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.
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 […]
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.
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.
The 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.
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.
Nigerian British designer Duro Olowu guest curates the 20th installment in Cooper Hewitt’s Selects exhibition series. 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.
In 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, to talk about the creative friendship between Imogen Cunningham and Ruth Asawa.
Art Making as Life Making: Kinjia Akagawa at Tamarind offers a behind-the-scenes glimpse of life in a 1960s print workshop.
The Milk of Dreams takes its title from a book by Leonora Carrington (1917–2011) in which the Surrealist artist describes a magical world where life is constantly re-envisioned through the prism of the imagination. It is a world where everyone can change, be transformed, become something or someone else. The Exhibition The Milk of Dreams takes Leonora Carrington’s otherworldly creatures, along with other figures of transformation, as companions on an imaginary journey through the metamorphoses of bodies and definitions of the human.