRIPTION:Join us in the Koret Auditorium for a special screening of Masters of Modern Design: The Art of the Japanese American Experience and a panel conversation with Ruth Asawa’s children\, Aiko Cuneo\, Addie Lanier\, and Paul Lanier\, Ruth Asawa’s biographer\, Marilyn Chase\, Masters of Modern Design’s director Akira Boch\, KCET/PBS SoCal/LinkTV Chief Creative Officer and Executive Producer Juan Devis\, and Producer Jacqueline Reyno. \nFree Saturdays are about celebrating art and this city that we love. Explore the permanent collections\, take a guided tour\, and get inspired to create art of your own at our art making station.  \nThe day will include engaging art experiences for the entire family. Enjoy access to the de Youngsters studio\, family art making\, gallery guides\, enhanced gallery tours with discussion groups\, sketching in the permanent collection galleries\, and more. \nMASTERS OF MODERN DESIGN: The Art of the Japanese American Experience\nFrom the hand-drawn logo of The Godfather to Herman Miller’s biomorphic coffee table\, the work of Japanese American designers including Ruth Asawa\, George Nakashima\, Isamu Noguchi\, S. Neil Fujita\, and Gyo Obata permeated postwar culture. While these second generation Japanese American artists have been celebrated\, less-discussed is how their World War II incarceration—a period of intense hardship and discrimination—had a powerful effect on their lives and art. \nThis documentary\, a co-production between Japanese American National Museum’s Watase Media Arts Center and KCET for the series ARTBOUND\, explores the ways in which their camp experiences impacted their lives\, influenced their art\, and sent them on trajectories that eventually led to their changing the face of American culture with their immense talents. \nAiko Cuneo attended Pratt Institute in Brooklyn\, NY. She had the pleasure of working on several projects with her mother and as a teaching artist in San Francisco schools. Currently\, Cuneo supports Asawa’s body of work by conserving wire sculptures\, maintaining a catalogue\, assisting curators and writers\, and educating a broader audience.   \nAddie Lanier is the younger daughter of Ruth Asawa. She studied English Literature at UCLA\, taught in San Francisco’s public schools for nine years\, and later worked for the Gordon and Betty Moore Foundation in grants management. Over the years she has supported her mother’s career as a grant writer\, copyeditor\, and assistant on public commissions. Since the early 2000s\, she has assisted curators by providing information to support exhibitions and essays.  Since 2013\, she has worked to broaden Asawa’s legacy. She lives in San Francisco with her husband Peter. \nPaul Lanier is a ceramic artist and sculptor who lives and works in San Francisco. He studied with Marguerite Wildenhain at Pond Farm\, and then at both Luther and Hunter Colleges and UC Santa Cruz.  He has worked with designers and architects on interior and exterior pieces. Paul has 35 years of experience with private and public commissions and assisted his mother Ruth Asawa on many of her large scale public art projects.  He is a passionate advocate of excellence in arts education and of public education. \nMarilyn Chase Author\, journalist and teacher Marilyn Chase is at work on a biography: Everything She Touched: The Life of Ruth Asawa\, slated for publication in Spring 2020 by Chronicle Books. A former staff writer and columnist for the Wall Street Journal\, Chase previously taught narrative writing at Stanford University\, and now serves as a Continuing Lecturer in the Graduate School of Journalism at the University of California\, Berkeley.  Her first book\, The Barbary Plague: The Black Death in Victorian San Francisco\, was published by Random House in 2003.  A  graduate of Stanford with honors in English literature\, she received a Master’s Degree in Journalism from Berkeley. She lives with her family in San Francisco. \nAkira Boch is an award-winning filmmaker and Director of the Watase Media Arts Center at the Japanese American National Museum in Los Angeles. He has an MFA in directing from the UCLA School of Film\, Television\, and Digital Media\, and has made dozens of documentaries\, music videos\, and short films. His independent feature\, The Crumbles\, toured nationally at theaters\, festivals\, and universities.  \nJuan Devis is the Chief Creative Officer of KCET and PBS SoCal in Southern California and Link TV. He is responsible for the oversight of all production and editorial output from long-form episodes to short-form digital series.  His role in developing strategic partnerships with funders\, organizations and independent production houses ensures a new slate of content for both KCET and PBS SoCal in Southern California and Link TV nationwide. Devis develops creative strategies that define KCET\, Link and PBS Socal’s editorial and artistic vision.  \nJacqueline Reyno is a Producer for KCET/PBS SoCal/LinkTV. Reyno produces the arts and culture program Artbound\, an award-winning a series about the cultural stories of our time told through the lives\, works and creative processes of innovators. Additionally\, Reyno produces The Migrant Kitchen\, an Emmy®-winning series that explores California’s booming food scene through the eyes of a new generation of chefs whose cuisine is inspired by the immigrant experience; along with the series\, Broken Bread\, hosted by chef Roy Choi as he explores the broken systems in our communities and learns from the individuals and organizations who use food as a platform for activism and a catalyst for change.
URL:https://ruthasawa.com/exhibition/masters-of-modern-design-screening-and-panel-discussion/
LOCATION:deYoung Museum\, Golden Gate Park 50 Hagiwara Tea Garden Drive\, San Francisco\, CA\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/08/asawa-screening.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190615
DTEND;VALUE=DATE:20200224
DTSTAMP:20260405T161304
CREATED:20190626T224521Z
LAST-MODIFIED:20190627T191056Z
UID:1300-1560556800-1582502399@ruthasawa.com
SUMMARY:California Studio Craft
DESCRIPTION:SFO Terminal 2\nDepartures – Level 2 – Post-Security \nFeaturing works from the Forrest L. Merrill collection\nStudio craft combines the characteristics of traditional\, handmade craft with the refined qualities of fine art. Made by professional artist-craftspeople who work in a variety of media\, studio craft includes both utilitarian items and more experimental pieces that focus on aesthetics over function. For many\, studio craft is an imaginative and personal expression that encourages creativity through the exploration of time-tested materials and techniques. The finest objects evoke emotion and exhibit the process of making along with evidence of the artist’s hand.   \nDuring the mid-20th century\, studio craft began to thrive in California. Working with materials including clay\, fiber\, wood\, metal\, and glass\, studio craft makers pioneered new directions in their respective media. With the support of college programming\, exhibitions\, and a burgeoning consumer market\, makers utilized an artistic focus that bound craft more closely to the fine arts. A revolutionary studio craft movement emerged\, and as the scene expanded around Southern California and the San Francisco Bay Area\, other cities throughout the nation took notice. \nCalifornia craft makers produced an array of modern\, regionally unique items. Glen Lukens (1887–1967)\, who founded the ceramics department at the University of Southern California in 1933\, was known for the “California Color” range of glazes that he formulated from minerals found in the state’s desert regions. Laura Andreson (1902–99)\, a Los Angeles-based potter who experimented with crystalline glazes\, assembled a ceramics program for the University of California\, Los Angeles\, a short time later. Some of the state’s pioneering craft makers\, such as the husband-and-wife team of Otto (1908–2007) and Gertrude (1908–71) Natzler\, immigrated from Europe and brought with them centuries of European methods for working with clay.  \nNumerous makers have left their own indelible marks on California studio craft. Educator and sculptor Peter Voulkos (1924–2002) ushered ceramics towards a more expressive aesthetic. Marvin Lipofsky (1938–2016) and Robert Fritz (1920–86) founded the first studio glass programs in the state’s college system. June Schwarcz (1918–2015) took enamels to new heights with her experimental\, electroformed vessels. Bob Stocksdale (1913–2003) set the bar for woodturners with his simple-yet-elegant forms. Kay Sekimachi (b. 1926) continues her innovative work as a fiber artist with masterful on- and off-loom textiles. These are a few of the many foundational makers who have created and redefined California studio craft over the past six decades. \nThis exhibition was made possible through a generous loan from Forrest L. Merrill. Thank you to Forrest L. Merrill for his support of this project\, and to the Marvin Lipofsky Estate and Modern i Shop for their additional loans. \nPhoto © Laurence Cuneo
URL:https://ruthasawa.com/exhibition/california-studio-craft/
LOCATION:SFO Museum\, San Francisco Airport\, San Francisco\, CA\, 94128\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/06/s.232.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190524T100000
DTEND;TZID=UTC:20200112T173000
DTSTAMP:20260405T161304
CREATED:20190906T034944Z
LAST-MODIFIED:20190906T035505Z
UID:1383-1558692000-1578850200@ruthasawa.com
SUMMARY:Artistic License: Six Takes on the Guggenheim Collection
DESCRIPTION:The first-ever artist-curated exhibition mounted at the Guggenheim celebrates the museum’s extensive collection of modern and contemporary art. Curated by Cai Guo-Qiang\, Paul Chan\, Jenny Holzer\, Julie Mehretu\, Richard Prince\, and Carrie Mae Weems — artists who each have had influential solo shows at the museum — Artistic License brings together both well-known and rarely seen works from the turn of the century to 1980. \nEach artist was invited to make selections to shape a discrete presentation\, one on each of the six levels of the rotunda. With the museum’s curators and conservators\, they searched through the collection in storage\, encountering renowned masterpieces while also finding singular contributions by less-prominent figures. The resulting exhibition presents nearly 300 paintings\, sculptures\, works on paper\, and installations\, some never before shown\, that engage with the cultural discourses of their time—from the utopian aspirations of early modernism to the formal explorations of mid-century abstraction and the sociopolitical debates of the 1960s and ’70s. On view during the 60th anniversary of the Guggenheim’s iconic Frank Lloyd Wright–designed building\, Artistic License honors the museum’s artist-centric ethos and commitment to art as a force for upending expectations and expanding perspectives. \nArtistic License is organized with the artists by Nancy Spector\, Artistic Director and Jennifer and David Stockman Chief Curator; supported by Ylinka Barotto\, Assistant Curator; with Tracey Bashkoff\, Director of Collections and Senior Curator; and Joan Young\, Director\, Curatorial Affairs. \nThe museum is open from 10-8 on Saturdays. Every Saturday\, from 5–8 pm\, you can pay what you wish for admission (cash only). Suggested admission is $10 and the last ticket is issued at 7:30 pm. \nGet New York CityPASS\, New York Explorer Pass\, and New York pass for discounted admission to the Guggenheim and other New York attractions. Learn more about these and other special offers\, including a UnionPay discount\, on the Discounts page.
URL:https://ruthasawa.com/exhibition/artistic-license-six-takes-on-the-guggenheim-collection/
LOCATION:Solomon R. Guggenheim Museum\, 1071 5th Ave\, New York\, NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/09/guggenheim-artistic-license.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190508T181500
DTEND;TZID=UTC:20190508T201500
DTSTAMP:20260405T161304
CREATED:20190419T225720Z
LAST-MODIFIED:20190906T035028Z
UID:1270-1557339300-1557346500@ruthasawa.com
SUMMARY:Sam Talks — Revealing Ruth Asawa\, Artist And Advocate
DESCRIPTION:A conversation with\nDaniell Cornell\, independent arts professional\, cultural historian\, curator\, and educator\nMayumi Tsutakawa\, writer and curator \nJoin us for a conversation on the remarkable life and work of Ruth Asawa (1926-2013)\, with curator Daniell Cornell and writer/curator Mayumi Tsutakawa. Known especially for her hanging looped wire sculptures\, Asawa also created other forms of sculpture\, prints\, paintings\, and installation art. Interest and appreciation for her work continues to grow\, along with new assessments of her importance within modern art movements. \nAfter living through the incarceration of Japanese Americans during World War II along with her family in California and at the Rohwer Arkansas camp\, Asawa studied with Josef Albers and other notables at Black Mountain College. She then lived in the San Francisco area\, where she created extraordinary sculpture exploring line\, space\, and light; received public art commissions; and was a strong advocate for arts education in public schools. \nAbout the Presenters \nDaniell Cornell is an independent arts professional\, cultural historian\, curator\, and educator. While serving as Director of Contemporary Art Projects for the Fine Arts Museums of San Francisco (2000-2008)\, he worked with Ruth Asawa over several years in organizing and writing for the 2006 major retrospective exhibition and catalogue The Sculpture of Ruth Asawa: Contours in the Air. \nMayumi Tsutakawa is a writer and curator who has focused on Asian/Pacific American history and arts. \nThis talk takes place in the Plestcheeff Auditorium at the Seattle Art Museum in downtown Seattle. South Hall doors open at 6:30 PM. \nSeating is first-come\, first-served. Please arrive to your seat 10 minutes before the program starts\, or your seat may be released. \nIndividual tickets available at the door: $10\, SAM members $5; free at the door for students with ID.
URL:https://ruthasawa.com/exhibition/revealing-ruth-asawa-artist-and-advocate/
LOCATION:Seattle Art Museum\, 1300 1st Ave\, Seattle\, WA\, 98101\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/04/64935-SAM-talks-630px.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190208T100000
DTEND;TZID=UTC:20190728T170000
DTSTAMP:20260405T161304
CREATED:20190702T195041Z
LAST-MODIFIED:20190702T195547Z
UID:1318-1549620000-1564333200@ruthasawa.com
SUMMARY:The Bauhaus and Harvard
DESCRIPTION:The museum is free to students with valid id and youth under 18. \nThe Bauhaus and Harvard — mounted in conjunction with the 100th anniversary of the founding of the Bauhaus in Weimar\, Germany — presents nearly 200 works by 74 artists\, drawn almost entirely from the Busch-Reisinger Museum’s extensive Bauhaus collection. Founded in 1919 and closed just 14 years later\, the Bauhaus was the 20th century’s most influential school of art\, architecture\, and design. Harvard University played host to the first Bauhaus exhibition in the United States in 1930\, and went on to become an unofficial center for the Bauhaus in America when founding director Walter Gropius joined Harvard’s department of architecture in 1937. Today the Busch-Reisinger Museum houses the largest Bauhaus collection outside Germany\, initiated and assembled through the efforts of Gropius and many former teachers and students who emigrated from Nazi Germany\, including Anni and Josef Albers\, Herbert Bayer\, Lyonel Feininger\, and László Moholy-Nagy. \nThe exhibition features rarely seen student exercises\, iconic design objects\, photography\, textiles\, typography\, paintings\, and archival materials. It explores the school’s pioneering approach to art education\, the ways its workshops sought to revolutionize the experience of everyday life\, the widespread influence of Bauhaus instruction in America\, and Harvard’s own Graduate Center (1950)\, the first modernist building complex on campus\, designed by Gropius’s firm The Architects Collaborative. A complementary exhibition installed in an adjacent gallery — Hans Arp’s Constellations II — features one of the site-specific works commissioned for the Graduate Center. \nA comprehensive digital resource launched in 2016 provides access to the museums’ more than 32\,000 Bauhaus-related objects and shares scholarship on the school’s extensive ties to Harvard and the Greater Boston area. A publication inspired by The Bauhaus and Harvard and its related programming is due out in Fall 2020. \nOrganized by the Harvard Art Museums. Curated by Laura Muir\, Research Curator in the Division of Academic and Public Programs\, Harvard Art Museums. \nSupport for this project is provided by endowed funds\, including the Daimler Curatorship of the Busch-Reisinger Museum Fund\, the Charles L. Kuhn Endowment Fund\, and the Care of the Busch-Reisinger Museum Collection Fund. The publication is supported by the Harvard Art Museums Mellon Publication Funds\, including the Carola B. Terwilliger Fund. In addition\, exhibition related programming is made possible by the M. Victor Leventritt Fund\, which was established through the generosity of the wife\, children\, and friends of the late M. Victor Leventritt\, Harvard Class of 1935. Modern and contemporary art programs at the Harvard Art Museums are made possible in part by generous support from the Emily Rauh Pulitzer and Joseph Pulitzer\, Jr.\, Fund for Modern and Contemporary Art. \nExplore more about the Bauhaus centenary: bauhaus100.com \nShare your experience: #Bauhaus100 #HarvardArtMuseums \nPhoto: Harvard Art Museums/Busch-Reisinger Museum
URL:https://ruthasawa.com/exhibition/the-bauhaus-and-harvard/
LOCATION:Harvard Art Museums\, 32 Quincy Street\, Cambridge\, MA\, 02138\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/07/bmc9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20181011T100000
DTEND;TZID=UTC:20190127T200000
DTSTAMP:20260405T161304
CREATED:20180811T011917Z
LAST-MODIFIED:20180811T024001Z
UID:1200-1539252000-1548619200@ruthasawa.com
SUMMARY:Anni Albers at the Tate Modern
DESCRIPTION:A long overdue recognition of Albers’s pivotal contribution to modern art and design\, this is the first major exhibition of her work in the UK. \nAs a female student at the radical Bauhaus art school\, Albers was discouraged from taking up certain classes. She enrolled in the weaving workshop and made textiles her key form of expression. She inspired and was inspired by her artist contemporaries\, among them her teacher\, Paul Klee\, and her husband\, Josef Albers. \nThis beautiful exhibition illuminates the artist’s creative process and her engagement with art\, architecture and design. You can discover why Albers has been a profound influence on artists around the world via more than 350 objects from exquisite small-scale ‘pictorial weavings’ to large wall-hangings and the textiles she designed for mass production\, as well as her later prints and drawings. \nAt the heart of the exhibition is an exploration of Albers’s seminal publication On Weaving 1965 and the wide source material she gathered together to create the book.\nPhoto: Anni Albers  Card Weaving at Black Mountain College  Black Mountain College Photograph Collection\, State Archives of North Carolina\, Western Regional Archives\, Asheville\, N.C.
URL:https://ruthasawa.com/exhibition/anni-albers-at-the-tate/
LOCATION:Tate Modern\, Bankside\, London\, SE1 9TG\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2018/08/anni-albers-bm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20181004T110000
DTEND;TZID=UTC:20181007T180000
DTSTAMP:20260405T161304
CREATED:20181004T214313Z
LAST-MODIFIED:20181004T214446Z
UID:1246-1538650800-1538935200@ruthasawa.com
SUMMARY:Frieze Masters London
DESCRIPTION:Frieze Masters features more than 130 leading modern and historical galleries from around the world\, showcasing art from the ancient era and Old Masters to the late 20th century. David Zwirner is participating in Frieze Masters\, with a selection of works by Anni Albers\, Josef Albers\, Ruth Asawa\, Piero Dorazio\, Yayoi Kusama\, René Magritte\, Giorgio Morandi\, Bruce Nauman\, Robert Rauschenberg\, Dieter Roth\, Jan Schoonhoven\, Mira Schendel\, Michelle Stuart\, Cy Twombly\, and Franz West.\nBooth F11 \nTickets are limited and often sell out >
URL:https://ruthasawa.com/exhibition/frieze-masters-london/
LOCATION:Regent’s Park\, Gloucester Green\, Regent's Park\, London\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2018/10/frieze-masters.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180928T110000
DTEND;TZID=UTC:20190101T170000
DTSTAMP:20260405T161304
CREATED:20180817T163425Z
LAST-MODIFIED:20180817T163838Z
UID:1221-1538132400-1546362000@ruthasawa.com
SUMMARY:Between Form and Content: Perspectives on Jacob Lawrence and Black Mountain College
DESCRIPTION:Curated by Julie Levin Caro and Jeff Arnal \nOne of the most widely regarded American artists of the 20th century\, Jacob Lawrence (1917-2000) is known for his paintings\, drawings\, and prints that hover between abstraction and socially inspired narrative realism\, chronicling African-American history and experience during his lifetime. Between Form and Content will be the very first exhibition to focus on Lawrence’s experiences during the summer of 1946\, when Josef Albers invited Lawrence to teach painting at Black Mountain College. In addition to Lawrence’s paintings\, the exhibition will feature artworks by Gwendolyn Knight Lawrence\, Josef and Anni Albers\, Leo Amino\, Jean Varda\, Ruth Asawa\, Ray Johnson\, and Beaumont and Nancy Newhall. It will also examine Lawrence’s paintings\, pedagogy\, and legacy in a contemporary context\, through the lens of four multimedia artists: Animator/filmmaker Martha Colburn\, composer/performer\, Tyondai Braxton\, installation artist Grace Villamil and writer and interdisciplinary artist\, Jace Clayton (DJ Rupture). \n(The center is closed Tuesdays and Sundays. This is the first show in their new location.)
URL:https://ruthasawa.com/exhibition/between-form-and-content-perspectives-on-jacob-lawrence-and-black-mountain-college/
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2018/08/jacob-lawrence-steelworkers.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180915T141500
DTEND;TZID=UTC:20180915T150000
DTSTAMP:20260405T161304
CREATED:20180815T191859Z
LAST-MODIFIED:20180815T191933Z
UID:1214-1537020900-1537023600@ruthasawa.com
SUMMARY:Dance Performance by Emma Lanier
DESCRIPTION:Emma Lanier\, dancer\, choreographer\, and granddaughter of Ruth Asawa\, performs an original dance solo alongside the artist’s sculptures in Life’s Work. Though Asawa identified as a visual artist\, she studied dance with Merce Cunningham in the summer of 1948 during her formative years at Black Mountain College. Through her performance\, Lanier reflects on her grandmother’s interests in space and form\, filtered through her personal experience. \nPhoto: Anagama\, 2017\nChoreographed and performed by Emma Lanier at David Zwirner Gallery\, 2017\nPhotograph by Anastasiia Sapon
URL:https://ruthasawa.com/exhibition/dance-performance-by-emma-lanier/
LOCATION:Pulitzer Arts Foundation\, 3716 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2018/08/T9A7747.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180914T100000
DTEND;TZID=UTC:20190216T170000
DTSTAMP:20260405T161304
CREATED:20180815T191434Z
LAST-MODIFIED:20180920T191746Z
UID:1210-1536919200-1550336400@ruthasawa.com
SUMMARY:Ruth Asawa: Life's Work at the Pulitzer
DESCRIPTION:The Pulitzer presents the first major museum exhibition of the work of Ruth Asawa (1926–2013) since 2006\, and the first ever outside the West Coast\, where the artist lived and worked for six decades. This landmark career-spanning show brings together some eighty works\, comprising nearly sixty sculptures from the full trajectory of her career—including looped wire\, tied wire\, electroplated\, and cast works—as well as twenty drawings and collages\, some of which date back to her years at Black Mountain College\, where she studied with Josef Albers\, who inspired her interest in materials as generators of form. Together\, the works in the exhibition will provide new insight into Asawa’s innovative contributions to the field of modern and contemporary sculpture. \nOpening Reception is on Friday\, September 14 from 6-9 \nRuth Asawa: Life’s Work is curated by Tamara H. Schenkenberg\, Curator at the Pulitzer Arts Foundation. \nFree Entry & Free Parking\nAdmission to the Pulitzer is free\, and visitors can park for free in the lot adjacent to the museum. \nRead the Washington Post review\, “Is this the most beautiful show of the year” > \nOpen Hours\nWednesday\, 10am–5pm\nThursday\, 10am–5pm\nFriday\, 10am–8pm\nSaturday\, 10am–5pm \nThe Pulitzer will be closed Independence Day\, Thanksgiving\, Christmas\, and New Year’s Day. \nPhoto: Ruth Asawa\nUntitled (S.453\, Hanging Three-Lobed\, Three-Layered Continuous Form within a Form)\, c. 1957–59\nIron Wire\n41 1/4 x 16 1/2 x 16 1/2 inches (104.8 x 41.9 x 41.9 cm)\nPrivate Collection\nCourtesy David Zwirner Gallery\n© The Estate of Ruth Asawa\, Courtesy The Estate of Ruth Asawa and David Zwirner\, New York/London/Hong Kong\nPhotograph by Dan Bradica
URL:https://ruthasawa.com/exhibition/ruth-asawa-lifes-work-at-the-pulitzer/
LOCATION:Pulitzer Arts Foundation\, 3716 Washington Boulevard\, St. Louis\, MO\, 63108\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2018/08/S.453-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180609T110000
DTEND;TZID=UTC:20180909T180000
DTSTAMP:20260405T161304
CREATED:20180811T013436Z
LAST-MODIFIED:20180811T013708Z
UID:1205-1528542000-1536516000@ruthasawa.com
SUMMARY:Anni Albers in Dusseldorf
DESCRIPTION:Anni Albers (1899 – 1994) was a multifaceted artist who established weaving as an art form and united this ancient cultural technology with modern artistic practices. This retrospective exhibition offers deep insight into the achievement of the artist\, craftswoman\, designer\, author\, and teacher Anni Albers\, from her beginnings at the innovative Bauhaus in Weimar and Dessau\, to her time at the legendary Black Mountain College\, and up until the 1980s. \nWhile her woven images – characterized by textile structures\, subtle coloration\, and an abstract formal language – are intended for visual contemplation\, her room dividers\, carpets\, and curtain material are meant to be used. Along with her numerous textile patterns and designs\, they illustrate Albers’ intensive preoccupation with intricate woven structures and innovative fibers. A selection of works commissioned by architects testifies to her sustained interest in a dialogue between architecture and textile art. In addition\, diverse materials\, along with texts by Albers the author\, illustrate the history and the possibilities of weaving while visualizing – with reference to pre-Columbian textiles from the collection of Josef and Anni Albers – her idea of woven thread as constituting a kind of universal language. \nThis encounter with the remarkable diversity of her achievement will inspire a renewed appreciation for Anni Albers’ singular contribution to modernism and her sustained influence on both art and design. \nThe exhibition is being organized by the Kunstsammlung Nordrhein-Westfalen\, Düsseldorf\, and the Tate Modern\, London. \nCatalog \nAnni Albers \nThe exhibition is accompanied by an extensive and richly illustrated catalog with contributions by the editors and curators Ann Coxon\, Briony Fer and Maria Müller-Schareck as well as texts of Brenda Danilowitz\, Magdalena Droste\, Nicholas Fox Weber\, Maria Minera\, Priyesh Mistry\, Jennifer Reynolds-Kaye and T’ai Smith. \nTate Publishing / Hirmer publishing company of Munich\, 192 pages\, 36\,00 Euro \nPhoto:  Anni Albers Study for Unexecuted Wallhanging 1926 The Josef and Anni Albers Foundation © Estate of Anni Albers; ARS\, NY & DACS\, London 2018
URL:https://ruthasawa.com/exhibition/anni-albers-in-dusseldorf/
LOCATION:K20 Grabbeplatz\, Grabbeplatz 5\, Düsseldorf\, 40213\, Germany
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2018/08/anni-albers-b-red-yel.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180111T110000
DTEND;TZID=UTC:20180114T170000
DTSTAMP:20260405T161304
CREATED:20180105T010249Z
LAST-MODIFIED:20180105T010352Z
UID:1179-1515668400-1515949200@ruthasawa.com
SUMMARY:FOG Design+Art Fair
DESCRIPTION:The fifth annual edition of the FOG Design+Art Fair will take place January 11–14\, 2018 at the Fort Mason Center in San Francisco. The Preview Gala benefiting the newly transformed and widely heralded San Francisco Museum of Modern Art (SFMOMA) will be held on Wednesday\, January 10\, 2018. Celebrating today’s most significant creatives and leading contributors to the worlds of design and visual arts\, the fair assembles 45 leading international galleries; prominent 20th-century and contemporary design dealers; a weekend of exciting programs; and 21POP\, a special installation created by Stanlee Gatti. \nFOG has become a focal point for the design and arts communities on the West Coast and further afield. The fair is synonymous with a uniquely pioneering spirit due to its bold hybrid approach and intimate presentation of art and design\, dynamic programming on-site and its community-led mission to champion art and design in its historic Fort Mason setting. Building on FOG’s longstanding commitment to cultural institutions\, the fair’s Preview Gala is honored to continue its crucial support of SFMOMA’s exhibitions and education programs. FOG represents a key moment in which the local and global community congregate to engage in critical dialogue\, artistic exchanges and a shared passion for creative pursuits.
URL:https://ruthasawa.com/exhibition/fog-designart-fair/
LOCATION:Fort Mason Center\, Fort Mason Center for Arts & Culture\, Landmark Building C\, 2 Marina Blvd\, San Francisco\, CA\, 94123\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2018/01/fogfair-h-bridge.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20171115T110000
DTEND;TZID=UTC:20171115T170000
DTSTAMP:20260405T161304
CREATED:20171115T025531Z
LAST-MODIFIED:20171115T030634Z
UID:1145-1510743600-1510765200@ruthasawa.com
SUMMARY:Active Archive | Martha McDonald Process + Performance
DESCRIPTION: 56 + 69 BROADWAY\nOpening Reception: Friday\, September 29\, 5-7pm – Performance by Martha McDonald at 5:30 pm FREE \nACTIVE ARCHIVE is a stream of programs that pairs the museum’s extensive collection with contemporary artists\, curators\, and cultural thinkers. It launches with an exhibition featuring the museum’s permanent collection curated by Philadelphia-based interdisciplinary artist Martha McDonald. \nMcDonald brings the ideas of Black Mountain College alive through an exhibition of artwork and ephemera from BMCM+AC’s collection and an installation and live performance drawing on the rich history of experimental performance at BMC.  The exhibition\, across both galleries\, focuses on the importance of color\, process\, and material exploration at BMC. It includes student color studies from Josef Albers’ influential Werklehre courses; paintings\, sculptures\, textiles\, and ceramics by BMC faculty and students reflecting this legacy of material and color study; and a selection of idiosyncratic\, hand-printed programs highlighting the history of collaborative performance at BMC. \nMcDonald’s performance will activate her installation of objects and costumes inspired by Xanti Schawinsky’s 1936-37 experimental theater piece\, Spectodrama\, which formed the basis of his Stage Studies course at BMC. McDonald’s performance features music inspired by John Evarts’ collaborations with Schawinsky at BMC from 1936-38. \nSupport for this project has been generously provided by the following: Henry Luce Foundation\, North Carolina Arts Council\, a division of the Department of Cultural Resources with funding from the National Endowment for the Arts\, and the Windgate Charitable Foundation. Special thanks to Bill Adair and Connie Bostic. \nPhoto: Xanti Schawinsky\, Untitled\, n.d.\, painting and pencil on print\, 26 x 17.625 inches. Black Mountain College Museum + Arts Center Collection. Gift of Brian E. Butler. \nRelated Events: \n\nSeptember 29\, 5:30PM {69 Broadway} Performance: Music for Modernist Shapes: Reimagining Spectodrama\nSeptember 29\, 7PM Opening Reception FREE\nSeptember 29 + 30\, 8PM {Diana Wortham Theatre} Black Mountain Songs\nSeptember 29 – October 1 {UNC Asheville} Conference: ReVIEWING Black Mountain College 9\nOctober 11\, 7PM {56 Broadway} Listening Session: Experiments in Notation\nOctober 27 + 28 {22 London Road} Performance: Supper\, People on the Move\nNovember 3\, 7PM {56 Broadway} Poetry Reading: Mad Hat Poetry Prose & Anything Goes\nNovember 29\, 7PM {56 Broadway} Film Screening: BAUHAUS: The Face of the Twentieth Century\nNovember 17+18\, 7PM {69 Broadway} Performance: Music for Modernist Shapes: Reimagining Spectodrama\nDecember 7\, 7PM {69 Broadway} Performance: Aspects of Butoh\nDecember 9\, 8pm {69 Broadway} Poetry Reading: Richard Chess\, Tommy Hays\, David Hopes\,Beth Keefauver\, and Eric Steineger
URL:https://ruthasawa.com/exhibition/active-archive/
LOCATION:Black Mountain College Museum + Arts Center\, 120 College Street\, Ashville\, NC\, 28801\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2017/11/active-archive.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20171111T120000
DTEND;TZID=UTC:20180520T170000
DTSTAMP:20260405T161304
CREATED:20171115T034740Z
LAST-MODIFIED:20171115T040915Z
UID:1161-1510401600-1526835600@ruthasawa.com
SUMMARY:Artists’ Eyes: Art of Incarceration (Presidio)
DESCRIPTION:In commemoration of the 75th Anniversary of Executive Order 9066\, the National Japanese American Historical Society presents Artists’ Eyes\, Art of Incarceration. During World War II\, Executive Order 9066 led to the registration\, exclusion\, forced removal and mass incarceration of 120\,000 Japanese Americans from the West Coast. Two multigenerational art exhibits reveal a successive unearthing of evocative expressions through three generations. Works by Japanese American and other multicultural artists expose the profound and eventual reclamation of history and identity. Works and artist talks make connections to the current climate today. \nThe exhibits\, hosted at NJAHS’s two sites at the Presidio and Japantown\, are curated by\nBetty Nobue Kano and Judy Shintani. (listing is for the MIS Historic Learning Center location in the Presidio).\nIt’s open WEEKENDS only from 12-5\, by appt W-F \nTitle photos:  Artwork L to R: Hideo Kobashigawa\, Ellen Bepp\, Roger Shimomura\, Shari Arai DeBoer.\nPhoto at left: Asawa’s looped wire sculpture on exhibit at this location.
URL:https://ruthasawa.com/exhibition/art-of-incarceration-presidio/
LOCATION:MIS Historic Learning Center\, 640 Old Mason Street\, Crissy Field\, Presidio of San Francisco\, San Francisco\, CA\, 94129\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2017/11/art-of-incarceration.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170920T100000
DTEND;TZID=UTC:20171021T180000
DTSTAMP:20260405T161304
CREATED:20170821T081808Z
LAST-MODIFIED:20170821T081808Z
UID:1115-1505901600-1508608800@ruthasawa.com
SUMMARY:Josef and Anni and Ruth and Ray
DESCRIPTION:David Zwirner is pleased to present Josef and Anni and Ruth and Ray as the inaugural exhibition at the gallery’s 34 East 69th Street location. Featuring work by Josef Albers\, Anni Albers\, Ruth Asawa\, and Ray Johnson—all of whom were at Black Mountain College in North Carolina in the late 1940s—this exhibition will explore both the aesthetic and personal dialogue between these artists during their Black Mountain years and beyond; and will include a number of works exchanged amongst the group\, in addition to a selection of key compositions influenced by their time there. \nJosef and Anni Albers arrived at Black Mountain College in 1933\, both having studied and subsequently taught at the Bauhaus for nearly a decade. It was through the Alberses that the pedagogy of the famed German art school\, which espoused ideals of radical experimentation and an open interchange of ideas\, was imported and adapted in their new setting. As Asawa recalls\, Josef Albers would open his Basic Design course by saying\, “Open your eyes and see. My aim is to make you see more than you want to. I am here to destroy all your prejudices. If you already have a style don’t bring it with you. It will only be in the way”—in essence paraphrasing the aesthetic philosophy that came to define Black Mountain College as a progressive and avant-garde institution in those years. Johnson arrived as student in 1945\, and Asawa subsequently in 1946—both quickly availing themselves of the Alberses’s guidance\, which was particularly unexpected in the case of Johnson\, whose nontraditional approach contrasted with the older artists’ formal rigor.
URL:https://ruthasawa.com/exhibition/josef-anni-ruth-ray/
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2017/08/josef-and-anni.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170913T100000
DTEND;TZID=UTC:20171021T180000
DTSTAMP:20260405T161304
CREATED:20170816T091318Z
LAST-MODIFIED:20170817T084022Z
UID:1099-1505296800-1508608800@ruthasawa.com
SUMMARY:David Zwirner Gallery
DESCRIPTION:David Zwirner is pleased to announce the gallery’s first exhibition dedicated to the work of Ruth Asawa since having announced the representation of the artist’s estate earlier this year\, which will take place at the 537 West 20th Street location. The exhibition will bring together a selection of key sculptures\, paintings\, and works on paper spanning Asawa’s influential practice\, as well as rare archival materials\, including a group of vintage photographs of the artist and her work by Imogen Cunningham.  \nPhoto by Imogen Cunningham: Asawa in her studio in 1957.\n© 2017 Imogen Cunningham Trust
URL:https://ruthasawa.com/exhibition/david-zwirner-gallery/
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2017/08/zwirner-gallery-ex-sm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170907T080000
DTEND;TZID=UTC:20180121T170000
DTSTAMP:20260405T161304
CREATED:20170819T073058Z
LAST-MODIFIED:20170819T073058Z
UID:1112-1504771200-1516554000@ruthasawa.com
SUMMARY:Abstract Expressionism: Looking East from the Far West
DESCRIPTION:Abstract Expressionism: Looking East from the Far West considers mid-20th-century abstraction through its Asian-American practitioners\, with a special focus on Hawai‘i artists. It is the first museum exhibition to bring artists of the New York School together with Asian-American artists who studied and worked in New York in the 1940s and 1950s\, examining the influence of Asian intellectual and artistic traditions on artists long revered as uniquely American.  \nThe exhibition presents major works by American masters such as Philip Guston\, Willem de Kooning\, Robert Motherwell\, Barnett Newman\, Jackson Pollock\, and Mark Rothko\, alongside those by Asian-American artists such as Ruth Asawa\, Saburo Hasegawa\, Isamu Noguchi\, and Hawai‘i art icons like Satoru Abe\, Isami Doi\, Tadashi Sato\, and Tetsuo Ochikubo\, among others. With more than 45 paintings\, drawings\, and sculptures\, the exhibition examines the ways in which Eastern traditions from Chinese and Japanese calligraphy to Zen Buddhism helped advance Abstract Expressionism’s aesthetic agenda—its understated lyricism\, its compositional balance\, its subtle awareness of place—regardless of the artist.
URL:https://ruthasawa.com/exhibition/abstract-expressionism-looking-east-far-west/
ATTACH;FMTTYPE=image/png:https://ruthasawa.com/wp-content/uploads/2017/08/abstract-ex-show.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170817T110000
DTEND;TZID=UTC:20180401T170000
DTSTAMP:20260405T161304
CREATED:20170817T085637Z
LAST-MODIFIED:20170817T085637Z
UID:1105-1502967600-1522602000@ruthasawa.com
SUMMARY:Found in Translation: Design in California and Mexico\, 1915–1985
DESCRIPTION:Found in Translation: Design in California and Mexico\, 1915–1985 is a groundbreaking exhibition and accompanying book about design dialogues between California and Mexico. Its four main themes—Spanish Colonial Inspiration\, Pre-Columbian Revivals\, Folk Art and Craft Traditions\, and Modernism—explore how modern and anti-modern design movements defined both locales throughout the twentieth century. Half of the show’s more than 300 objects represent architecture\, conveyed through drawings\, photographs\, films\, and models to illuminate the unique sense of place that characterized California’s and Mexico’s buildings. The other major focus is design: furniture\, ceramics\, metalwork\, graphic design\, and murals. Placing prominent figures such as Richard Neutra\, Luis Barragán\, Charles and Ray Eames\, and Clara Porset in a new context while also highlighting contributions of less familiar practitioners\, this exhibition is the first to examine how interconnections between California and Mexico shaped the material culture of each place\, influencing and enhancing how they presented themselves to the wider world. \nRegular Hours\nMonday\, Tuesday\, Thursday: 11 am–5 pm\nFriday: 11 am–8 pm\nSaturday\, Sunday: 10 am–7 pm \nClosed Wednesdays\, Thanksgiving Day\, and Christmas Day. \nTickets are available anytime online\, during regular museum hours at a LACMA Ticket Office\, or by calling 323 857-6010. \nGeneral Admission \n\n$15 | Adults\n$10 | Seniors (65+) & Students with valid ID\nFree | Children (17 and under)\nFree | Members\n\nL.A. County residents receive free general admission after 3 pm every weekday LACMA is open! \nActive-duty military personnel including National Guard and Reserve and their families receive free admission.*
URL:https://ruthasawa.com/exhibition/found-translation-design-california-mexico-1915-1985/
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2017/08/foundintranslation.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170415
DTEND;VALUE=DATE:20170814
DTSTAMP:20260405T161304
CREATED:20170407T040014Z
LAST-MODIFIED:20170407T040318Z
UID:1089-1492214400-1502668799@ruthasawa.com
SUMMARY:Making Space: Women Artists and Postwar Abstraction
DESCRIPTION:Making Space shines a spotlight on the stunning achievements of women artists between the end of World War II (1945) and the start of the Feminist movement (around 1968). In the postwar era\, societal shifts made it possible for larger numbers of women to work professionally as artists\, yet their work was often dismissed in the male dominated art world\, and few support networks existed for them. Abstraction dominated artistic practice during these years\, as many artists working in the aftermath of World War II sought an international language that might transcend national and regional narratives—and for women artists\, additionally\, those relating to gender. \nDrawn entirely from the Museum’s collection\, the exhibition features more than 100 paintings\, sculptures\, photographs\, drawings\, prints\, textiles\, and ceramics by some 50 artists. Within a trajectory that is at once loosely chronological and synchronous\, it includes works that range from the boldly gestural canvases of Lee Krasner\, Helen Frankenthaler\, and Joan Mitchell; the radical geometries by Lygia Clark\, Lygia Pape\, and Gego; and the reductive abstractions of Agnes Martin\, Anne Truitt\, and Jo Baer; to the fiber weavings of Magdalena Abakanowicz\, Sheila Hicks\, and Lenore Tawney; and the process-oriented sculptures of Lee Bontecou\, Louise Bourgeois\, and Eva Hesse. The exhibition will also feature many little-known treasures such as collages by Anne Ryan\, photographs by Gertrudes Altschul\, and recent acquisitions on view for the first time at MoMA by Ruth Asawa\, Carol Rama\, and Alma Woodsey Thomas.
URL:https://ruthasawa.com/exhibition/making-space-women-artists/
LOCATION:MoMA\, 11 West 53 Street\, Manhattan\, New York\, NY\, 10019\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2017/04/moma-17-crop.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160917
DTEND;VALUE=DATE:20170102
DTSTAMP:20260405T161304
CREATED:20160829T181327Z
LAST-MODIFIED:20160829T181327Z
UID:1079-1474070400-1483315199@ruthasawa.com
SUMMARY:Leap Before You Look at the Wexner
DESCRIPTION:Leap Before You Look: Black Mountain College 1933 – 1957 focuses on how\, despite its brief existence\, BMC became a seminal meeting place for many of the artists\, musicians\, poets\, and thinkers who would become the principal practitioners in their fields of the postwar period. Figures such as Anni and Josef Albers\, John Cage\, Merce Cunningham\, Robert Rauschenberg\, Elaine and Willem de Kooning\, Buckminster Fuller\, Ruth Asawa\, Robert Motherwell\, Gwendolyn and Jacob Knight Lawrence\, Charles Olson\, and Robert Creeley\, among many others\, taught and studied at BMC. Teaching at the college combined the craft principles of Germany’s revolutionary Bauhaus school with interdisciplinary inquiry\, discussion\, and experimentation\, forming the template for American art schools. While physically rooted in the rural South\, BMC formed an unlikely cosmopolitan meeting place for American\, European\, Asian\, and Latin American art\, ideas\, and individuals. The exhibition argues that BMC was as an important historical precedent for thinking about relationships between art\, democracy\, and globalism. It examines the college’s critical role in shaping many major concepts\, movements\, and forms in postwar art and education\, including assemblage\, modern dance and music\, and the American studio craft movement–influence that can still be seen and felt today. \nCheck their website for exact dates and times they are open. \n 
URL:https://ruthasawa.com/exhibition/leap-look-wexner/
LOCATION:Wexner Center for the Arts at The Ohio State University\, 1871 North High Street\, Columbus\, OH\, 43210
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2016/01/leaf-crop-e1454403827858.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160514
DTEND;VALUE=DATE:20160919
DTSTAMP:20260405T161304
CREATED:20160630T183048Z
LAST-MODIFIED:20160630T183048Z
UID:1061-1463184000-1474243199@ruthasawa.com
SUMMARY:The Campaign for Art: Modern and Contemporary
DESCRIPTION:This exhibition — one of several highlighting contributions from the museum’s Campaign for Art — introduces the range and quality of these newly committed and gifted works in a multidisciplinary selection that strengthens and deepens SFMOMA’s collection. Asawa’s Untitled (S.046a-d) is a rare instance where she created four separate works that are intended to be exhibited together.
URL:https://ruthasawa.com/exhibition/campaign-art-modern-contemporary/
LOCATION:San Francisco Museum of Modern Art\, 151 Third Street\, San Francisco\, CA\, 94103\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160514
DTEND;VALUE=DATE:20161001
DTSTAMP:20260405T161304
CREATED:20160630T182529Z
LAST-MODIFIED:20160714T202026Z
UID:1059-1463184000-1475279999@ruthasawa.com
SUMMARY:Open Ended: Painting and Sculpture Since 1900
DESCRIPTION:This presentation of masterworks and experimental pieces from SFMOMA’s collection of painting and sculpture explores themes that have shaped the history of modern art from the early twentieth century to our own time. Organized as a series of chapters\, the exhibition focuses on revolutionary ideas\, geographical centers\, individual artists\, and relationships between artists. Together\, the works in Open Ended explore the complexities and even contradictions of modern and contemporary art\, suggesting new interpretations of the museum’s collection\, and examining the passions and beliefs that have spurred artists’ creativity in a rapidly changing world. Asawa’s Untitled (S.114) was added to the collection through the Phyllis C. Wattis Fund for Major Accessions.
URL:https://ruthasawa.com/exhibition/open-ended/
LOCATION:San Francisco Museum of Modern Art\, 151 Third Street\, San Francisco\, CA\, 94103\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2016/06/S.114-SFMOMA.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160313
DTEND;VALUE=DATE:20160905
DTSTAMP:20260405T161304
CREATED:20160306T025516Z
LAST-MODIFIED:20160324T235937Z
UID:406-1457827200-1473033599@ruthasawa.com
SUMMARY:Revolution in the Making: Abstract Sculpture by Women\, 1947 – 2016
DESCRIPTION:Los Angeles… On March 13\, 2016\, Hauser Wirth & Schimmel opened its doors to present ‘Revolution in the Making: Abstract Sculpture by Women\, 1947 – 2016’\, the inaugural exhibition at its new complex in the heart of the downtown Los Angeles Arts District. Through nearly 100 works made by 34 artists over the past seventy years\, this ambitious undertaking traces ways in which women have changed the course of art by deftly transforming the language of sculpture since the postwar period. Works on view reveal their makers inventing radically new forms and processes that privilege solo studio practice\, tactility\, and the idiosyncrasies of the artist’s own hand. ‘Revolution in the Making’ explores multiple strains of artistic approaches\, characterized by abstraction and repetition\, that reject the precedent of a monolithic masterwork on a pedestal\, employing such tactics as stacking\, hanging\, and intertwining\, to create an intimate reciprocity between artist and viewer. The exhibition examines how elements that are central to art today – including engagement with found\, experimental\, and recycled materials\, as well as an embrace of contingency\, imperfection\, and unstructured play – were propelled by the work of women who\, in seeking new means to express their own voices\, dramatically expanded the definition of sculpture. \nCheck their website for exact dates and times they are open.
URL:https://ruthasawa.com/exhibition/revolution-in-the-making-abstract-sculpture-by-women-1947-2016/
LOCATION:Hauser Wirth & Schimmel\, 901 East Third Street\, Los Angeles\, 90013
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20160221
DTEND;VALUE=DATE:20160516
DTSTAMP:20260405T161304
CREATED:20160130T012523Z
LAST-MODIFIED:20160324T234030Z
UID:169-1456012800-1463356799@ruthasawa.com
SUMMARY:Leap Before You Look at the Hammer Museum
DESCRIPTION:Leap Before You Look: Black Mountain College 1933 – 1957 focuses on how\, despite its brief existence\, BMC became a seminal meeting place for many of the artists\, musicians\, poets\, and thinkers who would become the principal practitioners in their fields of the postwar period. Figures such as Anni and Josef Albers\, John Cage\, Merce Cunningham\, Robert Rauschenberg\, Elaine and Willem de Kooning\, Buckminster Fuller\, Ruth Asawa\, Robert Motherwell\, Gwendolyn and Jacob Knight Lawrence\, Charles Olson\, and Robert Creeley\, among many others\, taught and studied at BMC. Teaching at the college combined the craft principles of Germany’s revolutionary Bauhaus school with interdisciplinary inquiry\, discussion\, and experimentation\, forming the template for American art schools. While physically rooted in the rural South\, BMC formed an unlikely cosmopolitan meeting place for American\, European\, Asian\, and Latin American art\, ideas\, and individuals. The exhibition argues that BMC was as an important historical precedent for thinking about relationships between art\, democracy\, and globalism. It examines the college’s critical role in shaping many major concepts\, movements\, and forms in postwar art and education\, including assemblage\, modern dance and music\, and the American studio craft movement–influence that can still be seen and felt today. \nCheck their website for exact dates and times they are open.
URL:https://ruthasawa.com/exhibition/leap-before-you-look-black-mountain-college-1933-1957-at-the-hammer-museum/
LOCATION:Hammer Museum\, 10899 Wilshire Boulevard\, Los Angeles\, CA\, 90024\, United States
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20160131
DTEND;VALUE=DATE:20160530
DTSTAMP:20260405T161304
CREATED:20160310T011315Z
LAST-MODIFIED:20160324T233816Z
UID:479-1454198400-1464566399@ruthasawa.com
SUMMARY:Architecture of Life
DESCRIPTION:Architecture of Life\, the inaugural exhibition in BAMPFA’s landmark new building\, explores the ways that architecture—as concept\, metaphor\, and practice—illuminates various aspects of life experience: the nature of the self and psyche\, the fundamental structures of reality\, and the power of the imagination to reshape our world. Occupying every gallery in the new building\, designed by Diller Scofidio + Renfro\, the exhibition comprises over two hundred works of art in a wide range of media\, as well as scientific illustrations and architectural drawings and models\, made over the past two thousand years. Boundary-breaking\, innovative\, and radically interdisciplinary\, the exhibition presents visually exquisite\, rarely seen works in ways that suggest new connections and meanings. A wonderful lecture series accompanies this exhibit. Learn more >> \nCheck their website for exact dates and times they are open.
URL:https://ruthasawa.com/exhibition/architecture-of-life/
LOCATION:Berkeley Art Museum and Pacific Film Archive\, 2155 Center Street\, Berkeley\, 94704\, United States
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150928
DTEND;VALUE=DATE:20160407
DTSTAMP:20260405T161304
CREATED:20160325T000808Z
LAST-MODIFIED:20160325T002614Z
UID:936-1443398400-1459987199@ruthasawa.com
SUMMARY:The Whitney's Collection
DESCRIPTION:The more than two hundred works on display on the seventh and sixth floors represent a selection of the Whitney Museum of American Art’s collection. Organized in a rough chronological sequence beginning on the seventh floor\, the presentation is divided into eleven thematic “chapters.” Each chapter takes its name not from a movement or style but from the title of a work that evokes the section’s animating impulse. The exhibition elaborates some of the themes\, ideas\, beliefs\, and passions that have galvanized American artists in their struggle to work within and against established conventions\, often directly engaging their political and social contexts. Works of art across all mediums are displayed together\, acknowledging the ways in which artists have engaged various modes of production and dissolved the boundaries between them. \nCheck their website for exact dates and times they are open.
URL:https://ruthasawa.com/exhibition/the-whitneys-collection/
LOCATION:Whitney Museum of American Art\, 99 Gansevoort Street\, New York\, NY\, 10014\, United States
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