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X-WR-CALDESC:Events for Ruth Asawa
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20051017
DTEND;VALUE=DATE:20201018
DTSTAMP:20260405T161203
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
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BEGIN:VEVENT
DTSTART;TZID=UTC:20170428T103000
DTEND;TZID=UTC:20200428T180000
DTSTAMP:20260405T161203
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
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BEGIN:VEVENT
DTSTART;TZID=UTC:20190222T080000
DTEND;TZID=UTC:20200501T170000
DTSTAMP:20260405T161203
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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190615
DTEND;VALUE=DATE:20200224
DTSTAMP:20260405T161203
CREATED:20190626T224521Z
LAST-MODIFIED:20190627T191056Z
UID:1300-1560556800-1582502399@ruthasawa.com
SUMMARY:California Studio Craft
DESCRIPTION:SFO Terminal 2\nDepartures – Level 2 – Post-Security \nFeaturing works from the Forrest L. Merrill collection\nStudio craft combines the characteristics of traditional\, handmade craft with the refined qualities of fine art. Made by professional artist-craftspeople who work in a variety of media\, studio craft includes both utilitarian items and more experimental pieces that focus on aesthetics over function. For many\, studio craft is an imaginative and personal expression that encourages creativity through the exploration of time-tested materials and techniques. The finest objects evoke emotion and exhibit the process of making along with evidence of the artist’s hand.   \nDuring the mid-20th century\, studio craft began to thrive in California. Working with materials including clay\, fiber\, wood\, metal\, and glass\, studio craft makers pioneered new directions in their respective media. With the support of college programming\, exhibitions\, and a burgeoning consumer market\, makers utilized an artistic focus that bound craft more closely to the fine arts. A revolutionary studio craft movement emerged\, and as the scene expanded around Southern California and the San Francisco Bay Area\, other cities throughout the nation took notice. \nCalifornia craft makers produced an array of modern\, regionally unique items. Glen Lukens (1887–1967)\, who founded the ceramics department at the University of Southern California in 1933\, was known for the “California Color” range of glazes that he formulated from minerals found in the state’s desert regions. Laura Andreson (1902–99)\, a Los Angeles-based potter who experimented with crystalline glazes\, assembled a ceramics program for the University of California\, Los Angeles\, a short time later. Some of the state’s pioneering craft makers\, such as the husband-and-wife team of Otto (1908–2007) and Gertrude (1908–71) Natzler\, immigrated from Europe and brought with them centuries of European methods for working with clay.  \nNumerous makers have left their own indelible marks on California studio craft. Educator and sculptor Peter Voulkos (1924–2002) ushered ceramics towards a more expressive aesthetic. Marvin Lipofsky (1938–2016) and Robert Fritz (1920–86) founded the first studio glass programs in the state’s college system. June Schwarcz (1918–2015) took enamels to new heights with her experimental\, electroformed vessels. Bob Stocksdale (1913–2003) set the bar for woodturners with his simple-yet-elegant forms. Kay Sekimachi (b. 1926) continues her innovative work as a fiber artist with masterful on- and off-loom textiles. These are a few of the many foundational makers who have created and redefined California studio craft over the past six decades. \nThis exhibition was made possible through a generous loan from Forrest L. Merrill. Thank you to Forrest L. Merrill for his support of this project\, and to the Marvin Lipofsky Estate and Modern i Shop for their additional loans. \nPhoto © Laurence Cuneo
URL:https://ruthasawa.com/exhibition/california-studio-craft/
LOCATION:SFO Museum\, San Francisco Airport\, San Francisco\, CA\, 94128\, United States
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/06/s.232.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20190913T080000
DTEND;TZID=UTC:20210503T170000
DTSTAMP:20260405T161203
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
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BEGIN:VEVENT
DTSTART;TZID=UTC:20191122T103000
DTEND;TZID=UTC:20220201T180000
DTSTAMP:20260405T161203
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:20200110T100000
DTEND;TZID=UTC:20200222T170000
DTSTAMP:20260405T161203
CREATED:20191231T190127Z
LAST-MODIFIED:20191231T191414Z
UID:1420-1578650400-1582390800@ruthasawa.com
SUMMARY:A Line Can Go Anywhere
DESCRIPTION:David 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. \n An influential artist\, devoted activist\, and tireless advocate for arts education\, Asawa is best known for her extensive body of hanging wire sculptures. These intricate\, dynamic\, and sinuous works\, begun in the late 1940s\, continue to challenge conventional notions of sculpture through their emphasis on lightness and transparency. Relentlessly experimental across a range of mediums\, Asawa also produced numerous drawings and prints that\, like her wire sculptures\, are built on simple\, repeated gestures that accumulate into complex compositions. Although she moved between abstract and figurative registers in her sculptures and drawings\, respectively\, viewed together\, the works in this exhibition nevertheless incite a rich dialogue and find commonality in their sustained emphasis on the natural world and its forms\, as well as in their deft use of the basic aesthetic concept of the line.  \n“I was interested in it because of the economy of a line\, making something in space\, enclosing it without blocking it out. It’s still transparent. I realized that if I was going to make these forms\, which interlock and interweave\, it can only be done with a line because a line can go anywhere.” \nImage: Ruth Asawa\, Sculptor\, at Her Door\, 1963 (detail). Photo by Imogen Cunningham. © 2020 Imogen Cunningham Trust
URL:https://ruthasawa.com/exhibition/a-line-can-go-anywhere/
LOCATION:David Zwirner London\, 24 Grafton Street\, London\, W1S 4EZ\, United Kingdom
ATTACH;FMTTYPE=image/jpeg:https://ruthasawa.com/wp-content/uploads/2019/12/linecangoanywhere.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20200124T110000
DTEND;TZID=UTC:20200425T170000
DTSTAMP:20260405T161203
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
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