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BEGIN:VEVENT
DTSTART;VALUE=DATE:20051017
DTEND;VALUE=DATE:20201018
DTSTAMP:20260405T125242
CREATED:20160316T220109Z
LAST-MODIFIED:20160324T232952Z
UID:727-1129507200-1602979199@ruthasawa.com
SUMMARY:Ruth Asawa: Permanent Installation
DESCRIPTION:In 2005\, in celebration of the opening of the redesigned de Young Museum in San Francisco’s Golden Gate Park\, Ruth Asawa donated 15 sculptures to the Fine Arts Museums for a permanent installation. This grouping was personally selected by Asawa as being excellent examples of many of her sculptural forms. In keeping with Asawa’s belief that art should be readily accessible to all\, these works are housed in the Education Tower\, where there is no charge for visitors. \nCheck their website for exact dates and times they are open.
URL:https://ruthasawa.com/exhibition/ruth-asawa-permanent-installation/
LOCATION:de Young Museum\, Education Tower\, 50 Hagiwara Tea Garden Drive\, San Francisco\, 94118\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2016/03/De-Young-Installation-square-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170428T103000
DTEND;TZID=UTC:20200428T180000
DTSTAMP:20260405T125242
CREATED:20171115T031552Z
LAST-MODIFIED:20171115T031552Z
UID:1151-1493375400-1588096800@ruthasawa.com
SUMMARY:Where We Are: Selections from the Whitney's Collection 1900-1960
DESCRIPTION:Focusing on works made from 1900 to 1960\, Where We Are traces how artists have approached the relationships\, institutions\, and activities that shape our lives. Drawn entirely from the Whitney’s holdings\, the exhibition is organized around five themes: family and community\, work\, home\, the spiritual\, and the nation. During the six decades covered here\, the United States experienced war and peace\, economic collapse and recovery\, and social discord and progress. American artists responded in complex and diverse ways\, and a central aim of the exhibition is to honor each artist’s efforts to create her or his own vision of American life. The artists and their works suggest that our sense of self is composed of our responsibilities\, places\, and beliefs. \nWhere We Are\, as well as each of its sections\, is titled after a phrase in W. H. Auden’s poem “September 1\, 1939.” Auden\, who was raised in England\, wrote the poem in New York shortly after his immigration to the United States and at the very outset of World War II. The title of the poem marks the date Germany invaded Poland. While its subject is the beginning of the war\, Auden’s true theme is how the shadow of a global emergency reaches into the far corners of everyday life. Although mournful\, the poem concludes by pointing to the individual’s capacity to “show an affirming flame.” Where We Are shares Auden’s guarded optimism\, gathering a constellation of artists whose light might lead us forward. \nWhere We Are is organized by David Breslin\, DeMartini Family Curator and Director of the Collection\, with Jennie Goldstein\, assistant curator\, and Margaret Kross\, curatorial assistant. \nPhoto: Charles Demuth (1883‑1935)\, Buildings\, Lancaster\, 1930. Oil and graphite pencil on composition board\, 24 1/8 × 20 1/8in. (61.3 × 51.1 cm). Whitney Museum of American Art\, New York; gift of an anonymous donor 58.63
URL:https://ruthasawa.com/exhibition/selections-whitneys-collection-1900-1960/
LOCATION:Whitney Museum of American Art\, 99 Gansevoort Street\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2017/11/demuth.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190222T080000
DTEND;TZID=UTC:20200501T170000
DTSTAMP:20260405T125242
CREATED:20190906T041156Z
LAST-MODIFIED:20190918T204013Z
UID:1389-1550822400-1588352400@ruthasawa.com
SUMMARY:The Medium Is the Message: Art since 1950
DESCRIPTION:It is the medium that shapes and controls the scale and form of human association and action.  \n—Marshall McLuhan\, The Medium Is the Message\n\nUsing works created since 1950\, this exhibition explores the relationship between subject\, content\, and the materials that informed each object’s production.  \nThe exhibition is divided into three broad categories that explore the notion of “medium” in its various contexts: a means of communication\, the materials from which an art object is created\, and a mediating apparatus between objects and subjects. \n“In the Abstract\,” explores how paint\, metal\, and fabric can be used as means of abstract communication. “The Sum of Its Parts” explores how artists have used nontraditional art materials for critical and expressive inquiry. Lastly\, “The Faces We Present” reconsiders the limits of figural representation\, investigating how portraiture can serve as a mediating apparatus between the past and the present.  \nViewed collectively\, these works suggest that an exploration of medium is one way of challenging dominant discourses around art\, culture\, and history. \nRead the Stanford Arts story about the exhibition > \nPhoto: Edward Kienholz and Nancy Reddin Kienholz (Edward Kienholz: U.S.A.\, 1927–1994; Nancy Kienholz: U.S.A.\, b. 1943)\, The Billionaire Deluxe\, 1977. Metal\, Fresnel lens system\, light bulb\, and solid-state electronic second counter. Gift of the Marmor Foundation (Drs. Michael and Jane Marmor) from the collection of Drs. Judd and Katherine Marmor\, 2007.57
URL:https://ruthasawa.com/exhibition/the-medium-is-the-message-art-since-1950/
LOCATION:Cantor Arts Center\, 328 Lomita Drive at Museum Way\, Stanford\, CA\, 94305\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/09/tv.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20190913T080000
DTEND;TZID=UTC:20210503T170000
DTSTAMP:20260405T125242
CREATED:20190906T033553Z
LAST-MODIFIED:20190906T033553Z
UID:1376-1568361600-1620061200@ruthasawa.com
SUMMARY:Women Take the Floor
DESCRIPTION:“Women Take the Floor” challenges the dominant history of American art by focusing on the overlooked and underrepresented work and stories of women artists. This reinstallation—or “takeover”—of Level 3 of the Art of the Americas Wing advocates for diversity\, inclusion\, and gender equity in museums\, the art world\, and beyond. With more than 250 works drawn primarily from the MFA’s collection\, the exhibition is organized into seven thematic galleries. \nPresented in the Saundra B. and William H. Lane Galleries\, Beyond the Loom: Fiber as Sculpture highlights pioneering artists who radically redefined textiles as modern art in the 1960s and 1970s: Anni Albers\, Olga de Amaral\, Ruth Asawa\, Sheila Hicks\, Kay Sekimachi and Lenore Tawney. The second rotation\, opening in spring 2020\, focuses on contemporary artists using the medium of textiles (embroidery\, weaving\, printed fabric\, and quilts) to challenge notions of identity\, gender\, and politics.
URL:https://ruthasawa.com/exhibition/women-take-the-floor/
LOCATION:Museum of Fine Arts Boston\, 465 Huntington Avenue\, Boston\, 02115
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/09/women-take-floor.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20191122T103000
DTEND;TZID=UTC:20220201T180000
DTSTAMP:20260405T125242
CREATED:20191213T022056Z
LAST-MODIFIED:20210720T000152Z
UID:1415-1574418600-1643738400@ruthasawa.com
SUMMARY:Making Knowing: Craft in Art\, 1950–2019
DESCRIPTION:Making Knowing: Craft in Art\, 1950–2019 foregrounds how visual artists have explored the materials\, methods\, and strategies of craft over the past seven decades. Some expand techniques with long histories\, such as weaving\, sewing\, or pottery\, while others experiment with textiles\, thread\, clay\, beads\, and glass\, among other mediums. The traces of the artists’ hands-on engagement with their materials invite viewers to imagine how it might feel to make each work. \nWhile artists’ reasons for taking up craft range widely\, many aim to subvert prevalent standards of so-called “fine art\,” often in direct response to the politics of their time.  \nIn challenging accepted ideas of taste—whether by embracing the decorative or turning away from traditional painting and sculpture in favor of functional items like bowls or blankets—these artists reclaim visual languages that have typically been coded as feminine\, domestic\, or vernacular. By highlighting marginalized modes of artistic production\, these artists challenge the power structures that determine artistic value. \nThis exhibition provides new perspectives on subjects that have been central to artists\, including abstraction\, popular culture\, feminist and queer aesthetics\, and recent explorations of identity and relationships to place. Together\, the works demonstrate that craft-informed techniques of making carry their own kind of knowledge\, one that is crucial to a more complete understanding of the history and potential of art. \nDrawn primarily from the Whitney’s collection\, the exhibition will include over eighty works by more than sixty artists\, including Ruth Asawa\, Eva Hesse\, Mike Kelley\, Liza Lou\, Ree Morton\, Howardena Pindell\, Robert Rauschenberg\, Elaine Reichek\, and Lenore Tawney\, as well as featuring new acquisitions by Shan Goshorn\, Kahlil Robert Irving\, Simone Leigh\, Jordan Nassar\, and Erin Jane Nelson. \nMaking Knowing: Craft in Art\, 1950–2019 is curated by Jennie Goldstein\, assistant curator\, and Elisabeth Sherman\, assistant curator\, with Ambika Trasi\, curatorial assistant. \nSupport for Making Knowing: Craft in Art\, 1950–2019 is provided by the Lenore G. Tawney Foundation. \nPhoto: Liza Lou\, Kitchen\, 1991-96. Beads\, plaster\, wood and found objects\, 96 × 132 × 168 in. (243.8 × 335.3 × 426.7 cm). Whitney Museum of American Art\, New York; gift of Peter Norton 2008.339a-x. © Liza Lou. Photograph by Tom Powel\, courtesy the artist \nAll museum visitors must book timed tickets in advance.\nhttps://whitney.org/visit \n$25\nAdults \n$18\nSeniors\, Students\, and Visitors with Disabilities \nFree\n18 and under \nThe museum is closed on Tuesdays\, and is open 10:30 to 6:00 every day except Friday\, when it’s open until 10pm
URL:https://ruthasawa.com/exhibition/making-knowing-craft-in-art-1950-2019/
LOCATION:Whitney Museum of American Art\, 99 Gansevoort Street\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/12/making-knowing.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20200124T110000
DTEND;TZID=UTC:20200425T170000
DTSTAMP:20260405T125242
CREATED:20200219T024745Z
LAST-MODIFIED:20200219T030858Z
UID:1428-1579863600-1587834000@ruthasawa.com
SUMMARY:Question Everything! The Women of Black Mountain College
DESCRIPTION:This exhibition will celebrate the work and impact of the women associated with Black Mountain College\, featuring borrowed works alongside pieces from the BMCM+AC collection by a wide-ranging group of artists including Anni Albers\, Suzi Gablik\, Ruth Asawa\, Jo Sandman\, M.C. Richards\, and Hazel Larsen Archer.  \nBMC was a place where women could explore their identities as artists and individuals; a space where women were expected to question things\, to think critically and to explore their own self determinacy. Through artworks\, personal accounts and archival film and photographs\, Question Everything! details how this new generation went forward with a strong sense of what it meant to be a woman in the 20th century\, forging new paths for themselves and those who followed in their footsteps. \nThe museum is open Mon – Sat.\nAdmission is free with suggested donation. \nThis exhibition is supported by The Beattie Foundation\, John Byrd + Ellen Clarke\, Marion L. Johnson Church\, Mr. + Mrs. Raymond J. Horowitz Foundation\, Thomas Frank\, and the Windgate Charitable Foundation. \nSpecial thanks to: The Britton family\, Connie Bostic\, Crystal Bridges Museum of American Art\, Sarah Downing\, Johanna Engebrecht\, Katherine French\, Suzi Gablik\, Lorrie Goulet\, Rob Hazelgrove + Dan McLawhorn\, Hudson + Terry Lanier\, Rebecca Lowell\, Michael Manes\, The Milton Resnick and Pat Passlof Foundation\, Donna Marie Perkins\, Reynolda House Museum of American Art\, Jo Sandman\, Susan Rhew Design\, Heather South\, Western Regional Archives\, and Erika Zarow.  \nPreview the Exhibition > \nLearn more about life at Black Mountain College\, and Asawa’s time there > \nView more of the work she created at Black Mountain > \nTop photo: Untitled S.529 (Wall-Mounted Paperfold with Horizontal Stripes)\, ca. 1970s\nRuth Asawa\, Ink and paper
URL:https://ruthasawa.com/exhibition/question-everything-the-women-of-black-mountain-college/
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/2020/02/bmc-question-paper-folding.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200818
DTEND;VALUE=DATE:20220503
DTSTAMP:20260405T125242
CREATED:20200818T234941Z
LAST-MODIFIED:20220504T183456Z
UID:1598-1597708800-1651535999@ruthasawa.com
SUMMARY:50x50 San Jose Museum of Art Publishes Online Catalog
DESCRIPTION:SJMA has published an online catalog titled 50X50: Stories of Visionary Artists from the Collection that features 50 artists. Learn about their lives\, what inspired them\, and what materials they used. Each artist chapter has been carefully researched and diligently cited. Featuring the artists’ own words via video and audio files. Large-scale artworks are available for your enjoyment.  \nView now >
URL:https://ruthasawa.com/exhibition/50x50-san-jose-museum-of-art-publishes-online-catalog/
LOCATION:Online
CATEGORIES:Virtual
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2020/08/50x50featured-1200.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20200825T090000
DTEND;TZID=UTC:20211212T170000
DTSTAMP:20260405T125242
CREATED:20210126T003853Z
LAST-MODIFIED:20210720T002932Z
UID:1661-1598346000-1639328400@ruthasawa.com
SUMMARY:Women\, Surrealism\, and Abstraction
DESCRIPTION:Drawn exclusively from the Museum collection\, Women\, Surrealism\, and Abstraction endeavors to look beyond typical art historical boundaries and to begin to lay claim to a more holistic and complex view of art history—one that includes parties left out because of aesthetic biases based on a system of privileged white male patrimony. \nDuring the 20th century\, art made by women was often overlooked or dismissed by museums\, collectors\, and art historians. An ironic side effect of this absence of attention was that it lessened the constraints and dictates of the marketplace for women\, allowing for increased experimentation and the pursuit of a personal vision in ways often less available for their male counterparts. \nUntil more recently\, women of color—especially Native American women—have rarely been included in art historical studies focusing on Surrealism and abstraction. In addition\, artists who work in ceramics\, fiber arts\, photography\, and printmaking\, rather than painting and sculpture\, are often left out of these studies as well. However\, Surrealism and abstraction offered women a glimpse of a world in which creative activity and liberation from societal expectations co-existed\, allowing them to embark on the difficult path to artistic freedom. Visit the website for virtual and audio tours.  \nWe are now limiting Museum attendance to 25 visitors at a time and require reservations. Photo: Margaret Tomkins Untitled \nWednesday	12pm – 5pm\nThursday	12pm – 5pm\nFriday	12pm – 7pm\nSaturday	10am – 3pm\nSunday – Tuesday	CLOSED
URL:https://ruthasawa.com/exhibition/women-surrealism-and-abstraction/
LOCATION:Nora Eccles Harrison Museum Of Art\, 650 North 1100 East\, Logan\, UT\, 84322\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2021/01/women-surrealism.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20201120T080000
DTEND;TZID=UTC:20210430T170000
DTSTAMP:20260405T125242
CREATED:20201127T093748Z
LAST-MODIFIED:20201127T094038Z
UID:1646-1605859200-1619802000@ruthasawa.com
SUMMARY:Nothing Is So Humble: Prints from Everyday Objects
DESCRIPTION:This focused exhibition\, drawn from the Whitney’s collection\, will look at the creative and irreverent ways that seven artists—Ruth Asawa\, Sari Dienes\, Pati Hill\, Kahlil Robert Irving\, Virginia Overton\, Julia Phillips\, and Zarina—have employed the everyday objects around them to make prints. Nothing Is So Humble takes its title from an evocative proposition by Dienes that recognized aesthetic possibilities in the most mundane of subjects: “Bones\, lint\, Styrofoam\, banana skins\, the squishes and squashes found on the street: nothing is so humble that it cannot be made into art.” \nThe artists in this exhibition share an unconventional approach to printmaking. Rather than mark a metal plate or carve into a block of wood\, they have worked directly with the stuff of their environments: making a rubbing from a maintenance hole cover\, photocopying a hairbrush\, running nylon stockings through an etching press\, or even pressing a slice of prosciutto onto a printing plate.  \nThe resulting surface impressions—at once precise and abstracted—capture intimate views of their commonplace subjects that teeter between recognizable and elusive. By making visible what might otherwise be overlooked\, these works transform ordinary encounters into poetic and poignant accounts of our world. \nThis exhibition is organized by Kim Conaty\, Steven and Ann Ames Curator of Drawings and Prints. \nThe Museum is  $25 adults\n$18 Senior\, Student\, Disability\nPay What You Wish on Fridays\, 6–9 pm.  \nAll visitors and members must book timed tickets in advance. Please note that the Whitney is operating at a significantly reduced capacity for your safety\, and same-day tickets may be extremely limited.
URL:https://ruthasawa.com/exhibition/nothing-is-so-humble-prints-from-everyday-objects/
LOCATION:Whitney Museum of American Art\, 99 Gansevoort Street\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2020/11/nothing-so-humble.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20201130T080000
DTEND;TZID=UTC:20201219T170000
DTSTAMP:20260405T125242
CREATED:20201201T000828Z
LAST-MODIFIED:20201201T001241Z
UID:1652-1606723200-1608397200@ruthasawa.com
SUMMARY:Ruth Asawa: Drawing In Space
DESCRIPTION:While best known for her innovative wire sculptures\, Asawa had a deep connection to drawing and painting and often depicted plants\, flowers\, and other organic forms across her work that spanned fifty years. Here\, we present a selection of the artist’s smaller sculptures along with prints and works on paper\, many of which have not been widely shown. \nOn the occasion of an installation of wire sculptures\, drawings\, and lithographs by Ruth Asawa at David Zwirner’s 69th Street gallery in New York\, this online presentation offers a view of the investigations of material and form\, often inspired by nature\, that defined the artist’s career for half a century. \nThe gallery is open Tuesday-Saturday\, 10AM–6PM. \nPlease note we are following these COVID-19 precautions:\n– Face masks are required\n– Only 6 visitors are allowed in at a time\n– Observe social distancing of 6+ feet \nAppointments are encouraged but not required > \nView the online presentation >
URL:https://ruthasawa.com/exhibition/ruth-asawa-drawing-in-space/
LOCATION:David Zwirner New York 69th St.\, 34 East 69th Street\, New York\, NY\, 10021\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2020/11/drawing-in-space.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210127T080000
DTEND;TZID=UTC:20210517T170000
DTSTAMP:20260405T125242
CREATED:20210504T224158Z
LAST-MODIFIED:20210504T224158Z
UID:1702-1611734400-1621270800@ruthasawa.com
SUMMARY:Connecting Legacies: A First Look at the Dreier Black Mountain College Archive
DESCRIPTION:Black Mountain College was founded in order to provide a place where free use might be made of tested and proved methods of education and new methods tried out in a purely experimental spirit. There is full realization\, however\, of the fact that experiment is\, for the individual\, also experience; hence\, no experiment is being tried which is not submitted beforehand to the test of reasonable likelihood of good results. It is for this reason that the College is for the present content to place emphasis upon combining those experiments and the results of those experiences which have already shown their value in educational institutions of the western world\, but which are often isolated and prevented from giving their full value because of their existence side by side with thoughtless tradition.” \n—Text from first BMC Catalogue\, 1933 \n“This is lydia see\, curator of Connecting Legacies. Archives are collections of records\, such as letters\, newspapers\, and photographs\, also known as primary source materials. Museums often look to primary source materials for a variety of reasons: to add context to research about artworks\, artists\, and the historical framework within which something was made. \nDisplayed in this gallery are archival objects shown alongside works from the Museum’s Black Mountain College Collection\, which is comprised of over 1000 artworks and ephemera. These objects create connections\, each one a thread contributing to a nuanced tapestry of the people\, materials\, geographies\, and ideas of Black Mountain College and its ongoing legacy. \nHighlighted in this exhibition are materials which focus on underrepresented narratives and the women and people of color of Black Mountain College. For instance\, during the Summer Music Institute of 1944\, almost 10 years to the day before the Brown vs. Board of Education Supreme Court Ruling\, Alma Stone Williams became the first African American student invited to BMC. The following summer\, musicians Roland Hayes and Carol Brice were welcomed to the College as its first African American Faculty. Programs from their performances are curated alongside student artworks made around the same time. \nThis exhibition encourages viewers to find connections running between artworks and items from the Theodore Dreier Sr. Document Collection and invites the consideration of how the presence of primary sources impacts the experience of engaging with art.” \nThis exhibition is organized by the Asheville Art Museum and curated by lydia see\, fall 2020 Black Mountain College fellow\, with support from a Digitizing Hidden Collections grant through the Council on Library and Information Resources.
URL:https://ruthasawa.com/exhibition/connecting-legacies-a-first-look-at-the-dreier-black-mountain-college-archive/
LOCATION:Asheville Art Museum\, 2 South Pack Square\, Asheville\, NC\, 28801\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2021/05/connecting-legacies.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210206T080000
DTEND;TZID=UTC:20210531T170000
DTSTAMP:20260405T125242
CREATED:20210420T191144Z
LAST-MODIFIED:20210420T200600Z
UID:1691-1612598400-1622480400@ruthasawa.com
SUMMARY:Crafting America
DESCRIPTION:Crafting America\, a new exhibition developed by Crystal Bridges\, celebrates the skill and individuality of craft within the broad context of American art. From jewelry to furniture to sculptures and more\, this exhibition is dazzling and full of surprises. \nFeaturing over 100 works in ceramics\, fiber\, wood\, metal\, glass\, and more unexpected materials\, Crafting America presents a diverse and inclusive story of American craft from the 1940s to today\, highlighting the work of artists such as Ruth Asawa\, Beatrice Wood\, Shan Goshorn\, Nick Cave\, and more. Craft has long been a realm accessible to the broadest range of individuals\, providing an opportunity to explore personal creativity\, innovation\, and technical skill. This exhibition foregrounds varied backgrounds and perspectives in craft\, from the vital contributions of Indigenous artists to the new skills and points of view brought by immigrants to the United States. \nDeveloped by Jen Padgett\, associate curator at Crystal Bridges\, and Glenn Adamson\, guest curator and scholar of craft\, design history\, and contemporary art\, Crafting America asserts craft’s integral role in expanding the story of American art and is accompanied by a major multi-author illustrated publication published by Crystal Bridges and the University of Arkansas Press. The video lecture discusses Asawa’s work at 39:00. \nCrystal Bridges is open Wed. through Mon. with free\, timed tickets required. Admission to the exhibition is:\nAdults: $12\nMembers\, SNAP participants\, Veterans\, and Youth 18 and Under: FREE
URL:https://ruthasawa.com/exhibition/crafting-america/
LOCATION:Crystal Bridges Museum of American Art\, 600 Museum Way\, Bentonville\, AR\, 72712\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2021/04/Crafting-America-Ruth-Asawa.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210310
DTEND;VALUE=DATE:20220504
DTSTAMP:20260405T125242
CREATED:20210310T201702Z
LAST-MODIFIED:20220504T183323Z
UID:1681-1615334400-1651622399@ruthasawa.com
SUMMARY:Experiments On Stone: Four Women Artists From The Tamarind Lithography Workshop
DESCRIPTION:Drawn from the Museum’s permanent collection\, Experiments on Stone: Four Women Artists from the Tamarind Lithography Workshop explores the prints produced by a group of artists at the Tamarind Lithography Workshop. Anni Albers\, Ruth Asawa\, Gego\, and Louise Nevelson each completed two-month fellowships at Tamarind during the 1960s. Though they did not overlap with one another during their residencies\, the connective thread between their varied bodies of work is the workshop itself.  \nView exhibition > \nFounded by artist June Wayne in 1960\, Tamarind was conceived to fill a void in the output of prints produced by artists in the United States. The workshop was an essential site for experimentation and collaboration between artists and printers in Los Angles in the 1960s. Emphasizing collaboration\, innovation\, professionalization\, and training\, Tamarind served as a site for artists and printers alike to revive the medium of lithography in the United States\, a technique which had dwindled just after mid-century due to economic pressures and the lack of master printers and print shops. Under the directorship of Wayne\, several women artists were given the space to create and further the medium of lithography with unprecedented access to studio space and printers.  \nThese four artists all worked primarily in media outside of printmaking for a majority of their careers—Albers is known for her textiles and weaving while Asawa\, Gego\, and Nevelson each developed unique sculptural practices. The fellowship at Tamarind proved to be a fruitful period for developing each of their practices\, using lithography to work through their three-dimensional concerns and ideas on a two-dimensional surface. Situating these lithographs alongside sculptural or textile examples\, this exhibition places this period of work in direct dialogue with each artist’s larger œuvre. Experiments on Stone explores each artist’s distinct inquiry into printmaking\, underscoring the importance of this experimental time in each of the artists’ respective careers. \nExperiments on Stone: Four Women Artists from the Tamarind Lithography Workshop is organized by MCASD Assistant Curator Alana Hernandez and made possible by gifts to the annual operating fund. Institutional support of MCASD is provided by the City of San Diego Commission for Arts and Culture and the County of San Diego Community Enhancement Fund. \nThis exhibition is part of the Feminist Art Coalition\, a national platform for art projects that seek to generate cultural awareness of feminist thought\, experience\, and action. Working collectively\, art museums and nonprofit institutions from across the United States will present concurrent events beginning in the fall of 2020. \nPhoto: Desert Plant\n1965\, Color Lithograph\, 18 1/2 × 18 1/2in. (47 × 47cm). Collection of Museum of Contemporary Art San Diego\, Gift of Mr. and Mrs. Martin L. Gleich\, San Diego\, California.
URL:https://ruthasawa.com/exhibition/experiments-on-stone-four-women-artists-from-the-tamarind-lithography-workshop/
LOCATION:Online
CATEGORIES:Virtual
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2021/03/desert-plant.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210519T120000
DTEND;TZID=UTC:20210823T200000
DTSTAMP:20260405T125242
CREATED:20210520T024356Z
LAST-MODIFIED:20210520T053630Z
UID:1708-1621425600-1629748800@ruthasawa.com
SUMMARY:Women in Abstraction
DESCRIPTION:The exhibition sets out to write the history of the contributions of women artists to abstraction\, with one hundred and six artists and more than five hundred works dating from the 1860s to the 1980s. \n“Women in Abstraction” provides an opportunity to discover artists who represent discoveries both for the specialist and for the general public. It showcases the work of many of these women who suffer from a lack of visibility and recognition beyond the frontiers of their countries. Reviewing their specific contribution to the history of abstraction\, the exhibition focuses on the careers of artists who were sometimes unjustly eclipsed from the history of art.  \n11 am – 8 pm\, every day except Tuesdays. Online reservation required. \nPhoto by Delphine Paris\, Artwork © 2021 Estate of Ruth Asawa / Artist Rights Society (ARS)\, New York.\nCourtesy Estate of Ruth Asawa and David Zwirner
URL:https://ruthasawa.com/exhibition/women-in-abstraction/
LOCATION:Centre Pompidou\, Place Georges-Pompidou\, 75004\, Paris
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2021/05/asawa-pompidou.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210710T080000
DTEND;TZID=UTC:20211205T170000
DTSTAMP:20260405T125242
CREATED:20210712T214901Z
LAST-MODIFIED:20210712T214901Z
UID:1722-1625904000-1638723600@ruthasawa.com
SUMMARY:Lineage: Paul Klee and Ruth Asawa
DESCRIPTION:Drawing is a line that “goes out for a walk\,” wrote the Swiss-born Modernist Paul Klee (1879–1940). Klee’s dynamic lines and rhythmic patterns have been a catalyst for generations of artists\, including California-born Ruth Asawa (1926–2013). Asawa first encountered Klee’s art and writing through her Black Mountain professor Josef Albers\, with whom Klee had taught at the Bauhaus\, a revolutionary art school in Germany. She later noted — evoking Klee — that she was interested in “the economy of a line” because “a line can go anywhere.” This presentation highlights the affinity between Klee’s compositional approach and Asawa’s explorations of line and shape in works she created at Black Mountain College and in her first years in San Francisco\, where she moved in 1949. \nMuseum Hours:\nHours\nMon 10 a.m.–5 p.m.\nTue + Wed Closed\nThu 1 p.m.–8 p.m.\nFri–Sun 10 a.m.–5 p.m. \nAdult: $25\, Senior: $22\, YA: $19\nTeens and Children FREE\nCheck website.
URL:https://ruthasawa.com/exhibition/lineage-paul-klee-and-ruth-asawa/
LOCATION:SF MOMA\, 151 Third St\, San Francisco\, CA\, 94103
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2021/07/klee-asawa.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20210720T103000
DTEND;TZID=UTC:20220109T173000
DTSTAMP:20260405T125242
CREATED:20210720T001204Z
LAST-MODIFIED:20210720T001526Z
UID:1730-1626777000-1641749400@ruthasawa.com
SUMMARY:Artist's Choice: Yto Barrada—A Raft
DESCRIPTION:In A Raft\, Yto Barrada—an artist known for her multidisciplinary investigations of cultural phenomena and historical narratives—explores how artworks can provide models for reimagining relationships and alternative ways of being in our world. \nIn this latest iteration of MoMA’s Artist’s Choice exhibition series\, Barrada has gathered works from the Museum’s collection that resonate with the ideas and work of French social work pioneer and writer Fernand Deligny (1913–1996). Barrada’s exploration centers on Deligny’s work from the late 1960s\, when he lived together with other volunteers and children with intellectual and developmental disabilities in an informal network in rural France; this was an attempt to create a new way of living “outside language\,” adapted for the nonverbal children. Deligny called this independent project “a raft\,” envisioning it as lightweight and maneuverable\, and requiring constant maintenance—an alternative to the “cargo ships” of the psychiatric institutions. Particularly resonant today\, Deligny’s emancipatory ideas are being rediscovered widely\, by philosophers\, psychoanalysts\, anthropologists\, filmmakers\, and artists. \nRenewed interest in Deligny’s life’s work is largely due to his publishers Sandra Alvarez de Toledo and Anaïs Masson\, Barrada’s longtime friends with whom she has collaborated closely on this exhibition. For Barrada\, “Deligny’s search for new maps and modes of being represent a vital heritage for artists.” In bringing together selected works by artists including Anni Albers\, Vito Acconci\, Louise Bourgeois\, Lygia Clark\, David Hammons\, and Bruce Nauman with films\, maps\, writing\, and photographs that document Deligny’s revolutionary project\, Barrada invites us to consider art in relationship to language in ways that might inspire us elsewhere in our lives. \n    Organized by Yto Barrada with Lucy Gallun\, Associate Curator\, and River Encalada Bullock\, Beaumont & Nancy Newhall Curatorial Fellow\, Department of Photography. \nMoMA is open daily\, from 10:30 a.m.–5:30 p.m.\nWe are open until 7:00 p.m. on Saturdays.
URL:https://ruthasawa.com/exhibition/artists-choice-yto-barrada-a-raft/
LOCATION:MoMA\, 11 West 53 Street\, Manhattan\, New York\, NY\, 10019\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2021/07/inaraft.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20211022T110000
DTEND;TZID=UTC:20220227T190000
DTSTAMP:20260405T125242
CREATED:20211013T221827Z
LAST-MODIFIED:20211013T221827Z
UID:1784-1634900400-1645988400@ruthasawa.com
SUMMARY:Women in Abstraction
DESCRIPTION:Women in Abstraction aims to trace a lesser-told history of art primarily from the 20th and 21st centuries by focusing on the contribution of women artists to abstraction. The exhibition includes over 100 artists working across disciplines\, such as dance\, applied arts\, photography\, film\, and performance art from Latin America\, the Middle East and Asia\, Europe\, and the United States in order to tell an expansive and complex story with many voices. \nMany exhibitions dealing with abstraction underestimate the fundamental role played by women in the development of this movement. By focusing on the paths of artists\, some of whom were unfairly ignored\, the exhibition proposes another history. Women in Abstraction brings to light the decisive turning points that have marked this movement\, evoking both the research undertaken by artists\, individually or as a group\, and the founding exhibitions. \nExhibition organized by the Centre Pompidou\, Paris\, in collaboration with the Guggenheim Museum Bilbao.\nWith the support of the Terra Foundation for American Art. \nThe exhibition was conceived by Christine Macel\, Chief Curator at the Centre Pompidou\, and Karolina Lewandowska\, Director of the Museum of Warsaw in addition to Curator of Photography\, and organized in collaboration with Lekha Hileman Waitoller\, Curator at the Guggenheim Museum Bilbao. \n12€ Adults – 6€ Senior – 6€ Students\nFrom 11:00 a.m. to 7:00 p.m.  \nImage: Sonia Delaunay\nElectric Prisms (Prismes électriques)\, 1914\nOil on canvas\n250 x 250 cm\nPurchased by the State\, 1958\nAttributed\, 1958\nCentre Pompidou Collection\, Paris\, Musée national d’Art moderne – Centre de création industrielle\nImage © Centre Pompidou\, MNAM-CCI/ Philippe Migeat/\nDist. RMN-GP\n© Pracusa S.A.
URL:https://ruthasawa.com/exhibition/women-in-abstraction-2/
LOCATION:Guggenheim Bilbao\, Abandoibarra Etorb.\, 2\, Bilbo\, Bizkaia\, 48009\, Spain
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2021/10/bilbao-sonia-delaun-1k.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20211104T100000
DTEND;TZID=UTC:20211218T180000
DTSTAMP:20260405T125242
CREATED:20211008T201455Z
LAST-MODIFIED:20211008T202212Z
UID:1763-1636020000-1639850400@ruthasawa.com
SUMMARY:Ruth Asawa: All Is Possible
DESCRIPTION:David Zwirner is pleased to present Ruth Asawa: All Is Possible at the gallery’s 537 West 20th Street location in New York. Organized by Helen Molesworth\, this exhibition aims to situate Asawa’s (1926–2013) iconic looped- and tied-wire sculptures in the context of her extraordinary drawings and her lesser known sculptural forms\, offering viewers one of the most comprehensive looks at this artist’s work to date. This larger context illuminates an artist in pursuit of form as a means to reshape how we see and perceive the world as well as offering a model for thinking about the avant-garde’s long-held desire to place art and life in a permanently dynamic conversation. \nThe Estate of Ruth Asawa has been represented by David Zwirner since 2017. The gallery’s inaugural solo exhibition of the artist’s work took place the same year in New York. In 2020\, the gallery’s London location presented Ruth Asawa: A Line Can Go Anywhere\, which was the first major presentation of the artist’s work outside of the United States. In 2022\, Ruth Asawa: Citizen of the Universe will open at Modern Art Oxford\, England\, and will subsequently travel to the Stavanger Kunstmuseum\, Norway. \nOpen Tues – Sat. 10-6 \nPhoto: Imogen Cunningham\, Ruth Asawa\, Sculptor\, 1968 (detail)
URL:https://ruthasawa.com/exhibition/ruth-asawa-all-is-possible/
LOCATION:David Zwirner New York W 20th St.\, 537 W 20th St.\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2021/10/zwirner-11-21-cunningham.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20211118T100000
DTEND;TZID=UTC:20220206T170000
DTSTAMP:20260405T125242
CREATED:20211119T211234Z
LAST-MODIFIED:20211119T211319Z
UID:2209-1637229600-1644166800@ruthasawa.com
SUMMARY:Imogen Cunningham: A Retrospective
DESCRIPTION:Imogen Cunningham: A Retrospective showcases the endless innovation and profound influence of this remarkable photographer who pushed the boundaries for both women in the arts and photography as an art form. Nearly 200 of Cunningham’s insightful portraits\, elegant flower and plant studies\, poignant street pictures\, and groundbreaking nudes present a singular vision developed over seven decades of work. The first major retrospective in the United States of Cunningham’s work in 35 years\, the exhibition examines on the artist’s Seattle upbringing and includes works by female artists such as Ruth Asawa and Martha Graham who Cunningham championed\, as well as works by Group f/64 which she helped found with Ansel Adams\, Edward Weston\, and others. Cunningham’s spark of creative possibility asserted photography as a distinct and valuable art form in the 20th century. \n \nThis exhibition is organized by the J. Paul Getty Museum\, Los Angeles. \nPresenting Sponsor \nArtsFund\nMajor Sponsor\nNational Endowment for the Arts \nGenerous Support\nHerman and Faye Sarkowsky Endowment\nMary and Dean Thornton Endowment Fund \nAdults: 29.99 at least a day in advance\, and 32.99 day of.\nCheck pricing > \nThe museum is closed Mondays and Tuesdays \nIn accordance with the latest Public Health—Seattle & King County order\, all visitors age 12 and older must show proof of full vaccination or a negative COVID-19 PCR test to enter the museum. Additionally\, masks are required for all individuals over the age of two regardless of vaccination. Subject to change. \nPhoto © Imogen Cunningham Trust
URL:https://ruthasawa.com/exhibition/imogen-cunningham-a-retrospective/
LOCATION:Seattle Art Museum\, 1300 1st Ave\, Seattle\, WA\, 98101\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2021/11/hm-slide-01-exhibition.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220213T080000
DTEND;TZID=UTC:20220501T170000
DTSTAMP:20260405T125242
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
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/01/wop-asawa.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220308T100000
DTEND;TZID=UTC:20220612T173000
DTSTAMP:20260405T125242
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
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/03/callas-crop-cunningham-more.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220312T100000
DTEND;TZID=UTC:20220918T170000
DTSTAMP:20260405T125242
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
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/04/gego-crop.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20220316T110000
DTEND;TZID=UTC:20220515T180000
DTSTAMP:20260405T125242
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
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/04/noguchi-photo@0.5x.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220318T080000
DTEND;TZID=UTC:20220828T170000
DTSTAMP:20260405T125242
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
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/04/deliveryservice.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220403T140000
DTEND;TZID=UTC:20220403T160000
DTSTAMP:20260405T125242
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
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/03/IMCU312-crop-last-pixpro.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220423T100000
DTEND;TZID=UTC:20221030T170000
DTSTAMP:20260405T125242
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
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/01/aiko-carter-full.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220423T110000
DTEND;TZID=UTC:20221127T190000
DTSTAMP:20260405T125242
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
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/04/felipe-baeza-bianalle-crop.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220527T080000
DTEND;TZID=UTC:20220820T170000
DTSTAMP:20260405T125242
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
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DTSTART;TZID=UTC:20220616T080000
DTEND;TZID=UTC:20230430T170000
DTSTAMP:20260405T125242
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
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DTSTART;TZID=UTC:20220706T110000
DTEND;TZID=UTC:20260706T170000
DTSTAMP:20260405T125242
CREATED:20220702T024349Z
LAST-MODIFIED:20250704T013213Z
UID:2435-1657105200-1783357200@ruthasawa.com
SUMMARY:The Faces Of Ruth Asawa
DESCRIPTION:From the mid-1960s through 2000\, Asawa created hundreds of individual face masks out of clay. With the Cantor’s Asian American Art Initiative\, this wall of 233 masks becomes a permanent part of their collection. \nThe Asian American Art Initiative (AAAI) transforms Stanford into the leading academic and curatorial center for Asian American art. Alexander and Marci Kwon\, assistant professor in Stanford’s Department of Art and Art History\, serve as AAAI co-directors. As part of the initiative\, the Cantor works to build the preeminent collection of Asian American art at a university art museum. \nThe Cantor acquired Untitled (LC.012\, Wall of Masks) in 2020. On July 6\, 2022\, they go on long-term view at the museum\, marking the first time this work has been shown in its entirety at any museum or public institution. The focused exhibition\, The Faces of Ruth Asawa\, curated by Alexander\, features the masks and three vessels by Asawa’s son Paul Lanier. These special vessels were created with clay mixed with the ashes of Asawa\, her husband Albert\, and their late son\, Adam. Upon Asawa’s death—per her request—Lanier took this material and threw a set of vessels\, one for each remaining sibling. The three included in The Faces of Ruth Asawa were borrowed from the family. Their inclusion in the exhibition further demonstrates Asawa’s deeply intimate connection to clay. \nHear from Asawa’s family and friends\, including mask subjects\, about her process making the masks > \nThe museum is open Wed – Sun\, free with reservations. Reserve here > \nEnd date is open-ended.
URL:https://ruthasawa.com/exhibition/the-faces-of-ruth-asawa/
LOCATION:Cantor Arts Center\, 328 Lomita Drive at Museum Way\, Stanford\, CA\, 94305\, United States
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