Ruth Asawa: Permanent Installation
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 […]
Free
10 exhibitions found.
Exhibitions
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de Young Museum, Education Tower 50 Hagiwara Tea Garden Drive, San Francisco, United States
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Where We Are: Selections from the Whitney’s Collection 1900-1960
Whitney Museum of American Art 99 Gansevoort Street, New York, NY, United StatesFocusing 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 […]
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The Medium Is the Message: Art since 1950
Cantor Arts Center 328 Lomita Drive at Museum Way, Stanford, CA, United StatesUsing works created since 1950, this exhibition explores the relationship between subject, content, and the materials that informed each object’s production.
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California Studio Craft
SFO Museum San Francisco Airport, San Francisco, CA, United StatesSFO Terminal 2 Departures - Level 2 - Post-Security Featuring works from the Forrest L. Merrill collection Studio craft combines the characteristics of traditional, handmade craft with the refined qualities […]
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Women Take the Floor
Museum of Fine Arts Boston 465 Huntington Avenue, Boston“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.
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Making Knowing: Craft in Art, 1950–2019
Whitney Museum of American Art 99 Gansevoort Street, New York, NY, United StatesMaking 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. At the Whitney Museum of American Art.
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A Line Can Go Anywhere
David Zwirner London 24 Grafton Street, London, United KingdomDavid Zwirner is pleased to announce an exhibition of work by American artist Ruth Asawa (1926–2013) at the gallery’s London location. This will be the first major presentation of the artist’s work outside of the United States and will include a number of her key forms, focusing in particular on the relationship between her wire sculptures and wide-ranging body of works on paper.
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Question Everything! The Women of Black Mountain College
Black Mountain College Museum + Arts Center 120 College Street, Ashville, NC, United StatesBMC 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.
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50×50 San Jose Museum of Art Publishes Online Catalog
OnlineSJMA 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 […]
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Women, Surrealism, and Abstraction
Nora Eccles Harrison Museum Of Art 650 North 1100 East, Logan, UT, United StatesDrawn 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.