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.
“What is an Asian American woman artist?” Karin 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.
Spanning over 60 years of contemporary sculpture, this exhibition highlights ways in which artists draw on familiar experiences of movement, flux and organic growth.
Woven 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.
The exhibition presents drawings, collages, watercolors, and sketchbooks alongside stamped prints, paperfolds, and copper-foil works, showing the breadth of Asawa’s innovative practice.
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.
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.
An in-depth exhibition that delves into the dynamic intersections between weaving and abstraction. The exhibition’s final presentation will include numerous works not seen at earlier venues.