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X-WR-CALNAME:Ruth Asawa
X-ORIGINAL-URL:https://ruthasawa.com
X-WR-CALDESC:Events for Ruth Asawa
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DTSTART:20210101T000000
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BEGIN:VEVENT
DTSTART;TZID=UTC:20220706T110000
DTEND;TZID=UTC:20260706T170000
DTSTAMP:20260501T162124
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
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BEGIN:VEVENT
DTSTART;TZID=UTC:20230128T100000
DTEND;TZID=UTC:20230730T170000
DTSTAMP:20260501T162124
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
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BEGIN:VEVENT
DTSTART;TZID=UTC:20230411T113000
DTEND;TZID=UTC:20230520T173000
DTSTAMP:20260501T162124
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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