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BEGIN:VEVENT
DTSTART;TZID=UTC:20210127T080000
DTEND;TZID=UTC:20210517T170000
DTSTAMP:20260405T161234
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:20260405T161234
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:20260405T161235
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:20260405T161235
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:20260405T161235
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210720T103000
DTEND;TZID=UTC:20220109T173000
DTSTAMP:20260405T161235
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20211022T110000
DTEND;TZID=UTC:20220227T190000
DTSTAMP:20260405T161235
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:20260405T161235
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:20260405T161235
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:20260405T161235
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:20260405T161235
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:20260405T161235
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220316T110000
DTEND;TZID=UTC:20220515T180000
DTSTAMP:20260405T161235
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:20260405T161235
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:20260405T161235
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:20260405T161235
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:20260405T161235
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:20260405T161235
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:20220616T080000
DTEND;TZID=UTC:20230430T170000
DTSTAMP:20260405T161235
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
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BEGIN:VEVENT
DTSTART;TZID=UTC:20220706T110000
DTEND;TZID=UTC:20260706T170000
DTSTAMP:20260405T161235
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
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2022/07/faces-ruth.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20221001T080000
DTEND;TZID=UTC:20230122T170000
DTSTAMP:20260405T161235
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:20221014T120000
DTEND;TZID=UTC:20230213T170000
DTSTAMP:20260405T161235
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:20230112T100000
DTEND;TZID=UTC:20230331T170000
DTSTAMP:20260405T161235
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:20230128T100000
DTEND;TZID=UTC:20230730T170000
DTSTAMP:20260405T161235
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:20230228T100000
DTEND;TZID=UTC:20230415T180000
DTSTAMP:20260405T161235
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:20230411T113000
DTEND;TZID=UTC:20230520T173000
DTSTAMP:20260405T161235
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
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BEGIN:VEVENT
DTSTART;TZID=UTC:20230916T103000
DTEND;TZID=UTC:20240115T180000
DTSTAMP:20260405T161235
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
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BEGIN:VEVENT
DTSTART;TZID=UTC:20230917T110000
DTEND;TZID=UTC:20240121T180000
DTSTAMP:20260405T161235
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
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BEGIN:VEVENT
DTSTART;TZID=UTC:20240118T110000
DTEND;TZID=UTC:20240120T190000
DTSTAMP:20260405T161235
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
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BEGIN:VEVENT
DTSTART;TZID=UTC:20240127T120000
DTEND;TZID=UTC:20240420T170000
DTSTAMP:20260405T161235
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
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