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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:20251019T103000
DTEND;TZID=UTC:20260207T173000
DTSTAMP:20260405T212020
CREATED:20250822T221336Z
LAST-MODIFIED:20250822T222127Z
UID:3147-1760869800-1770485400@ruthasawa.com
SUMMARY:Ruth Asawa: A Retrospective
DESCRIPTION:“I’m not so interested in the expression of something. I’m more interested in what the material can do. So that’s why I keep exploring\,” said artist\, educator\, and civic leader Ruth Asawa\, reflecting on a six-decade-long career. Featuring some 300 artworks\, Ruth Asawa: A Retrospective charts the artist’s lifelong explorations of materials and forms in a variety of mediums\, including wire sculpture\, bronze casts\, drawings\, paintings\, prints\, and public works. This first posthumous survey celebrates the ways in which Asawa continuously transformed materials and objects into subjects of contemplation\, unsettling distinctions between abstraction and figuration\, figure and ground\, and negative and positive space. \nAsawa made art every day\, pursuing the inexhaustible possibilities offered by simple materials such as paper and wire since her days at Black Mountain College\, where she studied in the late 1940s. Following a move to San Francisco in 1949\, her practice grew exponentially as she produced a body of work ranging from endless variations of abstract looped-wire sculptures to calligraphic ink paintings. \nCommunity was crucial to Asawa\, who realized numerous public commissions—fountains\, murals\, and memorials—from the late 1960s onward\, and stood at the forefront of arts education in the Bay Area and beyond. Taking a cue from her own work\, Ruth Asawa: A Retrospective offers numerous points of entry into her art\, encouraging close looking. It also reveals the model of integrated art practice cultivated by Asawa\, for whom all acts held a creative potential and for whom there was no separation between living and making art. \nMoMA\, Floor 6The Steven and Alexandra Cohen Center for Special Exhibitions \nMember Previews: Thursday\, Oct 16 – Saturday\, Oct 18 \nLast look for members: Sunday\, Feb 8 \nGet tickets >
URL:https://ruthasawa.com/exhibition/ruth-asawa-a-retrospective/
LOCATION:MoMA\, 11 West 53 Street\, Manhattan\, New York\, NY\, 10019\, United States
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2025/08/8-lobed-detail.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20250524T093000
DTEND;TZID=UTC:20251130T171500
DTSTAMP:20260405T212020
CREATED:20250221T231652Z
LAST-MODIFIED:20250221T231652Z
UID:2965-1748079000-1764522900@ruthasawa.com
SUMMARY:Printing Color: Chiaroscuro to Screenprint
DESCRIPTION:Color has challenged and fascinated printmakers since the Renaissance. This exhibition explores technological and artistic revolutions in color printmaking from the 16th century through today. From innovative 18th-century mezzotints to avant-garde 19th-century lithographs to experimental works by contemporary artists Kiki Smith and Henry Taylor\, the exhibition highlights printmaking across time and technique. These vibrant works on paper reveal the enduring pull of color in print. \nPhoto: Loretta Bennett (b. 1960)\, Forever (for Old Lady Sally)\, 2006\, 2006. Color softground and spitbite aquatint etching\, 20 x 35 7/8 in. (50.8 x 91.1 cm). Fine Arts Museums of San Francisco\, gift of Paulson Bott Press\, 2015.42.44. © Loretta Pettway Bennett and Estate of Luella Pettway / Artists Rights Society (ARS)\, New York
URL:https://ruthasawa.com/exhibition/printing-color-chiaroscuro-to-screenprint/
LOCATION:Legion Of Honor\, 100 34th Avenue\, Lincoln Park\, San Francisco\, 94121\, United States
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2025/02/chiarusco.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20250420T103000
DTEND;TZID=UTC:20250913T170000
DTSTAMP:20260405T212020
CREATED:20241008T215124Z
LAST-MODIFIED:20241008T223131Z
UID:2869-1745145000-1757782800@ruthasawa.com
SUMMARY:Woven Histories: Textiles and Modern Abstraction
DESCRIPTION:The Museum of Modern Art announces Woven Histories: Textiles and Modern Abstraction\, an in-depth exhibition that delves into the dynamic intersections between weaving and abstraction. The exhibition will include approximately 150 works in a range of mediums—from textiles and basketry to painting\, drawing\, sculpture\, and media works—exploring the overlap between abstract art\, weaving\, craft\, and fashion. Woven Histories challenges long-held notions of the weave as a function of textile alone\, exploring the many forms both warp and weft have taken when explored by abstract artists over the past 100 years. Previously on view at the Los Angeles County Museum of Art\, the National Gallery of Art in Washington\, DC\, and the National Gallery of Canada\, Ottawa\, the exhibition’s final presentation will be at MoMA\, with numerous works not seen at earlier venues. \nPhoto: Installation photo of the exhibition Woven Histories: Textiles and Modern Abstraction at the Los Angeles County Museumof Art (Sep 17\, 2023 – Jan 21\, 2024)\, Artwork © 2024 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-3/
LOCATION:MoMA\, 11 West 53 Street\, Manhattan\, New York\, NY\, 10019\, United States
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2024/10/ra-sculptures@0.5x.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20250405T100000
DTEND;TZID=UTC:20250902T170000
DTSTAMP:20260405T212020
CREATED:20250122T224627Z
LAST-MODIFIED:20250122T225948Z
UID:2942-1743847200-1756832400@ruthasawa.com
SUMMARY:Ruth Asawa: Retrospective
DESCRIPTION:Ruth Asawa: Retrospective will present the full range of the artist’s groundbreaking practice\, offering an in-depth look at her expansive output and its inspirations through more than 300 artworks. It also will explore the ways her longtime San Francisco home and garden served as the epicenter of her creative universe and highlight the ethos of collaboration and inclusivity that informed her numerous public sculpture commissions and unwavering dedication to arts advocacy. \nAsawa’s signature looped-wire sculptures will share gallery space with lesser-known works that bring insight into the relentlessly experimental nature of her artistic vision. In addition to Asawa’s own work\, the exhibition will include a select number of works by peers and mentors with whom Asawa engaged in creative dialogue\, including Josef Albers and Imogen Cunningham. \nMember Previews: April 4\, 10 a.m.–5 p.m. + April 5–6\, 10 a.m.–Noon \nMember presale starts Feb 18 and General Public tickets go on sale March 11. Exhibition will be surcharged. \nRuth Asawa: Retrospective is an exhibition partnership between the San Francisco Museum of Modern Art (SFMOMA) and The Museum of Modern Art\, New York (MoMA). The exhibition is co-curated by Janet Bishop\, Thomas Weisel Family Chief Curator and Curator of Painting and Sculpture\, SFMOMA and Cara Manes\, Associate Curator\, Department of Painting and Sculpture\, MoMA; with Marin Sarvé-Tarr\, Assistant Curator\, and William Hernández Luege\, Curatorial Associate\, Painting and Sculpture\, SFMOMA; and Dominika Tylcz\, Curatorial Assistant\, Department of Department of Painting and Sculpture\, MoMA.
URL:https://ruthasawa.com/exhibition/ruth-asawa-retrospective/
LOCATION:SF MOMA\, 151 Third St\, San Francisco\, CA\, 94103
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2025/01/asawa-sig-moma-scaled-1.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20250221T100000
DTEND;TZID=UTC:20250601T170000
DTSTAMP:20260405T212020
CREATED:20250221T225232Z
LAST-MODIFIED:20250221T230126Z
UID:2959-1740132000-1748797200@ruthasawa.com
SUMMARY:Collection 2: Undo\, Redo
DESCRIPTION:The Collection 2 exhibition focuses on the way artists undo and redo existing materials\, structures\, and history along with the state of their works. As a starting point\, we look at pieces by Louise Bourgeois and Leonor Antunes that were acquired by the museum in 2023\, and a work by Ruth Asawa that was acquired in 2024 and is being shown here for the first time in Japan. The exhibition also includes many other recent acquisitions. \nThe exhibition title was inspired by I Do\, I Undo\, I Redo\, a work by Bourgeois that was shown in Tate Modern’s Turbine Hall in 2000\, and the creative activities of artists such as Aiko Tezuka\, two of whom’s works were added to the museum collection in 2023. \nArtists:\nLouise BOURGEOIS\, Ruth ASAWA\, Leonor ANTUNES\, Tetsumi KUDO\, Shigeo ANZAÏ\, Sopheap PICH\, Yoko TERAUCHI\, Chiharu SHIOTA\, Zon ITO\, Izumi KATO\, Tomoaki ISHIHARA\, Kei TAKEMURA\, Rei NAITO\, Yayoi KUSAMA\, Ryoko AOKI\, Mari KATAYAMA\, BuBu de la Madeleine\, Miyako ISHIUCHI\, Saori AKUTAGAWA(MADOKORO)\, Tiger TATEISHI(Koichi・Taigaa)\, Tadanori YOKOO\, Miran FUKUDA\, Akira SHIMIZU\, Pei-Shih TU\, Sterling RUBY\, Aiko TEZUKA \nJiro TAKAMATSU\, Henry MOORE\, Marino MARINI\, Joan MIRÓ\, Alexander CALDER\, Yoshihiro SUDA\, Mark MANDERS\n*Exhibits are subject to change. \nThe Museum is open 10:00–17:00 (last admission 16:30) \nFridays and Saturdays until 20:00 (last admission 19:30). \nClosed Mondays \nHours and Admission \n \nFree admission days\nFebruary 15\, March 1\, April 5\, May 3 and 18.
URL:https://ruthasawa.com/exhibition/collection-2-undo-redo/
LOCATION:National Museum Of Art Osaka\, 4-2-55 Nakanoshima\, Kita-ku\, Osaka\, Japan
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2025/02/Asawa_nmao-1600.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20241119T090000
DTEND;TZID=UTC:20250222T170000
DTSTAMP:20260405T212020
CREATED:20241007T231116Z
LAST-MODIFIED:20241008T231757Z
UID:2849-1732006800-1740243600@ruthasawa.com
SUMMARY:Ruth Asawa: Doing Is Living
DESCRIPTION:David Zwirner is pleased to announce an exhibition of sculptures and works on paper by American artist Ruth Asawa (1926–2013) at the gallery’s Hong Kong location. Relentlessly experimental across a range of mediums\, Asawa is known for her works built on simple\, repeated gestures that accumulate into complex compositions. The artist moved effortlessly between abstract and figurative registers in both two and three dimensions\, creating a vast and varied oeuvre that\, despite its visual heterogeneity\, reflects above all her belief in the total integration of artistic practice and family life. The first solo presentation of Asawa’s work in Greater China\, the exhibition provides an overview of the artist’s wide-ranging practice\, focusing in particular on her affinity for the natural world\, which in turn provided a constant source of inspiration in her art. \nThe Gallery is open:\nTue\, Wed\, Thu\, Fri\, Sat: 11 AM-7 PM \nPhoto: Ruth Asawa\, Untitled (S.210\, Hanging Single-Section\, Reversible Open-Window Form)\, 1959. Photo by Laurence Cuneo. © 2024 Ruth Asawa Lanier\, Inc./Artists Rights Society (ARS)\, New York
URL:https://ruthasawa.com/exhibition/ruth-asawa-doing-is-living/
LOCATION:David Zwirner Hong Kong\, 5–6/F\, H Queen’s\, 80 Queen’s Road Central\, Hong Kong
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2024/10/zwirner-hong-kong-s.210-crop@0.5x.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20241007T080000
DTEND;TZID=UTC:20260228T170000
DTSTAMP:20260405T212020
CREATED:20241007T232348Z
LAST-MODIFIED:20241008T215906Z
UID:2857-1728288000-1772298000@ruthasawa.com
SUMMARY:Installation: Ruth Asawa: Untitled (S.272)
DESCRIPTION:An iconic work by a beloved and influential Bay Area artist\, Untitled (S.272) is a nine-foot-tall hanging sculpture composed of looped copper and iron wire\, created in the mid-1950s by Ruth Asawa (American\, 1926–2013). This second installation in the Fang Family Launchpad is a masterful example of the suspended\, abstract works of looped wire for which Asawa is best known. Its airy interior and exterior spaces flow seamlessly into one another\, using organic lines that evoke shapes found in nature — including the human body — while also suggesting a gently undulating movement.    \nMuseum Hours:\nThu:\n1 PM – 8 PM\nFri–Mon:\n10 AM–5 PM\nTue–Wed:\nClosed \nPhoto: Ruth Asawa\, Untitled (S.272\, Hanging Seven-Lobed Continuous Interlocking Form with Spheres in Two Lobes)\, approx. 1954. Copper and iron wire. © 2024 Ruth Asawa Lanier\, Inc./Artists Rights Society (ARS)\, New York. Photograph by Kevin Candland. Photograph © Asian Art Museum of San Francisco.
URL:https://ruthasawa.com/exhibition/installation-ruth-asawa-untitled-s-272/
LOCATION:Asian Art Museum\, 200 Larkin Street\, San Francisco\, CA\, 94102\, United States
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2024/10/asian-art-2-mirot.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240322T110000
DTEND;TZID=UTC:20240721T190000
DTSTAMP:20260405T212020
CREATED:20230613T171611Z
LAST-MODIFIED:20230918T205922Z
UID:2620-1711105200-1721588400@ruthasawa.com
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
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2023/06/wc252@0.5x.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240317T100000
DTEND;TZID=UTC:20240728T170000
DTSTAMP:20260405T212020
CREATED:20240207T003811Z
LAST-MODIFIED:20240207T003811Z
UID:2747-1710669600-1722186000@ruthasawa.com
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
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2024/02/EX9047-VW049.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240207T080000
DTEND;TZID=UTC:20240506T170000
DTSTAMP:20260405T212020
CREATED:20240206T225409Z
LAST-MODIFIED:20240207T005148Z
UID:2741-1707292800-1715014800@ruthasawa.com
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
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2024/02/octo.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240127T120000
DTEND;TZID=UTC:20240420T170000
DTSTAMP:20260405T212020
CREATED:20240206T213027Z
LAST-MODIFIED:20240207T004119Z
UID:2734-1706356800-1713632400@ruthasawa.com
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240118T110000
DTEND;TZID=UTC:20240120T190000
DTSTAMP:20260405T212020
CREATED:20240111T201153Z
LAST-MODIFIED:20240111T202500Z
UID:2706-1705575600-1705777200@ruthasawa.com
SUMMARY:Fog Design+Art
DESCRIPTION: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; and a weekend of exciting programs. \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. \nFOG Design+Art offers two ticket options in 2024\, a single day ticket or a four day fair pass are available for purchase. \nGeneral Admission \nThursday\, January 18–Saturday\, January 20\, 2024\n11:00 a.m.–7:00 p.m. \nSunday\, January 21\, 2024\n11:00 a.m.–5:00 p.m. \nSingle Day Tickets are $30 in advance\, $35 at the door and online.\nFour Day Fair Tickets are $75 in advance\, $80 at the door and online.\nChildren 12 and under are free. \nBuy Tickets > \nThere is a preview gala on 1/17 from 4-10pm
URL:https://ruthasawa.com/exhibition/fog-designart/
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/webp:https://ruthasawa.com/wp-content/uploads/2024/01/S.762_Zwirner_ASARU0091-fog.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230917T110000
DTEND;TZID=UTC:20240121T180000
DTSTAMP:20260405T212020
CREATED:20230918T205515Z
LAST-MODIFIED:20230918T210043Z
UID:2681-1694948400-1705860000@ruthasawa.com
SUMMARY:Woven Histories: Textiles and Modern Abstraction
DESCRIPTION:Woven Histories: Textiles and Modern Abstraction foregrounds a robust if over-looked strand in art history’s modernist narratives by tracing how\, when\, and why abstract art intersected with woven textiles (and such pre-loom technologies as basketry\, knotting\, and netting) over the past century. Although at times unevenly weighted\, the diverse exchanges\, alignments\, affiliations\, and affinities that have brought these art forms into dialogue constitute an ongoing if intermittent narrative in which one art repeatedly impacts and even redefines the other. In short\, the relationship between abstract art and woven textiles can best be described as co-constitutive\, and their histories as interdependent. With over 150 works by an international and transhistorical roster of artists\, this exhibition reveals how shifting relations among abstract art\, fashion\, design\, and craft shaped recurrent aesthetic\, cultural\, and socio-political forces\, as they\, in turn\, were impacted by modernist art forms. \nWalk-up tickets are available\, but timeslots do sell out and may not be available. Advance timed-entry tickets are highly recommended.\nClick for pricing details and to reserve timed-entry tickets >\nor Call the LACMA Ticket Office at 323 857-6010\, 10 am–5 pm\, Monday through Friday.  \nThis exhibition is organized by the National Gallery of Art\, Washington\, in collaboration with the Los Angeles County Museum of Art\, the National Gallery of Canada\, Ottawa\, and The Museum of Modern Art\, New York. \nGenerous support provided by The Claire Falkenstein Foundation and The Kenneth T. and Eileen L. Norris Foundation. \nAll exhibitions at LACMA are underwritten by the LACMA Exhibition Fund. Major annual support\nis provided by Meredith and David Kaplan\, with generous annual funding from Louise and Brad\nEdgerton\, Edgerton Foundation\, Emily and Teddy Greenspan\, Mary and Daniel James\, Justin\nLubliner\, Jennifer and Mark McCormick\, Kelsey Lee Offield\, Koni and Geoff Rich\, Lenore and\nRichard Wayne\, and Marietta Wu and Thomas Yamamoto. \nPhotos: Ed Rossbach\, Damask Waterfall\, 1977\, cotton welting cord\, commercial fabric\, plastic\, satin damask\, wrapped\, LongHouse Reserve\, photo credit: © Charles Benton\, courtesy The Artists’ Institute \nAndrea Zittel\, ‘White Felted Dress #3’ from A-Z Fiber Form Uniforms\, 2002\, wool\, hand-felted\, Los Angeles County Museum of Art\, purchased with funds provided by David and Susan Gersh. © Andrea Zittel\, photo © Museum Associates/LACMA
URL:https://ruthasawa.com/exhibition/woven-histories-textiles-and-modern-abstraction/
LOCATION:LACMA\, 5905 Wilshire Blvd.\, Los Angeles\, CA 90036\, CA\, 90036\, United States
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2023/09/lacma-woven@0.5x.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230916T103000
DTEND;TZID=UTC:20240115T180000
DTSTAMP:20260405T212020
CREATED:20230207T204117Z
LAST-MODIFIED:20230613T191313Z
UID:2564-1694860200-1705341600@ruthasawa.com
SUMMARY:Ruth Asawa Through Line
DESCRIPTION:Ruth Asawa Through Line is the first exhibition to examine Ruth Asawa’s oeuvre through the lens of her lifelong drawing practice. Co-organized by the Whitney Museum of American Art and the Menil Collection\, this presentation reveals the complexity and richness of the materials and processes she experimented with\, emphasizing the foundational role that drawing played in developing her distinct visual language.  \nPositioning drawings\, collages\, and watercolors alongside stamped prints\, copper foil works\, and sketchbooks\, the exhibition will expose the breadth of Asawa’s innovative practice through over one hundred works from public and private collections\, many of which have not been previously exhibited. Organized thematically\, the presentation will begin with foundational lessons the artist absorbed and built upon at Black Mountain College in the late 1940s.  \nThis exhibition is co-organized by Kim Conaty\, Steven and Ann Ames Curator of Drawings and Prints at the Whitney Museum of American Art\, and Edouard Kopp\, John R. Eckel\, Jr. Foundation Chief Curator of the Menil Drawing Institute\, with Scout Hutchinson\, Curatorial Fellow at the Whitney Museum\, and Kirsten Marples\, Curatorial Associate at the Menil Drawing Institute. After the exhibition closes at the Whitney\, it will travel to the Menil Drawing Institute in Houston.   \nAdvance tickets are recommended for best availability. Members may use their membership cards for anytime admission. Corporate partners and other Museum affiliates are encouraged to book complimentary tickets in advance. Learn more about how to plan your visit safely.  \n$25\nAdults \n$18\nSeniors\, Students\, and Visitors with Disabilities\n(Visitor with Disability ticket includes free admission for one care partner.) \nFree\n18 and under\nHours: \nMon	10:30 am–6 pm\nTues	Closed\nWed	10:30 am–6 pm\nThurs	10:30 am–6 pm\nFri	10:30 am–10 pm*\nSat	10:30 am–6 pm\nSun	10:30 am–6 pm\n* Museum admission is Pay-What-You-Wish on Fridays\, 7–10 pm. Advance ticketing required.  \nBook Tickets >
URL:https://ruthasawa.com/exhibition/ruth-asawa-through-line/
LOCATION:Whitney Museum of American Art\, 99 Gansevoort Street\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2023/02/exhibition-whitney.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230411T113000
DTEND;TZID=UTC:20230520T173000
DTSTAMP:20260405T212020
CREATED:20230510T200241Z
LAST-MODIFIED:20230510T200348Z
UID:2605-1681212600-1684603800@ruthasawa.com
SUMMARY:Off the Grid: Post-Formal Conceptualism
DESCRIPTION:This sprawling group exhibition traces the use of the form of the grid in contemporary art\, beginning with some of its most illustrious mid-20th century proponents. From there\, it examines conceptual uses of the grid from the 1970s and 80s and utilizes that history to establish a vantage point from which to explore a current resurgence in the motif among contemporary artists of wide-ranging cultural backgrounds.   \nThe grid\, as a form\, existed in the warp and weft of the first loom. It was used decoratively by the Sumerians in 4000 BC\, and later by the Romans and in early Islamic art. During the Enlightenment\, the grid embodied rationality\, and became a favored form for the organization of scientific material and cabinets of curiosities.  Jefferson’s Ordinance of 1785 laid out a grid that would divide the U.S. into townships — both a tool for making sense of an unimaginably vast landscape and for training settlers in values that would support democratic institutions like public schools. \nIn terms of art\, nothing denotes capital “M” Modernism as definitively as the grid. In its early 20th century and post-war incarnations\, it stood in opposition to romantic pictorialism. A “contentless” trope — solely about pure form and color — that nevertheless represented the promise of a tidier\, more egalitarian future. The grid became an optimistic metaphor for order\, and a leitmotif for the hope of stability.  \nCalifornia artist Ruth Asawa is best known for her sculptures made of curved lines — but the basis of her work was always a grid. The undulating forms of her hanging orbs and the sensuous lines of her works on paper refer to the organic shapes and corporeal feel of three-dimensional space\, but they also bring to light the historical ways in which artists have used grids to organize space and delineate subjects. \nHours:\nTu\, W\, F\, Sat 10am-5:30pm\nThurs 11am-7pm
URL:https://ruthasawa.com/exhibition/off-the-grid-post-formal-conceptualism/
LOCATION:Hosfelt Gallery\, 260 Utah St.\, San Francisco\, United States
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2023/05/gingko-hosfelt.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230228T100000
DTEND;TZID=UTC:20230415T180000
DTSTAMP:20260405T212020
CREATED:20230308T004750Z
LAST-MODIFIED:20230308T005747Z
UID:2574-1677578400-1681581600@ruthasawa.com
SUMMARY:Black Mountain College: The Experimenters
DESCRIPTION:There is no such thing as a Black Mountain aesthetic\, no dominant trend that unifies the artistic production of this small community. At Black Mountain\, there was a desire to teach students to become more aware of the world around by instilling in them respect for the acts of both perception and process\, all in the service of honing their critical skills.  — Helen Molesworth \n\nDavid Zwirner is pleased to announce Black Mountain College: The Experimenters\, a group exhibition on view in The Upper Room at the gallery’s London location. Presented in tandem with Josef Albers: Paintings Titled Variants\, displayed on the gallery’s ground and first floors\, this exhibition brings together works by a group of artists whose groundbreaking career trajectories were informed by the rich visual and intellectual innovations that emerged around Black Mountain College\, the famed experimental liberal arts school. \nThis exhibition features work by a group of artists who overlapped at Black Mountain College in the mid- to late 1940s—including Anni Albers\, Josef Albers\, Leo Amino\, Ruth Asawa\, Elaine de Kooning\, Buckminster Fuller\, and Ray Johnson\, as well as figures such as Sue Fuller and Sheila Hicks\, who studied with and befriended members of this group at other notable institutions during the same period—and examines the threads of creative exchange that were interwoven when the paths of these teachers\, pupils\, and colleagues crossed. \nBlack Mountain participants’ ambitions to transform habits of perception\, systems of intention\, and patterns of tradition have essential implications for understanding not only modernist but subsequent art practices. — Eva Díaz\, The Experimenters: Chance and Design at Black Mountain College \nThe gallery is open Tues – Sat from 10am – 6pm.
URL:https://ruthasawa.com/exhibition/black-mountain-college-the-experimenters/
LOCATION:David Zwirner London\, 24 Grafton Street\, London\, W1S 4EZ\, United Kingdom
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2023/03/experimenters-16x9-1.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230128T100000
DTEND;TZID=UTC:20230730T170000
DTSTAMP:20260405T212020
CREATED:20230511T184225Z
LAST-MODIFIED:20230714T062926Z
UID:2613-1674900000-1690736400@ruthasawa.com
SUMMARY:Women and Abstraction: 1741-Now
DESCRIPTION:Women and Abstraction: 1741-Now offers a nuanced and expansive history of the development of abstraction in America\, going beyond the traditional art historical narrative of this movement. The exhibition looks at how women from the 18th century to the present day have deployed the visual language and universal formal concerns of abstraction—color\, line\, shape\, contrast\, pattern\, and texture—working across a wide variety of media\, including painting\, textiles\, sculpture\, photography\, drawing\, and ceramics.  \nDrawn almost exclusively from the Addison’s permanent collection\, the exhibition features pieces ranging from colonial bed rugs and contemporary textile works by Sheila Hicks\, to 19th-century Ojibwe beaded bandolier bags and a 2014 sculpture by Lynda Benglis\, combining recognizable masterworks by leading abstractionists with work by historically overlooked women artists and makers\, as well as objects that have historically been denied the status of fine art. Featured are pieces by Bernice Abbott\, Candida Alvarez\, Ruth Asawa\, Margaret Bourke-White\, Petah Coyne\, Helen Frankenthaler\, Ellen Gallagher\, Libbie Mark\, Agnes Martin\, Joan Mitchell\, Louise Nevelson\, Georgia O’Keeffe\, Betty Parsons\, Rosamond Purcell\, Deborah Remington\, Anne Ryan\, Hedda Sterne\, Toshiko Takaezu\, Alma Thomas\, Dominique Toya\, Penelope Umbrico\, and others. \nAllison Kemmerer\, the Mary Stripp and R. Crosby Kemper Director of the Addison Gallery of American Art said\, “Women and Abstraction is a quintessential expression of the Addison’s mission: to offer new insights on American art while expanding the art historical canon. Eschewing traditional chronology\, hierarchies of medium\, and the restrictive definitions of art movements\, it encourages us to rethink our preconceived ideas and opens new ways of seeing the art of this country.” \nGordon Wilkins\, the Addison’s Robert M. Walker Curator of American Art and curator of Women and Abstraction noted\, “The important work done over the past decades to illuminate the contributions of historically marginalized women has largely concentrated on white painters associated with the postwar\, 20th-century New York school’s abstract expressionism. While Helen Frankenthaler\, Lee Krasner\, Joan Mitchell\, and others among their contemporaries have rightfully been ensconced in the pantheon of great American abstract artists\, the works of many more women—from all periods— remain unexamined by scholars and museums alike. This exhibition proposes a different way of looking at abstraction in American art\, inviting visitors to draw aesthetic connections across seemingly disparate objects and complicating ingrained notions of what abstraction is and is not.” \nHours: \nTuesday through Saturday: 10:00 a.m. to 5:00 p.m.\nSunday: 1:00 p.m. to 5:00 p.m. \nClosed on Mondays\, national holidays\, December 24\, and during the month of August. \nAdmission to all exhibitions is free.
URL:https://ruthasawa.com/exhibition/women-and-abstraction-1741-now/
LOCATION:Addison Gallery of American Art\, Phillips Academy 3 Chapel Avenue\, Andover\, MA\, 01810\, United States
ATTACH;FMTTYPE=image/webp:https://ruthasawa.com/wp-content/uploads/2023/05/asawa-abstraction.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230112T100000
DTEND;TZID=UTC:20230331T170000
DTSTAMP:20260405T212020
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20221014T120000
DTEND;TZID=UTC:20230213T170000
DTSTAMP:20260405T212020
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20221001T080000
DTEND;TZID=UTC:20230122T170000
DTSTAMP:20260405T212020
CREATED:20220912T192436Z
LAST-MODIFIED:20220912T192951Z
UID:2481-1664611200-1674406800@ruthasawa.com
SUMMARY:Ruth Asawa: Citizen of the Universe
DESCRIPTION:Citizen of the Universe takes a unique look at the visionary artist\, educator and activist Ruth Asawa. The exhibition features her signature hanging sculptures in looped and tied wire\, and celebrates her holistic integration of art\, education and community engagement through displaying prints\, drawings\, letters and photographs. \nAsawa called for an inclusive and revolutionary vision for art’s role in society. As a teenager she lived in an internment camp due to the forced relocation and incarceration for some 120\,000 Japanese-Americans by the US government on the eve of World War II. Despite the extreme conditions she learned artistic skills from professional artists and left in the firm belief that art can be life changing and a positive force for social good. \nAsawa studied at Black Mountain College from 1946-49\, nurturing her philosophy of the “integration of creative labour within daily life”. Here she formed a lifelong friendship with visionary architect R. Buckminster Fuller\, who once described her as one of the greatest artists he knew. As a result of her experiences at the college\, Asawa recognised that people can choose to transcend race\, class and nationalistic divisions. \nFor Asawa\, living a full life meant being socially engaged\, having a family\, creating art with them\, and fully participating in the life of her local community. Quietly charismatic\, Asawa chose to identify as a “citizen of the universe”\, developing a sense of higher purpose grounded in improving life through art. Foregrounding these ideas\, this exhibition is an affirmation of her timely relevance as a champion of the vital role creativity plays in society. \nCitizen of the Universe is the first public solo exhibition in Europe of Ruth Asawa’s work. The exhibition is organised in partnership with Modern Art Oxford where it was on display from 28 May – 21 August 2022.Curators: Emma Ridgway (Modern Art Oxford) and Vibece Salthe (Stavanger Art Museum). \nHours:\nMonday	Closed\nThuesday	11.00-15.00\nWednesday	11.00-15.00\nThursday	11.00-19.00\nFriday	11.00-15.00\nSaturday	11.00-16.00\nSunday	11.00-16.00 \nTicket Prices:\nAdults:	100\nChildren under 18 years:	Free\nStudents:	Free\nSeniors:	70\nAnnual ticket\, adult:	500\nAnnual ticket\, seniors:	400\nHALF PRICE ADMISSION every Saturday
URL:https://ruthasawa.com/exhibition/ruth-asawa-citizen-of-the-universe-2/
LOCATION:Stavanger Art Museum\, Henrik Ibsens gate 55\, Stavanger\, Norway
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/09/stavanger.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220616T080000
DTEND;TZID=UTC:20230430T170000
DTSTAMP:20260405T212020
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220527T080000
DTEND;TZID=UTC:20220820T170000
DTSTAMP:20260405T212020
CREATED:20220125T231331Z
LAST-MODIFIED:20220308T051944Z
UID:2222-1653638400-1661014800@ruthasawa.com
SUMMARY:Ruth Asawa: Citizen of the Universe
DESCRIPTION:Citizen of the Universe takes a unique look at the visionary artist\, educator and activist Ruth Asawa. The exhibition features her signature hanging sculptures in looped and tied wire\, and celebrates her holistic integration of art\, education and community engagement through displaying prints\, drawings\, letters and photographs. \nAsawa called for an inclusive and revolutionary vision for art’s role in society. As a teenager she lived in an internment camp due to the forced relocation and incarceration for some 120\,000 Japanese-Americans by the US government on the eve of World War II. Despite the extreme conditions she learned artistic skills from professional artists and left in the firm belief that art can be life changing and a positive force for social good. \nAsawa studied at Black Mountain College from 1946-49\, nurturing her philosophy of the “integration of creative labour within daily life”. Here she formed a lifelong friendship with visionary architect R. Buckminster Fuller\, who once described her as one of the greatest artists he knew. As a result of her experiences at the college\, Asawa recognised that people can choose to transcend race\, class and nationalistic divisions. \nFor Asawa\, living a full life meant being socially engaged\, having a family\, creating art with them\, and fully participating in the life of her local community. Quietly charismatic\, Asawa chose to identify as a “citizen of the universe”\, developing a sense of higher purpose grounded in improving life through art. Foregrounding these ideas\, this exhibition is an affirmation of her timely relevance as a champion of the vital role creativity plays in society. \nModern art Oxford is open Tues. through Sat 10:00–17:00\nand Sunday 12:00–17:00
URL:https://ruthasawa.com/exhibition/ruth-asawa-citizen-of-the-universe/
LOCATION:Modern Art Oxford\, 30 Pembroke Street\, Oxford\, OX1 1BP\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/01/oxford-pixelmator-levels.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220423T110000
DTEND;TZID=UTC:20221127T190000
DTSTAMP:20260405T212020
CREATED:20220414T230844Z
LAST-MODIFIED:20220425T183428Z
UID:2350-1650711600-1669575600@ruthasawa.com
SUMMARY:The Milk of Dreams: Biennale Arte 2022
DESCRIPTION:The 59th International Art Exhibition of La Biennale di Venezia\, titled The Milk of Dreams\, is open to the public from Saturday April 23 to Sunday November 27\, 2022\, at the Giardini and the Arsenale; it is curated by Cecilia Alemani and organised by La Biennale di Venezia\, chaired by Roberto Cicutto. “As the first Italian woman to hold this position\, I intend to give voice to artists to create unique projects that reflect their visions and our society”\, Alemani has declared. \nCecilia Alemani is a curator who has organized many exhibitions of contemporary artists. She is currently Director and Chief Curator of High Line Art\, the programme of public art of the urban park in New York\, and is the past curator of the Italian Pavilion at the Biennale Arte 2017. \n“This Exhibition is grounded in many conversations with artists held in the last few years. The questions that kept emerging from these dialogues seem to capture this moment in history when the very survival of the species is threatened\, but also to sum up many other inquiries that pervade the sciences\, arts\, and myths of our time. How is the definition of the human changing? What constitutes life\, and what differentiates plant and animal\, human and non-human? What are our responsibilities towards the planet\, other people\, and other life forms? And what would life look like without us? \nThese are some of the guiding questions for this edition of the Biennale Arte\, which focuses on three thematic areas in particular: the representation of bodies and their metamorphoses; the relationship between individuals and technologies; the connection between bodies and the Earth.” \n“As visitors move through the Exhibition in the Central Pavilion and the Corderie\, they encounter five smaller\, historical sections: miniature constellations of artworks\, found objects\, and documents\, clustered together to explore certain key themes. Conceived like time capsules\, these shows within the show provide additional tools of investigation and introspection\, weaving a web of references and echoes that link artworks of the past – including major museum loans and unconventional selections – to the pieces by contemporary artists in the surrounding space. This wide-ranging\, transhistorical approach traces kinships and affinities between artistic methods and practices\, even across generations\, to create new layers of meaning and bridge present and past. What emerges is a historical narrative that is not built around systems of direct inheritance or conflict\, but around forms of symbiosis\, solidarity\, and sisterhood.” \n“The Milk of Dreams was conceived and organised in a period of enormous instability and uncertainty\, since its development coincided with the outbreak and spread of the Covid-19 pandemic. La Biennale di Venezia was forced to postpone this edition by one year\, an event that had only occurred during the two World Wars since 1895. So the very fact that this Exhibition can open is somewhat extraordinary: its inauguration is not exactly the symbol of a return to normal life\, but rather the outcome of a collective effort that seems almost miraculous. During these endless months in front of the screen\, I have pondered the question of what role the International Art Exhibition should play at this historical juncture\, and the simplest\, most sincere answer I could find is that the Biennale sums up all the things we have so sorely missed in the last two years: the freedom to meet people from all over the world\, the possibility of travel\, the joy of spending time together\, the practice of difference\, translation\, incomprehension\, and communion. \nThe Milk of Dreams is not an Exhibition about the pandemic\, but it inevitably registers the upheavals of our era. In times like this\, as the history of La Biennale di Venezia clearly shows\, art and artists can help us imagine new modes of coexistence and infinite new possibilities of transformation.” –Cecilia Alemani \nView artists > \nBuy tickets > \nMore information about visiting >
URL:https://ruthasawa.com/exhibition/the-milk-of-dreams-biannale-arte-2022/
LOCATION:Arsenale\, Sestiere Castello\, Campo Della Tana 2169/F\, Venice\, +39 0415218711\, 30122\, Italy
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DTSTART;TZID=UTC:20220423T100000
DTEND;TZID=UTC:20221030T170000
DTSTAMP:20260405T212020
CREATED:20220202T221551Z
LAST-MODIFIED:20220209T235634Z
UID:2234-1650708000-1667149200@ruthasawa.com
SUMMARY:Artmaking as Lifemaking: Kinji Akagawa at Tamarind
DESCRIPTION:Art Making as Life Making: Kinjia Akagawa at Tamarind offers a behind-the-scenes glimpse of life in a 1960s print workshop. At the age of 25\, Akagawa embarked on a fellowship to train as a printer at the Tamarind Lithography Workshop in Los Angeles. While there\, Akagawa collaborated with more than a dozen leading artists\, including Ruth Asawa\, Herbert Bayer\, and Jose Luis Cuevas\, printing their lithographs and creating his own editions of prints. The communal environment at Tamarind had a profound impact on his philosophies of art\, in which he embraced dialogue\, collaboration\, and co-creation as pillars of a democratic vision of art. The exhibition features more than 40 works from the Carter’s collection of more than 2\,500 Tamarind Workshop prints. \nMuseum Hours\nSUNDAY	noon–5 p.m.\nMONDAY	Closed\nTUESDAY\, WEDNESDAY\, FRIDAY\, SATURDAY	10 a.m.–5 p.m.\nTHURSDAY	10 a.m.–8 p.m. \nAdmission is free.
URL:https://ruthasawa.com/exhibition/artmaking-as-lifemaking-kinji-akagawa-at-tamarind/
LOCATION:Amon Carter Museum of American Art\, 3501 Camp Bowie Blvd.\, Fort Worth\, TX\, 76107\, United States
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DTSTART;TZID=UTC:20220403T140000
DTEND;TZID=UTC:20220403T160000
DTSTAMP:20260405T212020
CREATED:20220323T191546Z
LAST-MODIFIED:20220323T194112Z
UID:2259-1648994400-1649001600@ruthasawa.com
SUMMARY:Unfailingly Creative: The Unbreakable Bond between Artists Imogen Cunningham and Ruth Asawa
DESCRIPTION:In 1950\, photographer Imogen Cunningham met sculptor Ruth Asawa. Despite their 43-year age difference\, the two artists quickly developed an unbreakable bond. Aside from their creative friendship\, the two women also refused to choose between family life and their art.  \nIn this conversation\, Meg Partridge\, Cunningham’s granddaughter and director of the Imogen Cunningham Trust\, joins Addie Lanier\, daughter of Ruth Asawa\, and Daniell Cornell\, curator and author of The Sculpture of Ruth Asawa: Contours in the Air to talk about how these artists navigated art and motherhood. Moderated by Los Angeles-based author and performer Sandra Tsing Loh\, the panel discusses how these artists became friends\, the difficulties they faced as women artists\, and the creative strategies they employed to succeed in a male-dominated art world. \nThis Free April 3 event is being held at the Getty Center and can be streamed on zoom. Advance tickets are required. \nLearn more and get tickets > \nFind out about the Imogen Cunningham Retrospective at the Getty Center >
URL:https://ruthasawa.com/exhibition/unfailingly-creative-the-unbreakable-bond-between-artists-imogen-cunningham-and-ruth-asawa/
CATEGORIES:Virtual
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DTSTART;TZID=UTC:20220318T080000
DTEND;TZID=UTC:20220828T170000
DTSTAMP:20260405T212020
CREATED:20220412T194828Z
LAST-MODIFIED:20220412T195100Z
UID:2339-1647590400-1661706000@ruthasawa.com
SUMMARY:Duro Olowu Selects: Works from the Permanent Collection
DESCRIPTION:Nigerian British designer Duro Olowu guest curates the 20th installment in Cooper Hewitt’s Selects exhibition series\, which invites designers\, writers\, and cultural figures to explore and interpret objects in the museum’s permanent collection. Olowu’s exhibition highlights the theme of pattern and repetition throughout the collection\, demonstrating how designers\, artists\, and makers have relied on pattern to express ideas\, preserve heritage\, capture attention\, and construct objects and environments. \nHours:\nThursday–Monday\, 10:00 a.m. to 6:00 p.m.\nTuesday–Wednesday\, closed.\nThanksgiving Day\, closed.\nChristmas Day\, closed.
URL:https://ruthasawa.com/exhibition/duro-olowu-selects-works-from-the-permanent-collection/
LOCATION:Cooper Hewitt Smithsonian Design Museum\, 2 East 91st Street\, New York\, United States
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DTSTART;TZID=UTC:20220316T110000
DTEND;TZID=UTC:20220515T180000
DTSTAMP:20260405T212020
CREATED:20220412T192050Z
LAST-MODIFIED:20220412T192405Z
UID:2328-1647428400-1652637600@ruthasawa.com
SUMMARY:No Monument: In the Wake of the Japanese American Incarceration
DESCRIPTION:The Isamu Noguchi Foundation and Garden Museum presents No Monument: In the Wake of the Japanese American Incarceration\, a focused\, small-scale group exhibition guest curated by Genji Amino with Christina Hiromi Hobbs.  \nThe exhibition is organized to mark the eightieth anniversary of Executive Order 9066 (signed on February 19\, 1942) which authorized the forced removal and mass incarceration of more than 120\,000 Japanese Americans by the United States government during World War II. Including a selection of works by Japanese American artists\, some of whom were incarcerated and others whose lives were shaped indirectly by the widespread impact of the Executive Order\, the exhibition represents an array of photographic and sculptural experiments following an event marking the height of anti-Japanese sentiment in the twentieth century.  \nIt includes a small selection of works made by as yet unidentified Japanese Americans in the concentration camps. These works now reside in the collection of the Japanese American National Museum\, Los Angeles\, and circulate as part of the traveling exhibition and remembrance project Contested Histories: Art and Artifacts from the Allen Hendershott Eaton Collection. They are presented alongside work by Leo Amino (1911–1989)\, Ruth Asawa (1926–2013)\, Joseph Goto (1916–1994)\, Hiromu Kira (1898–1991)\, Toyo Miyatake (1895–1979)\, Patrick Nagatani (1945–2017)\, Isamu Noguchi (1904–1988)\, Kay Sekimachi (b. 1926) and Toshiko Takaezu (1926–2011).  \nBy gathering together works such as Isamu Noguchi’s haunting wood and bone Monument to Heroes (1943)\, Kay Sekimachi’s ethereal hanging fiber work Ogawa II (1969)\, and Patrick Nagatani’s 1994 photographs of the former sites of Japanese American concentration camps in Utah and Idaho\, the exhibition presents a range of approaches to abstraction developed following the era of Japanese American incarceration. \nThe Museum is open from 11-6 on Wednesday through Sunday\, and closed on Monday and Tuesday.
URL:https://ruthasawa.com/exhibition/no-monument-in-the-wake-of-the-japanese-american-incarceration/
LOCATION:Noguchi Museum\, 9-01 33rd Road\, Long Island City\, NY\, 11106\, United States
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DTSTART;TZID=UTC:20220312T100000
DTEND;TZID=UTC:20220918T170000
DTSTAMP:20260405T212020
CREATED:20220407T191133Z
LAST-MODIFIED:20220407T192351Z
UID:2304-1647079200-1663520400@ruthasawa.com
SUMMARY:Drawing Without Paper
DESCRIPTION:In the mid-1920s\, the sculptor Julio González abandoned casting and began using the techniques of forging and welding iron to create what he called “drawings in space\,” a series of innovative works that challenged the perception of mass and gravity traditionally associated with the experience of sculpture. \nThe idea of “drawing in space” proved highly influential for a number of artists throughout the mid- to late twentieth century\, especially Alexander Calder\, Ruth Asawa\, David Smith\, and Gego. By exploring notions of transparency and weightlessness with lines and forms\, they redefined how sculpture interacts with the surrounding environment. Other artists complicated the definition of drawing by experimenting with line\, materiality\, process\, and even the outdoor landscape\, including Sheila Hicks\, Dorothea Rockburne\, Richard Tuttle\, Zarina\, Ana Mendieta\, Dennis Oppenheim\, Liliana Porter\, Oscar Muñoz and Richard Long. \nTitled after a work by Gego (1912–1994) recently gifted to The Met by Lilly Scarpetta\, Drawing without Paper features a select group of works that embrace an expanded notion of drawing\, freeing the line into space. The installation is curated by Iria Candela\, Estrellita B Brodsky Curator of Latin American Art\, Modern and Contemporary Art. \nThe installation is made possible by The Modern Circle. \nImage Credit: Gego (Gertrud Goldschmidt). Venezuelan\, born Germany\, 1912–1994. Drawing without Paper (detail) 86/18\, 1986. Iron\, aluminum\, and nylon. 49 5/8 × 18 7/8 × 9/16 in. (126 × 48 × 1.5 cm). Gift of Lilly Scarpetta\, in celebration of the Museum’s 150th Anniversary\, 2020. \nThe museum is open Sunday–Tuesday and Thursday: 10 am–5 pm\nFriday and Saturday: 10 am–9 pm\nClosed Wednesday \nNo advance reservations or timed tickets are required. Once inside\, Members and advance ticket buyers may proceed directly into the Museum galleries. If you’re eligible for suggested admission\, please proceed to the ticketing desk. \nFace coverings are required for all visitors age 2 and older\, even if you are vaccinated. In keeping with public health recommendations\, we strongly recommend vaccinations for our visitors.
URL:https://ruthasawa.com/exhibition/drawing-without-paper/
LOCATION:The Met Museum\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
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DTSTART;TZID=UTC:20220308T100000
DTEND;TZID=UTC:20220612T173000
DTSTAMP:20260405T212020
CREATED:20220323T185809Z
LAST-MODIFIED:20220323T193729Z
UID:2246-1646733600-1655055000@ruthasawa.com
SUMMARY:Imogen Cunningham: A Retrospective
DESCRIPTION:In a career that spanned seventy years\, Imogen Cunningham created a large and diverse body of work — from portraits\, to nudes\, to florals\, and to street photographs. In a field dominated by men\, she was one of a handful of women who helped to shape early modernist photography in America. This exhibition seeks to acknowledge her stature as equivalent to that of her male peers and to reevaluate her enormous contribution to twentieth century photographic history. \nThe museum is open from 10-5:30 Tues – Sunday. Admission is free\, and requires a timed-entry reservation. Check visit information and current safety measure requirements > \nTwo Callas (detail)\, 1925–29\, Imogen Cunningham. Gelatin silver print\, 30 x 22.6 cm. The Art Institute of Chicago. Julien Levy Collection\, Gift of Jean Levy and the Estate of Julien Levy\, 1988.157.24 / Art Resource\, NY. © Imogen Cunningham Trust.
URL:https://ruthasawa.com/exhibition/imogen-cunningham-a-retrospective-2/
LOCATION:Getty Center\, 1200 Getty Center Dr.\, Los Angeles\, CA\, 90049\, United States
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DTSTART;TZID=UTC:20220213T080000
DTEND;TZID=UTC:20220501T170000
DTSTAMP:20260405T212020
CREATED:20220131T185302Z
LAST-MODIFIED:20220323T194259Z
UID:2230-1644739200-1651424400@ruthasawa.com
SUMMARY:A Decade of Acquisitions of Works on Paper
DESCRIPTION:The inaugural presentation in the Hammer Museum’s new works on paper gallery highlights acquisitions of prints and drawings from 2012 to the present. Over the last decade\, through purchases and many generous gifts\, the museum has built a robust collection in this medium. This exhibition shows\, for the first time\, many contemporary prints and drawings in the collection\, ranging from the conceptual to the political\, the abstract\, the gestural\, and the poetic. \nArtists of the 1960s generation such as Richard Artschwager\, Vija Celmins\, Sonia Gutiérrez\, Betye Saar\, and Sue Williamson are included\, with beautiful examples made using diverse printmaking techniques. Also featured is a selection of drawings by Ruth Asawa\, Lee Bontecou\, Charles Burchfield\, Miguel-Ángel Cárdenas\, Judy Chicago\, Mary Corse\, Sam Gilliam\, Lynn Hershman Leeson\, and David Smith. The exhibition also includes artists such as Huma Bhabha\, Trisha Donnelly\, Sharon Hayes\, Rashid Johnson\, Glenn Ligon\, and Rachel Whiteread whose contemporary practices are represented with innovative and experimental works on paper. \nThis exhibition is the first of two showcasing recent acquisitions and promised gifts. \nA Decade of Acquisitions of Works on Paper is organized by Cynthia Burlingham\, deputy director for curatorial affairs and director of the Grunwald Center for Graphic Arts\, and Connie Butler\, chief curator. \nThe Gallery is open Tues – Sunday from 11am – 6pm\nAdmission is Free
URL:https://ruthasawa.com/exhibition/a-decade-of-acquisitions-of-works-on-paper/
LOCATION:Hammer Museum\, 10899 Wilshire Boulevard\, Los Angeles\, CA\, 90024\, United States
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