ASU Art Museum

Art in Focus: New Acquisitions
2022-02-17 00:00 - 2022-09-04 00:00 (America/Phoenix)
“Art in Focus: New Acquisitions” turned the curatorial process over to the Museum Ambassadors, our front-of-house staff of student workers. This process allowed them to participate in the exhibition-making process, rather than just sharing the final product with our visitors. From a collection of more than 13,000 objects, the students narrowed their focus to highlight a few works that have entered the museum’s collection in the last five years. Many of the works selected are representative of our collection strengths, as well as our goal of creating an archive of our exhibition history. We are thrilled to include recent acquisitions by artists including José Clemente Orozco, Michael Sherrill, June Wayne, Kumi Tsuda, Julie Heffernan, Courtney Leonard, Cannupa Hanska Luger, Henry Pim, Susan Collett, Justin Rothshank, Isaac Scott and Marina Perez Simão.
Image credit: June Wayne, Serge Lozingot, French Printer, “Nature Morte,” 1970, lithograph, 29 in. x 23 in. Courtesy of Robert Conway.

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Video Preview: 'Teeter-Totter Wall' by Ronald Rael + Virginia San Fratello with Colectivo Chopeke
2022-03-05 00:00 - 2022-04-03 00:00
“Teeter-Totter Wall” is a preview video screening for the upcoming exhibition “A Country is not a House: Ronald Rael + Virginia San Fratello,” opening May 7, 2022 at ASU Art Museum. Fusing design with activism, architecture studio Rael San Fratello has been questioning the border that separates Mexico from the United States for over a decade. On July 28, 2019, Rael San Fratello placed three bright pink teeter-totters into gaps in the steel border wall dividing El Paso, Texas and Ciudad Juárez, Mexico. Using the border as a support, the seesaws were installed for just under 20 minutes, bridging two communities divided by the politically manipulated boundary. Named the 2020 Beazley Design of the Year by the London Design Museum, “Teeter-Totter Wall” offers a point of connection between families and cultures — an opportunity for play, a reminder of our need for cross-border collaboration and a challenge to systems of separation. Learn more about Rael San Fratello’s work at https://www.rael-sanfratello.com .
Image credit: Still from “Teeter-Totter Wall, 2019, single-channel video with sound, 3:00 min. Courtesy of Rael San Fratello.

https://asuevents.asu.edu/content/video-preview-teetertotter-wall-ronald-rael-virginia-san-fratello-colectivo-chopeke

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Look See Draw Sketches Tempe
2022-03-05 00:00 - 2022-04-03 00:00
Experience a pop-up exhibition of Aileen Martinez from Look See Draw. She will be in the space drawing every Friday and Saturday during her residency in our Artists’ Workshop space! See her sketching March 5, 6, 11, 13, 18, 19, 26, 27 and April 2 and 3, each day from 1–5 p.m.
Learn more about her work at: http://lookseedraw.com.
Image credit: Look See Draw, Aileen Martinez. Image courtesy of the artist.

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Look See Draw Sketches Tempe
2022-03-05 - 2022-04-03 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
Experience a pop-up exhibition of Aileen Martinez from Look See Draw. She will be in the space drawing every Friday and Saturday during her residency in our Artists’ Workshop space! See her sketching March 5, 6, 11, 13, 18, 19, 26, 27 and April 2 and 3, each day from 1–5 p.m.
Learn more about her work at: http://lookseedraw.com.

ASU Art Museum's Public Art
2022-03-05 00:00 - 2022-12-31 00:00
Explore the ASU Art Museum’s public art with works by Leo Villareal, Robert Arneson, Luis Jimenez and Eduardo Sarabia.
Image Credit: Eduardo Sarabia, “Snake Skin Boots with Snake Heads,” 2011, white quarry stone, 74 13/16 x 35 x71 in. Courtesy of the artist and Proyectos Monclova, Mexico City.

https://asuevents.asu.edu/content/asu-art-museum%E2%80%99s-public-art

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ASU Art Museum’s Public Art
2022-03-05 - 2025-02-28 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
﻿Made possible with a gift from Robert and Avery Moric, father and son ASU Herberger Institute for Design and the Arts alumni (Architecture Class of 1991 and Architecture and Barrett, The Honors College Class of 2023) and the ASU President’s Club.
Commissioned by Arizona State University Art Museum with funding by The Diane and Bruce Halle Foundation with additional funding by the Herberger Institute Dean’s Creativity Council.
“Art has a much bigger role to play in society. Everyone needs access to art, and at this time, we need art even more.” -Leo Villareal
“Point Cloud (ASU)” is a commissioned artwork by Leo Villareal designed specifically for the ASU Art Museum in the Nelson Fine Arts Center. During his visit to the ASU Art Museum, Villareal was inspired by the museum’s architecture, designed by Antoine Predock in 1987. “The building defines a journey, a procession; it defines options and potentials rather than particular paths. It is an open matrix of possibilities rather than particular paths. It is an open matrix of possibilities for engagement both vertically and horizontally,” Predock said on the experience of walking through the building. Inspired by this phenomenon, Villareal worked with Kaarta, the mobile 3D scan technology company, to map both the inside and outside of the building, creating over 200,000,000 data points. With the accumulated information, the artist manipulated the data points by employing his custom software to create this public artwork, seeking to deconstruct and reconstruct architectural rules and systems. “Point Cloud (ASU)” is the first instance Villareal has used actual data sampled from a location as part of an artwork.
In “Point Cloud (ASU),” Villareal focuses on the blurred boundaries between abstraction, recognition, and perception through monolithic screens mounted within the museum’s existing architecture. Through moving layers of light, Villareal renders the museum’s mapped spaces to reveal details of architecture that are not recognizable to the naked eye. The ever-changing lumens, slowly panning up and down stairs, through hallways and colonnades, echo a sort of procession throughout the museum. At times, the dots, lines, and planes create a recognizable image, but often, viewers are taken on a journey that dissolves into abstraction. The ongoing movement prompts consideration for deeper understandings of the masses and forms around us, questioning what we can see in front of us and what is ephemeral. “Point Cloud (ASU)” serves as a meditation on Predock’s work, revealing the deep layers and references embedded in the architecture as it ascends toward the heavens and descends into the earth.
Explore the ASU Art Museum’s public art with works by Leo Villareal, Robert Arneson, Luis Jimenez and Eduardo Sarabia.

Embrace by ARENA
2022-03-18 - 2023-02-19 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
“The desert is defined by the blazing sun and the need to find shelter from it. The arts center (ASU Art Museum) acknowledges this duality by linking earth and sky. The main entrance descends into the earth in search of coolness and psychological distance from the fierce sun above.” –Antoine Predock, ASU Art Museum Building architect, 1989
In today’s day and age, art museum lobbies tend to look the same, promoting a kind of high-class taste. They often rely on designs that use modern furniture; cold, hard floors; classical music; and other signals (like Italian coffees in their cafes and expensive gift items in their shops) that are familiar to some populations and alienating to others. As a museum that strives to be inclusive and to acknowledge people from all walks of life, ASU Art Museum commissioned ARENA (the artist duo Mario Gallego and Jorge Ignacio Torres) to reimagine the visitor experience. This artistic intervention, titled “Embrace,” focuses on themes of welcome, placemaking and placekeeping, and the activation of the five senses. ARENA (the Spanish word that translates to sand) was directly influenced by the landscape of the Sonoran desert and the building architect’s use of space and light.
About the artists:
Jorge Ignacio Torres works at the intersection of art, design and culture. His interdisciplinary practice focuses on how our experiences, both everyday and ritualized, can speak to contemporary society and how it is perceived. He is the founder of Palabra in Phoenix, a space that houses and cultivates art, music and culinary arts.
Mario Gallego is a creative brand strategist with an emphasis on design and art. He bridges various cultures through curated experiences as a multifaceted creative strategist, and he authentically connects community to art and design.

New Earthworks
2022-04-09 00:00 - 2022-09-25 00:00
“New Earthworks” presents work by eight contemporary artists who explore our interconnectedness with the earth. Artists David Brooks, Carolina Caycedo, Desert Artlab (April Bojorquez and Matt Garcia), Hope Ginsburg, Scott Hocking, Mary Mattingly, Sam Van Aken and Steven Yazzie take on issues of biodiversity and environmental equity, reassert indigenous knowledge and envision new systems to address climate change. Similar to earthwork artists of the 1960s and 70s, they utilize site and non-site systems of experiential installations or events in the landscape with sculpture, photographs, films, drawings, texts and objects created in the studio. The dialectic of site-specific and gallery locations, inclusive experience and discrete objects, provides an array of chances to rethink our understanding of the earth and propose new modalities at a time when it has never been more pressing to do so.
The exhibition is co-curated by artist Mark Dion and ASU Art Museum Curator Emeritus Heather Sealy Lineberry. “New Earthworks” is supported by the Diane and Bruce Halle Foundation and is sponsored by the Patti Parsons Foundation, Helme Prinzen Endowment and Joan D. Cremin. Additional support for artist installations provided by Lettuce Grow, an initiative of The Farm Project, and the UrbanFarm Fruit Tree Program.
Save the date! Join us at the museum for the opening reception on Saturday, April 9, from 3–5 p.m., featuring an artist panel moderated by co-curator Heather Sealy Lineberry. More details will be announced on our website at asuartmuseum.asu.edu.
Image credit: DesertArtLAB, Mobile ECO-STUDIO. Image courtesy of the artists.

https://asuevents.asu.edu/content/new-earthworks

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New Earthworks
2022-04-09 - 2022-09-25 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
“New Earthworks” presents work by eight contemporary artists who explore our interconnectedness with the Earth. Artists David Brooks, Carolina Caycedo, Desert Artlab (April Bojorquez and Matt Garcia), Hope Ginsburg, Scott Hocking, Mary Mattingly, Sam Van Aken and Steven Yazzie take on issues of biodiversity and environmental equity, reassert Indigenous knowledge and envision new systems to address climate change. Similar to earthwork artists of the 1960s and ’70s, they utilize site and non-site systems of experiential installations or events in the landscape with sculpture, photographs, films, drawings, texts and objects created in the studio. The dialectic of site-specific and gallery locations, inclusive experience and discrete objects, provides an array of chances to rethink our understanding of the Earth and propose new modalities at a time when it has never been more pressing to do so.
The exhibition is co-curated by artist Mark Dion and ASU Art Museum Curator Emeritus Heather Sealy Lineberry. “New Earthworks” is supported by the Diane and Bruce Halle Foundation and is sponsored by the Patti Parsons Foundation, Helme Prinzen Endowment and Joan D. Cremin. Additional support for artist installations is provided by Lettuce Grow, an initiative of The Farm Project, and the UrbanFarm Fruit Tree Program.
Save the date! Join us at the museum for the opening reception on Friday, April 8 from 6–8 p.m. More details will be announced on our website at asuartmuseum.asu.edu.

A Country is Not a House: Ronald Rael + Virginia San Fratello
2022-05-07 00:00 - 2022-10-30 00:00
Fusing design with activism, Ronald Rael and Virginia San Fratello have spent over a decade questioning the implications and contradictions of the border wall that divides the United States from Mexico. Structurally and conceptually, the artists undermine and dismantle the wall itself — a symbol of xenophobia and fear — through speculative explorations that promote social, economic and ecological reparations. Their inventive and poignant commentary is a protest against the wall, our most politically polarizing architectural feature, and a projection about its future. Offering new imaginaries the exhibition features drawings, prints, models, videos and newly commissioned sculptural installations inspired by our region that serve as a reminder of how human beings can transcend the forces that seek to divide us.
“A Country is Not a House: Ronald Rael + Virginia San Fratello,” curated by ASU Art Museum Curator Brittany Corrales, is supported by the Graham Foundation for Advanced Studies in the Fine Arts with major support from Falcon Designs. Sponsors include Elizabeth and Shane Ginsberg.
About the artists:
Professor Ronald Rael is the Eva Li Memorial Chair in Architecture in the Department of Architecture in the College of Environmental Design at the University of California Berkeley.
Virginia San Fratello is professor and chair of the Department of Design at San José State University.
Learn more about Rael San Fratello’s work at rael-sanfratello.com .
Save the date!
Join us for the opening reception on Saturday, May 7. Additional details will be announced on our website asuartmuseum.asu.edu.
Image credit: Rael San Fratello, “Cactus Wall,” 2013, inkjet print. Image courtesy of the artists.

https://asuevents.asu.edu/content/country-not-house-ronald-rael-virginia-san-fratello

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A Country is Not a House: Ronald Rael + Virginia San Fratello
2022-05-07 - 2022-10-30 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
Fusing design with activism, Ronald Rael and Virginia San Fratello have spent more than a decade questioning the implications and contradictions of the border wall that divides the United States from Mexico. Structurally and conceptually, the artists undermine and dismantle the wall itself — a symbol of xenophobia and fear — through speculative explorations that promote social, economic and ecological reparations. Their inventive and poignant commentary is a protest against the wall, our most politically polarizing architectural feature, and a projection about its future. Offering new imaginaries, the exhibition features drawings, prints, models, videos and newly commissioned sculptural installations inspired by our region that serve as a reminder of how human beings can transcend the forces that seek to divide us.
“A Country is Not a House: Ronald Rael + Virginia San Fratello,” curated by ASU Art Museum curator Brittany Corrales, is supported by the Graham Foundation for Advanced Studies in the Fine Arts with major support from Falcon Designs. Sponsors include Elizabeth and Shane Ginsberg.
About the artists:
Professor Ronald Rael is the Eva Li Memorial Chair in Architecture in the Department of Architecture in the College of Environmental Design at the University of California, Berkeley.
Virginia San Fratello is professor and chair of the Department of Design at San José State University.
Learn more about Rael San Fratello’s work at rael-sanfratello.com.

Luster and Light
2022-06-10 00:00 - 2023-01-08 00:00
“Luster and Light” creates space to reflect on the value of craft and craft-adjacent works in art museum settings. How is the idea of value interpreted in various spaces and contexts by individuals and institutions? This exhibition examines works that feature specific lustrous materials to relay cultural or social symbols, often to call attention to abuses of wealth and authority. One example is the use of gold for its historic associations with social and economic power, like in Alison Saar’s “Hi Yella” (1991). Another is Adrian Saxe’s use of luster glaze, a paintable coating containing precious metals like gold and silver, in ceramics to reference the lavishness of the Baroque and Rococo periods in art. Curated primarily from the ASU Art Museum’s permanent collections, the exhibition encourages reflection on museums as systems of power and cultural production. How have they upheld hierarchical systems, such as those evidenced by their collections and exhibition histories? Visitors are asked to engage by reflecting on what they value in their own lives.
“Luster and LIght” is curated by Windgate Curator of Contemporary Craft and Design Sarah Kelly and generously supported by the Windgate Foundation.
The Ceramics Research Center is temporarily open by appointment only. Please use the tour request form to schedule an appointment at least one week in advance.
Image credit: Rick Strini, “12 Goblets,” 1987, 9″ x 3 3/8″, hand-blown glass. Gift of James and Joanne Rapp. Image courtesy of the ASU Art Museum.

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Luster and Light
2022-06-10 - 2023-01-08 | ASU Art Museum Ceramics Research Center, 699 S. Mill Ave., Suite 108, Tempe, AZ, 85281, United States
“Luster and Light” creates space to reflect on the value of craft and craft-adjacent works in art museum settings. How is the idea of value interpreted in various spaces and contexts by individuals and institutions? This exhibition examines works that feature specific lustrous materials to relay cultural or social symbols, often to call attention to abuses of wealth and authority. One example is the use of gold for its historic associations with social and economic power, like in Alison Saar’s “Hi Yella” (1991). Another is Adrian Saxe’s use of luster glaze, a paintable coating containing precious metals like gold and silver, in ceramics to reference the lavishness of the Baroque and Rococo periods in art. Curated primarily from the ASU Art Museum’s permanent collections, the exhibition encourages reflection on museums as systems of power and cultural production. How have they upheld hierarchical systems, such as those evidenced by their collections and exhibition histories? Visitors are asked to engage by reflecting on what they value in their own lives.
“Luster and Light” is curated by Windgate Curator of Contemporary Craft and Design Sarah Kelly and generously supported by the Windgate Foundation.

The Malevolent and the Serene: Japanese Tea Bowls and Prints from the Collection
2022-09-17 00:00 - 2023-02-26 00:00
Art in Focus highlights works from the museum’s permanent collections. This exhibition presents Japanese ceramics and prints, with a focus on ghost stories and tea ceremonies. Woodblock prints by Tsukioka Yoshitoshi are accompanied by ceramic tea bowls and cups from Living National Treasures artists offering audiences an opportunity to learn and appreciate Japans’ contributions to printmaking and craft.
The curatorial team includes Mary-Beth Buesgen curator of collection and archives, Amelia Hay, learning and co-creation specialist and Colin Pearson, Ceramics Research Center academic intern. Special thanks to the Japanese Friendship Garden for their collaboration.
Image credit: Tsukioka Yoshitoshi, “The Greedy Old Woman (Don’yoku no baba),” 1865, woodblock print, 14 5/16 × 9 7/16 in. Gift of Darlene Goto.

https://asuevents.asu.edu/content/malevolent-and-serene-japanese-tea-bowls-and-prints-collection

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The Malevolent and the Serene: Japanese Tea Bowls and Prints from the Collection
2022-09-17 - 2023-02-26 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
Art in Focus highlights works from the museum’s permanent collections. This exhibition presents Japanese ceramics and prints, with a focus on ghost stories and tea ceremonies. Woodblock prints by Tsukioka Yoshitoshi are accompanied by ceramic tea bowls and cups from Living National Treasures artists offering audiences an opportunity to learn and appreciate Japans’ contributions to printmaking and craft.
The curatorial team includes Mary-Beth Buesgen curator of collection and archives, Amelia Hay, learning and co-creation specialist and Colin Pearson, Ceramics Research Center academic intern. Special thanks to the Japanese Friendship Garden for their collaboration.

Lucha Libre: Beyond the Arenas
2022-10-29 00:00 - 2023-05-07 00:00
“Lucha Libre: Beyond the Arenas” opens on Oct. 29, 2022, and is on view through May 7, 2023. Senior Curator Julio Cesar Morales, Assistant Curator at the Museum of Modern Art, Mexico City Fernanda Ramos and Consulting Curator Sharon Gesund are organizing this groundbreaking exhibition, which features painting, photography and mixed media artworks by internationally recognized Mexican and Chicanx contemporary artists along with collectors’ items, film posters and other memorabilia from some of the sport’s most famous wrestlers. This first exhibition of its kind, “Lucha Libre,” goes beyond its popularity in contemporary culture to reveal the sports’ ancient roots, explore its influence on sociopolitical movements and link its relationships to the visual culture of Mexico and beyond. In this exhibition, the phenomenon of Lucha Libre transcends the glitz and glamor of the theatrical stage to become a way to investigate themes of the underdog and the hero, identity and performance, and collective resistance to authority.
The exhibition at ASU Art Museum offers all visitors — from those who grew up loving the sport to audiences discovering it for the first time — an opportunity to view and understand Lucha Libre through the lenses of popular culture, poetics and politics. This project is both a scholarly contribution to the field of arts, accompanied by a fully illustrated publication and a vehicle to appreciate and deepen our knowledge of Mexican and Mexican-American culture, which has been historically underrepresented in art museums.
“Lucha Libre: Beyond the Arenas” is made possible with the support of Cloth & Flame and Rich and Sally Lehmann.
Image credit: “Lucha Libre: Beyond the Arenas” exhibition poster designed by Emmanuel García.

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Making Visible
2023-01-14 00:00 - 2023-07-23 00:00
“Making Visible” features artworks from ASU Art Museum’s permanent collections and examines how these objects perpetuate and fortify mythologies of the American West. With over 90% of the Museum’s 13,000+ objects entering the collection as gifts, this exhibition questions how the perspective of donors reflects specific tastes and fantasies about the Southwest. Further, it explores how museums create cultural narratives based on available objects without considering what is missing. Centering people and their stories, the exhibition seeks to redress and restore the archival silences and gaps in the museum’s collections by interrogating how racism, sexism, settler colonialism and other exclusionary practices produced a collection that centers Eurocentricity.
“Making Visible” is organized in collaboration with a community of advisors composed of activists, scholars and artists that lend important and yet historically excluded cultural perspectives. The museum worked with NY-based artist Miguel Luciano to develop the exhibition design, audience experience and public programs along with Amelia Hay, learning and co-creation specialist. In addition, they commissioned Jacob Meders, local artist and member of the Mechoopda Indian Tribe of Chico Rancheria, to write labels looking critically at several of the historical artworks in the exhibition. The curatorial team includes Julio César Morales, senior curator; Mary-Beth Buesgen, curator of collections and archives; Brittany Corrales, curator; Ninabah Winton, Windgate assistant curator of contemporary craft and design fellow and Abby Sutton, Windgate curatorial assistant.
“Making Visible” is sponsored by the Terra Foundation for American Art with generous support from the ASU Art Museum Boards and Councils.
Image credit: Joseph Henry Sharp, “Portrait of Taos Indian,” c. 1914, oil on linen canvas, 17 x 14 in., Gift of Oliver B. James. Fritz Scholder, “Portrait of a Massacred Indian,” 1973, lithograph, 40 x 30 in., Gift of Mr. Burton Horwitch.

https://asuevents.asu.edu/event/making-visible

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Making Visible
2023-01-14 - 2024-05-25 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
“Making Visible” features artworks from ASU Art Museum’s permanent collections and examines how these objects perpetuate and fortify mythologies of the American West. With over 90% of the Museum’s 13,000+ objects entering the collection as gifts, this exhibition questions how the perspective of donors reflects specific tastes and fantasies about the Southwest. Further, it explores how museums create cultural narratives based on available objects without considering what is missing. Centering people and their stories, the exhibition seeks to redress and restore the archival silences and gaps in the museum’s collections by interrogating how racism, sexism, settler colonialism and other exclusionary practices produced a collection that centers Eurocentricity.
“Making Visible” is organized in collaboration with a community of advisors composed of activists, scholars and artists that lend important and yet historically excluded cultural perspectives. The museum worked with NY-based artist Miguel Luciano to develop the exhibition design, audience experience and public programs along with Amelia Hay, learning and co-creation specialist. In addition, they commissioned Jacob Meders, local artist and member of the Mechoopda Indian Tribe of Chico Rancheria, to write labels looking critically at several of the historical artworks in the exhibition. The curatorial team includes Julio César Morales, senior curator; Mary-Beth Buesgen, curator of collections and archives; Brittany Corrales, curator; Ninabah Winton, Windgate assistant curator of contemporary craft and design fellow and Abby Sutton, Windgate curatorial assistant.
Click here to learn more about the Black cowboys of Arizona and their impact on Arizona history through their military service as Buffalo Soldiers.
“Making Visible” is sponsored by the Terra Foundation for American Art with generous support from the ASU Art Museum Boards and Councils.

A pattern, a trace, a portrait: Four Artists from CALA Alliance’s Residency Program
2023-01-14 - 2023-06-18 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
“A pattern, a trace, a portrait: Four Artists from CALA Alliance’s Residency Program” showcases new and existing work by Carolina Aranibar-Fernández, Diana Calderón, Estrella Esquilín and Sam Frésquez. These regional Latinx artists each present discrete installations that weave together universal themes of memory, loss and grief while highlighting issues related to place and the destruction of our natural environment. A pattern, a trace, a portrait highlights the dichotomy between the most intimate histories and the most global concerns.
This exhibition showcases, in part, a partnership between CALA Alliance and ASU Art Museum. CALA Alliance (Celebración Artística de las Américas) is a Latinx arts organization based in Phoenix. CALA Alliance collaborates with artists and arts organizations to nurture artistic talent, focusing on artists from the Latin American diaspora. The organization advances its mission through innovative artist residencies, artist commissions, community workshops, and public programming that position the Metro Phoenix region as a fruitful site that acknowledges and contributes to the promotion of Latinx art throughout the United States.
CALA Alliance and ASU Art Museum work in partnership to achieve their common mission of incubating and accelerating the presence of Latinx art in the United States. Together CALA Alliance and ASUAM promote the exchange of new ideas, perspectives, and experiences among artists, students, and the public through various programs, especially those that educate and inspire the public about the richness of the Latinx cultural heritage.

Opportunity (reflection)
2023-02-15 - 2024-12-31 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
World-renowned artist Hank Willis Thomas unveiled this monumental 10-foot tall stainless steel sculpture during Super Bowl LVII, Arizona 2023 where it was installed in the iconic Super Bowl Experience at the Phoenix Convention Center and then in the Great Lawn outside the State Farm Stadium during Super Bowl LVII. Capturing the essence of Thomas’ artistic practice, this latest sculpture draws from his 2015 sculpture “Opportunity,” which was inspired by the NFL, and as part of his interest in photographic history, popular culture, and sports as a metaphor for individual and collective struggle or hope. “Hank’s powerful sculpture showcased during Super Bowl week beautifully represents the passion, strength, and hope at the heart of our game,” said Peter O’Reilly, NFL Executive Vice President of Club Business & League Events.
The artwork falls within Thomas’ “Punctum” series, which is based on Roland Barthes’ photographic theory of the punctum referring to the detail in an image that pierces or wounds the viewer, creating a direct relationship between them and the pictured object or person. Thomas uses this concept to select or reframe areas of images, which he then transforms into large-scale sculptures. “Opportunity (reflection)” portrays a snapshot of an anonymous player whose arm extends outward to catch the football. The viewer is reflected back in the mirrored surface and invited to imagine these tense few moments, filled with great anticipation, the successful catch leading to success and celebration, as well as loss and defeat for the opposing team.

Lo que es, es lo que ha sido/What It is, Is What Has Been: Selections from the ASU Art Museum's Cuban Art Collection
2023-05-06 - 2023-09-17 | Phoenix Art Museum, 1625 North Central Avenue, Phoenix, AZ, 85004, United States
Lo que es, es lo que ha sido/What It Is, Is What Has Been: Selections from the ASU Art Museum’s Cuban Art Collection explores artistic expression during times of humanitarian crises and social upheaval. Located at the Phoenix Art Museum, the exhibition is the first major curatorial collaboration between Phoenix Art Museum and ASU Art Museum in more than a decade. The exhibition draws from the contemporary Cuban art collection at ASU Art Museum to provide deeper context to Phoenix Art Museum’s simultaneous presentation of the special engagement exhibition Juan Francisco Elso: Por América, a project organized by El Museo del Barrio in New York City.

Cuban Print Collection
2023-05-19 - 2023-08-27 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
In conjunction with Lo que es, es lo que ha sido/What It Is, Is What Has Been: Selections from the ASU Art Museum’s Cuban Art Collection at the Phoenix Art Museum, the ASU Art Museum presents their Cuban Print Collection. A portfolio of eleven prints was published by Arizona State University Art Museum in conjunction with the 1998 exhibition Contemporary Art from Cuba: Irony and Survival on the Utopian Island organized by the ASU Art Museum in Tempe, Arizona. The exhibition featured the work of 17 artists living and working in Cuba. Curated by Marilyn A. Zeitlin, the Museum’s director and chief curator at the time, the exhibition represented a milestone for Cuban art and brought awareness of that art in the United States. The lithographs and photolithographs were printed at Segura Publishing Company, Inc., in Tempe, Arizona, by Joe Freye. The woodcuts, linocut, collograph, and etching were printed at Armstrong Prior, Inc., in Phoenix, Arizona, by John Armstrong.

For more information on purchasing one of the reproduction portfolios email Raechel Miller (Visitor Services Coordinator) at raechel.miller@asu.edu

Everything is a Little Fuzzy
2023-07-22 - 2023-12-31 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
“Everything Is a Little Fuzzy,” draws from the museum’s permanent collection. With an eye on dimensions of memory and care, it explores the challenges experienced in a post-pandemic world. The exhibition highlights aspects of care, emphasizes memory, communicates resilience, and explores softness through difficult circumstances.
Twenty-two artworks on display feature textile objects or the usage of fibrous materials and techniques. Ninabah Winton, the exhibition’s curator and ASU Art Museum Windgate Assistant Curator of Contemporary Craft and Design, asks, “How are care and memory passed down in textile work? How do fiber or ceramic works hold or contain memories, and how are they shaped by memory or the concept of care?”
Join us at the museum for the opening reception on Saturday, Aug. 19, from 6 to 8 p.m.

Crafting Resistance
2023-08-19 - 2024-07-14 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
Crafting Resistance looks at the ways in which we understand and view the term craft and its relationship to fine art. The exhibition seeks to flatten the western European art historical cannon and hierarchy and unhinge the binary that often places ‘fine art’ and ‘craft’ at odds with one another. Artists in the exhibition utilize materials and modes of production that are often relegated to what is historically viewed as craft, mediums such as glass, textile, felt, miniature, and wood, and instrumentalize them to make commentary about some of today’s most pressing issues, including climate catastrophe, representation, geo-politics, and migration.

Special thanks to artists Sama Alshaibi, Merryn Omotayo Alaka, Andrew Erdos, Maria Hupfield, Yasue Maetake, Jayson Musson, Eric-Paul Riege, Curtis Talwst Santiago, and Sam Frésquez, with additional thanks to the exhibition’s community of practice, Joe Baker (Delaware), Bonn Baudelaire (Cocopah), and Sharah Nieto (Yucatec Maya).

Curated by Erin Joyce with support from Abby Sutton, ASU Art Museum Windgate Intern.

Sponsors:
The Edward Jacobson Fund
Kevin and Alexis Cosca
Theresa M. Shoemaker
Christian and Allison Lester

Luis Rivera Jimenez: A Brief Proposal on Race and Cultural Cosplay
2023-08-19 - 2023-12-31 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
Luis Rivera Jimenez (b. 1997 San Juan, Puerto Rico) uses the intricacies of language, political thought and daily experience in the Caribbean to create intentional spaces of learning, conversation and care. The artist’s sculptural objects and installations pose questions about the dynamics of race and representation. His practice reflects upon and explores the underpinning of what he describes as a “global digital society,” where a relationship between memory, images and symbols can be traced, mapped and proliferated.
“Luis Rivera Jimenez: A Brief Proposal on Race and Cultural Cosplay” is the artist’s first solo museum exhibition, presenting new works that the artist created while in residence at CALA Alliance in early 2023. This interactive installation is informed by conversations, encounters and materials found by the artist during his time in Phoenix. The objects and texts within the exhibition build on the artist’s accumulation and processing of various tools: discussions, found objects, experiences in contact with communities, digital content and physical and ephemeral materials.
The exhibition will be on view from Aug. 19 through Dec. 31, 2023, at the ASU Art Museum at Nelson Fine Arts Center. The opening reception will be Saturday, August 19, 2023 from 6:00 – 8:00 pm.
Exhibition Programming:
Board of Directors
2024 Race and Cultural Cosplay Retreat
Schedule in Brief

Opening Reception

Saturday, August 19, 2023
6:00-8:00 PM // ASU Art Museum

Keynote Address

Sunday, August 20, 2023 // Translation and Language Justice in the Borderlands
12:00–1:30 PM // ASU Art Museum Gallery 1

Annual Report, Insights and Developments into Race and Cultural Cosplay

Thursday, September 7, 2023 // Performance
6:00–8:00 PM // ASU Art Museum Gallery 1 + 2

“Luis Rivera Jimenez: A Brief Proposal on Race and Cultural Cosplay” is organized by Alana Hernandez, CALA Alliance Curator of Latinx Art at the ASU Art Museum, with Sade Moore, Curatorial Assistant at CALA Alliance. The exhibition is made possible by gifts to CALA Alliance’s general operating fund and a grant from The Andy Warhol Foundation for the Visual Arts.

Contours: The Essential Form
2023-09-30 - 2024-06-01 | ASU Art Museum Ceramics Research Center, 699 S. Mill Ave., Suite 108, Tempe, AZ, 85281, United States
“Contours: The Essential Form” features selections from the Museum’s permanent collection and new works by Ibrahim Said (b. 1976, Fustat, Egypt). Through ceramic objects and works on paper, the exhibition explores themes of nature, care and discipline through the lens of muscle memory and intuitive artistic practice.
Said was an invited artist in October 2022 as part of the Museum’s Encounter Series, an effort to reimagine and recontextualize the Museum’s collections to address larger issues related to the current social and cultural climate of Arizona and the world at large. As part of his residency, the artist selected over sixty artworks from the Museum’s collection and created three ceramic works in response to his experiences during his visit, drawing inspiration from the Arizona built and natural landscape. Said states, “The natural world has inspired artists for centuries, and regardless of all our differences, we all benefit from a connection to nature for both survival but also to feed our souls and spirits. These objects help us connect and memorialize some of the abundant natural treasures around us.”
Artists featured in the exhibition are Laura Andreson, George Burr, Rose Cabat, Claude Conover, Hans Coper, Andrew Dasburg, Roseline Delisle, Ruth Duckworth, Ernest Haskell, Karin Hessenberg, Catherine Hiersoux, Nicholas Homoky, John Jordan, Paul Landacre, Lucy M Lewis, Rebecca Lucario, Maria Poveka Martinez, Christine Nofchissey McHorse, Ed Moulthrop, Alvin Pace, Elsa Rady, Lucie Rie, Mary Rogers, Ibrahim Said, Dennis Stewart, Geoffrey Swindell, Toshiko Takaezu, Dorothy Torivio, John Ward, Mary White and A. Jeffrey Zigulis.
“Contours: The Essential Form” is organized by Mary-Beth Buesgen, ASU Art Museum Ceramics Research Center Collections & Archives Manager and Ibrahim Said, Artist-in Residence in collaboration with a Community of Practice composed of artists and scholars: Sam Chung, Chad Haines, Amelia Hay, Renee Bhatti-Klug, Kat Medill, Emma Skinner and Mariam Aziza Stephan and made possible by the Windgate Foundation Endowment with additional support from Elaine and Sidney Cohen and the members of ASU Art Museum’s Board and Councils.
RSVP TODAY!

Cosmic Bloom
2023-11-18 - 2023-12-18 | The MIX Center, 50 N Centennial Way, Mesa, AZ, 85201, United States
“Cosmic Bloom” is the second NFT collection in Leo Villareal’s “Cosmologies” series. The 1,300 unique digital artworks in the collection are produced using custom live code and are inspired by organic and biological structures, stellar phenomena and atomic patterns. They feature intricate geometric forms that are layered and multiplied, creating captivating patterns set in constant, non-repeating motion.
“Cosmic Bloom” draws on the artist’s longstanding practice of using code to generate complex visual sequences in his light sculptures. The collection was released in December 2022 on Outland, the first editorial platform dedicated to fostering critical conversations around emerging digital technologies and their connections to contemporary art.
The NFT will be displayed on the 70-foot-wide high-resolution display on the south wall of the MIX Center. The MIX Center, which opened in the fall of 2022, is one of the first media production facilities of its type. The state-of-the-art facility in downtown Mesa was created for film, media arts, design and emerging technology programs in the Herberger Institute for Design and the Arts, and was designed to be fully embedded in the surrounding community as a hive of cultural exchange and public programming and events.

Twin Flames: The George Floyd Uprising from Minneapolis to Phoenix
2024-02-03 - 2024-07-28 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
In partnership with ASU’s Center for Work and Democracy and the George Floyd Global Memorial, ASU Art Museum presents “Twin Flames: The George Floyd Uprising from Minneapolis to Phoenix.” Presented for the first time outside of Minnesota and on view from February 3 through July 28, 2024 at the ASU Art Museum, “Twin Flames” asks important questions about the role of art and community as a vehicle for bearing witness and creating deeper understanding and empathy. It also examines the state of public memorials in this country, and prompts us to reflect on whose stories are shared, by whom and why.
In contrast to traditional monuments, “Twin Flames” is a powerful, community-led exhibition that showcases a selection of the thousands of offerings laid by mourners and protesters at George Floyd Square, collected by a group of community caretakers and cataloged by the George Floyd Global Memorial team. This exhibition recognizes that creative and artistic expressions of pain and hope exist beyond the walls of museums, in all forms and a myriad of cultural expressions, and that George Floyd Square is a public space that can teach us how to mobilize as we mourn victims of police violence and imagine a more just world.

Public programs will accompany the exhibition, including:
Friday, February 2, 2024 (5:00 — 7:00 p.m.): Public Opening Reception
Friday, February 2, 2024 (8:00 — 11:00 p.m.): Taste of Melanin, Silent Disco
Thursday, March 28, 2024 (3:00 — 4:00 p.m.): Histories of Protest in Art and Music
Saturday, April 19, 2024 (7:00 — 9:00 p.m.): Film screening + Panel Discussion for “Stonebreakers”
Thursday, May 2, 2024: Are Objects Forever? The Evolving Thinking on Conservation and Collections Care: Hear from Twin Flames’ Community of Practice, a committee of community members steering the exhibition at ASU Art Museum

“Twin Flames: The George Floyd Uprising from Minneapolis to Phoenix” is organized by Jeanelle Austin, Executive Director of the George Floyd Global Memorial; Heather Carroll, Archiving Sacred Spaces Fellow of the George Floyd Global Memorial; Dr. Rashad Shabazz, Associate Professor in the Schools of Social Transformation and Geographical Sciences & Urban Planning, Arizona State University; Maria Esch, Researcher at the Center for Work and Democracy, Arizona State University; and ASUAM Curator Brittany Corrales.
This exhibition is made possible by major funding provided by the Burton Family Foundation and Cheryl and Jahm Najafi.
Additional generous funding from (as of Feb. 2024) Emily Beach, Pascha Bueno-Hansen, Melissa Fernandez, Carolyn Forbes, Shelly Gordon, Kenja Hassan, Jorge Hernandez, Dulce Juarez, Robin Baskin McNulty, Sentari Minor, Marco Mojica, Ramona Norman, Tracy Perkins, Olivia Perryman, Trish Robinson, Anthony Rowe, Yasmin Shaheed, Nancy Temple, Bart Thurber, Cheryl Wynn, Anonymous Donors and the Center for Work and Democracy, Arizona State University. Additional thanks to members of the ASU Art Museum’s Board and Councils. This exhibition showcases, in part, a partnership between the George Floyd Global Memorial, the Center for Work and Democracy, Arizona State University and the ASU Art Museum.
The exhibition is presented in collaboration with a Community of Practice composed of: Liz Agboola, CEO, Trinity Integrated Care; Miriam Araya, New Worlds Organizer, Black Lives Matter Phoenix Metro; Shimyrre Britt, Event Curator, dialog; Kara Brooks, artist; Dr. Amber C. Coleman, Post-Doctoral Fellow, Art Education, Arizona State University; Dr. Kenja Hassan, Assistant Vice President, Government & Community Engagement, Arizona State University; Moses Hollis, Assistant Director, New Student Programs, Arizona State University; Dr. Mahlika Hopwood, Assistant Teaching Professor & Honors Faculty Fellow, Barrett Honors Faculty, Arizona State University; Barbara Noble Howard, University Fellow for Non-Profit Leadership, Office of University Affairs, Arizona State University; Armonee Jackson, Operations Director for Arizona List; Michael Jackson, CEO of Mya Kai Creative; Dr. Anthony Pratcher, Assistant Professor of African American Studies in the Ethnic Studies Program at Northern Arizona University, Northern Arizona University; Ellison Shabazz, child of ASU faculty; Simone Shabazz, child of ASU faculty; Dr. Rashad Shabazz, Associate Professor, Arizona State University; Roy Tatem Jr., Immediate Past President of the East Valley NAACP, President of Vanguard Strategies and Consulting, LLC; Benjamin Taylor, Civil Rights Attorney, Taylor & Gomez LLP; President of the State Bar of Arizona; Shawna Tibbett, Administrative Specialist, DPC Govt and Community Engagement, Arizona State University; Collette Watson, artist, cultural organizer, and communications strategist at Black River Life Media; and Brian Watson, Financial Advisor, Merrill Lynch.
Special thanks to: Bart Thurber, Black Lives Matter Phoenix Metro, George Floyd Square Community, Mya Kai Creative; Angela Harrelson, Aunt of George Floyd & GFGM Board Co-Chair; Paris Stevens, First Cousin of George Floyd & GFGM Board Co-Chair, Dr. Michael McQuarrie, Director of the Center for Work and Democracy; Maud McQuarrie, child of ASU Faculty; George Floyd Square Community Members: Butchy Austin, Jimmy Austin, Sundiata Austin, Zamira Austin, Raycurt Johnson, Phi Khalar, Jud Kilgore, Dylan Leavitt-Phibbs, Jennie Leenay, Forest Olivier, Redemption Peters-DuRose, Sam Pitmon, Jordan Powell Karis, Jason Quick, Janae Rupert, Johanna Rupert, Shari Seifert, Denise Tennen, James Antravier Thomas, Lauren Thrift, Shekela Wanyama, Thursday Williamson and Huda Yusuf.

Sarah Zapata: Beneath the breath of the sun
2024-02-10 - 2024-07-21 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
Sarah Zapata (b. 1988, Corpus Christi, TX) employs weaving, tufting and traditional craft techniques to create loud, architecturally responsive installations that traverse themes of gender, colonialism and fantasy. Zapata’s site-specific works reflect her intersecting identities as a queer woman of Peruvian heritage raised in Evangelical South Texas and now based in New York.
“Beneath the breath of the sun” features newly created works completed during the artist’s residency with CALA Alliance in Fall 2023. Alongside these works, Zapata chose ceramics made with clay and earthen materials from the Museum’s collection to reference the land. The installation evokes a topography of the Arizona landscape, where bold hues of orange and yellow nod toward the punishing sun and air of the desert, weaving together the ecological and geological aspects that make up the complexity of our place. Taken as a whole, Zapata’s fabricated world highlights the inherent friction between traditional modes of making in untraditional situations.
“Sarah Zapata: Beneath the breath of the sun” is organized by ASUAM Senior Curator Alana Hernandez, with CALA Alliance Curatorial Assistant Sade Moore and made possible by generous funding from the Terra Foundation for American Art and the Ford Foundation. The exhibition is presented in collaboration with a Community of Practice composed of Dagoberto Bailón, Co-Founder of Trans Queer Pueblo; Dr. Marivel Danielson, Associate Professor, School of Transborder Studies, Arizona State University; and Raquel Gutiérrez, writer and educator.

A series of three free in-person programs is offered in conjunction with “Sarah Zapata: Beneath the breath of the sun.”
Feb. 10, 2024 // Opening Reception
6–8 p.m.
Mar. 15, 2024 // Open Mic Night with Multicultural Communities of Excellence (MCoE)
5–7 p.m.
Apr. 13, 2024 // Fiber Workshop with Erika Hanson
Noon–2 p.m.
May 2024 // A History of Stripes
More information about these programs and how to register will be available as details are confirmed.

Concurrent with her exhibition at ASUAM, experience Sarah Zapata’s exhibition at MOCA TUCSON Sara Hubbs and Sarah Zapata: Between gravity and ground. On view Feb. 2 — June 23, 2024.

Chicano/a/x Prints and Graphics: Selections from the Hispanic Research Center’s Collection, 1980–2010
2024-07-13 - 2025-06-29 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
“Chicano/a/x Prints and Graphics: Selections from the Hispanic Research Center’s Collection, 1980–2010” showcases a partnership between ASU’s Hispanic Research Center (HRC) and ASU Art Museum and brings together works from the 1980s into the 2010s drawn from the HRC’s dynamic collection. Featuring over 30 artists who each offer a kaleidoscope of perspectives on the Mexican American experience, this year-long exhibition pays homage to the ideals of the Chicano Movement of the 1960s and 70s and expands upon them through the widely disseminated medium of prints. Presented in two parts, this unique exhibition underscores how Chicano/a/x artists have employed prints and graphics to build community, engage with social concerns, and interrogate shifting notions of political and cultural identity over time.
“Chicano/a/x Prints and Graphics: Selections from the Hispanic Research Center’s Collection, 1980–2010” is organized by ASUAM Senior Curator Alana Hernandez and ASUAM Curator Brittany Corrales and is made possible by funding provided by the Evelyn Smith Exhibition Fund. Additional funding is provided by ASU’s Hispanic Research Center and The Andy Warhol Foundation for the Visual Arts. The exhibition is presented in collaboration with a Community of Practice composed of Carla Chavarria, Community Building Director, Iconico, and Carla León Celaya, PhD candidate in the Spanish Department at the School of International Letters and Cultures, ASU.

Chicano/a/x Prints and Graphics Audio Guide
Use the audio players below at the corresponding exhibition location.
Stop 1: Isabel Martinez, “VG Got Her Green Card”

Stop 2: Leo Limón, “Morena y Quetzalcoatl”

Stop 3: Alma López, “Chuparosa”
