ASU Art Museum

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.

Luster and Light
2022-06-10 00:00 - 2023-01-08 00:00 (America/Phoenix)
“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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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.

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.

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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.

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.

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Highlights from the Print Study Room
2022-03-27 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
Join us for a special guided tour of selected prints from the Jules Heller Print Study Room. These tours offer a rare opportunity to study original prints without a frame’s glass, allowing for an intimate encounter with artists throughout history. Tours are offered every Thursday–Sunday at 1 p.m. To make a reservation, contact Raechel Miller at raechel.miller@asu.edu.

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.

Video Preview: 'Teeter-Totter Wall' by Ronald Rael + Virginia San Fratello with Colectivo Chopeke
2022-03-05 - 2023-04-03 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
“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.

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.

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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.

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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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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Art in Focus: New Acquisitions
2022-02-17 00:00 - 2022-09-04 00:00
“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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Art in Focus: New Acquisitions
2022-02-17 - 2022-09-04 | ASU Art Museum, 51 E 10th St, Tempe, AZ 85281, Tempe, 85281
“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 over 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.

DinnerWhere
2021-10-08 00:00
Drawn entirely from ASU Art Museum’s permanent collection, “DinnerWhere” highlights a variety of plates, cups and bowls, and even a life-size dinner table. The exhibition and its title refers to the ways in which these objects encourage critical conversations around national identity, ceremony, nutrition and food access in the United States. Artists featured include Claydies, Eddie Dominguez, Marilyn Lysohir, Russell Wright, Isaac Scott, Justin Rothshank and the Democratic Cup Project.
The objects featured in “DinnerWhere” have communal and symbolic associations with coming together for meals. For some, these artworks inspire memories of the place where we nourish ourselves, celebrate important milestones, share experiences and create new understandings through conversation. For others, the works in the exhibition can be a reminder of cultural assimilation and the loss of traditions.
What will you bring to the table to shape the future?
To ensure the well-being of all our visitors and staff, we ask that you please comply with our new ASU and city guidelines to keep all of us safe.

“DinnerWhere” is generously sponsored by Elaine and Sidney Cohen.
Image credit: Claydies, “True feelings,” 2011, Glazed porcelain, Purchased with funds provided by the Windgate Charitable Foundation, Photo by Morgan Morell.

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Art in Focus: Journeys Toward Healing
2021-10-01 00:00 - 2022-02-13 00:00
At the ASU Art Museum, we recognize that art has the power to inspire our minds and bodies, cultivate a shared sense of community, aid in healing and foster social change. “Art in Focus: Journeys Toward Healing” provides an interlude — mental and physical — for contemplating ideas of wholeness and wellbeing. The artworks in this gallery respond to the exhibition on view, Undoing Time: Art and Histories of Incarceration, by presenting images that can change how we view and imagine incarceration. Instead of focusing on images of oppression, black and white stripes or barbed wires, the curators center images of nature, renewal, connection and recovery. This exhibition suggests that art can serve as a source of healing and point to more restorative solutions to critical community issues.
The exhibition is organized by Mary-Beth Buesgen, Curator of the Ceramics Research Center Collection and Archives; Sarah Kelly, Windgate Curator of Contemporary Craft and Design; Julio César Morales, Senior Curator; Brittany Corrales, Curator; Matthew Villar Miranda, LACMA-ASU Curatorial Fellow; and Diem Lanakai, Windgate Curatorial Assistant. “Journeys Toward Healing” highlights works on paper, ceramics, baskets and wood objects from the museum’s collection.
Image credit: John Dowell, “Healing,” 1999, 17 x 20″, color lithograph on paper. Image courtesy ASU Art Museum.

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Undoing Time: Art and Histories of Incarceration
2021-09-10 00:00 - 2022-02-12 00:00
“Undoing Time: Art and Histories of Incarceration” considers the foundational roots of confinement from philosophical, sociological, theological and art historical perspectives to better understand the fact that today’s mass incarceration crisis is centuries in the making. “Undoing Time” traces history’s images that contribute to the entrenched cultural beliefs associated with today’s carceral system. The exhibition commissions new works of contemporary art based on the analysis of art historical images of incarceration. The 12 contemporary artists in the exhibition invest in community collaboration, work in an expansive range of media and rethink traditional archival research to consider how artistic expression reveals the underlying logics of criminality and correction. For the first time in ASU Art Museum’s history, “Undoing Time” will engage all galleries, dedicating the entire museum to this one large-scale exhibition and public programming.
“Undoing Time” is organized by Miki Garcia, Heather Sealy Lineberry, Matthew Villar Miranda and Julio César Morales, and features artists Carolina Aranibar-Fernández, Juan Brenner, Raven Chacon, Sandra de la Loza, Ashley Hunt, Cannupa Hanska Luger, Michael Rohd, Paul Rucker, Xaviera Simmons, Stephanie Syjuco, Vincent Valdez and Mario Ybarra Jr.
“Undoing Time: Art and Histories of Incarceration” is generously supported by the Art for Justice Fund, a sponsored project of Rockefeller Philanthropy Advisors. The ASU Art Museum’s presentation of “Undoing Time: Art and Histories of Incarceration” is made possible with additional support from the ASU Art Museum’s International Residency Program and the Windgate Foundation Endowment, the ASU Herberger Institute for Design and the Arts’ Mellon Projecting All Voices Fellowship, Olga Viso and Cameron Gainer, Cloth and Flame and the Flinn Foundation.
Image designed by Ambush Studios.

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Pilot Projects: Text as Image
2021-04-30 00:00 - 2021-06-30 00:00
As part of Pilot Projects , ASU Art Museum presents “Text as Image,” an outdoor public exhibition of text-based art. Artists have long used text in artworks as a tool for social and political dialogue. Located in the museum’s underground courtyard and in front of the building, “Text as Image” brings together four artists: Jacob Meders (Phoenix), Kristin Bauer (Tempe), Hugh Hayden (New York) and Iván Argote (Paris).
Meders’ vending machine of prints, “Warbird Press” (2014–present), asks us to consider how the legacy of colonialism affects indigenous people today and asks us to imagine new possibilities. Bauer’s banner installation, “Dia/Chronic” (2021), explores the way language and meaning evolve, with a focus on the history of propaganda. The work also challenges systems of oppression such as male dominance and white supremacy. Hayden’s “Pillory” (2020), addresses power, control and justice in a sculpture that mixes a modern-day police barricade with a medieval punishment device to ask whether ideologies of punishment have changed or stayed the same. Argote’s “Tiernos, We, Somos and Strong” (2018–2019), comprises concrete chairs inscribed with keywords that bring viewers together to question how we relate to one another through affection, emotions and humor in increasingly polarized times. Together, these text-based works address current events, giving voice to the social and political movements happening today around colonialism, racial justice, femicide and freedom of speech.
Pilot Projects is an initiative that emerged from ASU Art Museum’s unique ability as a university art museum to be adaptive and experimental. Arising from the 2020 COVID-19 pandemic, Black Lives Matter protests and a nationwide call for museums to address racial and social justice, Pilot Projects is a vehicle to center art and artists in the service of creative free expression and community well-being.
Image credit: Kristin Bauer, “Dia/Chronic,” 2021, dye sublimation eco inks on poly nylon banner. Photo by Grey Shed Studio.

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Pilot Projects: Hugh Hayden, 'Pillory'
2021-04-09 00:00 - 2021-12-03 00:00
ASU Art Museum is proud to present “Pillory,” the latest work in the museum’s Pilot Projects: Art. Response. Now. initiative, on view beginning April 9, 2021. Hugh Hayden’s sculpture “Pillory” (2020) addresses power, control and justice, themes that are achingly relevant in the wake of the murder of George Floyd in May 2020 as well as many others, including Trayvon Martin, Tamir Rice, Michael Brown, Eric Garner, Philando Castile, Breonna Taylor, Ahmaud Arbery, Tony McDade and Dion Johnson. Of this mix between a modern-day police barricade and a pillory — a medieval punishment device — Hayden remarked, “I’d call the piece a doppelgänger or the synthesis of a pair of state functioned doppelgängers of oppression that are centuries apart.”
Pilot Projects is an institutional initiative that emerged from ASU Art Museum’s unique ability as a university art museum to be adaptive and experimental. Arising from the 2020 COVID-19 pandemic, Black Lives Matter protests and a nationwide call for museums to address racial and social justice, Pilot Projects is a vehicle to center art and artists in the service of creative free expression and community well-being.
About the artist
Hugh Hayden is a sculptor raised in Dallas, Texas, and trained as an architect. He uses natural elements and recognizable objects — discarded wood, rare indigenous timbers, souvenir African sculptures — to create works that challenge viewers’ perceptions of themselves, others and the environment.
Hayden was born in Dallas, Texas, in 1983 and lives and works in New York City. He holds an MFA from Columbia University and a Bachelor of Architecture from Cornell University. His work was the subject of a solo exhibition at White Columns in New York in 2018. His work has been included in numerous group exhibitions, including at JTT, New York (2018); Clearing, New York (2018); Tanya Bonakdar Gallery (2018); PPOW Gallery, New York (2017); Gavin Brown’s enterprise, New York (2017); Postmasters Gallery, New York (2016); MoMA PS1, Rockaway Beach, New York (2014); Socrates Sculpture Park, New York (2014); and Abrons Art Center, New York (2013), among others. He is the recipient of residencies at Glenfiddich in Dufftown, Scotland (2014); Abrons Art Center and Socrates Sculpture Park (both 2012) and Lower Manhattan Cultural Council (2011).

Image credit: Hugh Hayden, “Pillory,” 2020. Milk paint on cedar with stainless steel hardware and locks, 44 x 96 x 42 inches.

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José Clemente Orozco: The Final Cut
2021-01-30 00:00 - 2021-06-05 00:00
The ASU Art Museum presents an important exhibition of late work by José Clemente Orozco (1883–1949), a pioneering artist who founded the Mexican Mural Renaissance with Diego Rivera and David Alfaro Siqueiros. “The Final Cut” is the first solo exhibition by Orozco in Arizona. Orozco’s bold murals were the most complex of Los Tres Grandes and prominently featured universal themes of human experience and modernization. Orozco is one of the most significant artists to come out of Mexico in the 20th century, although largely underrecognized in the United States. He was born in Jalisco and returned to Guadalajara to paint his masterpiece, “The Man on Fire,” in the Hospicio Cabañas, one of the oldest hospital complexes in Latin America. A World Heritage site, it is known as the “Sistine Chapel” of Latin America. Beginning in 1922, Orozco painted more than seven major murals in Mexico and the U.S., including three completed in the 1940s.
Through a collaboration with the Orozco family in Guadalajara, the exhibition will include works of art late in the artist’s career. Many of these works from the 1940s have never been seen in the U.S. and illustrate the artist’s career-long interests in human history and politics, surrealism, symbolism, abstraction and the human form. The exhibition’s moveable works will reveal Orozco’s creative process and how he worked through the ideas and formal problems that appeared in his site-specific, monumental murals. The collective work will also consider what an artist’s last work can show about their progression and how it reflects upon or departs from their body of work. A catalog published by Temblores Publicaciones will accompany this exhibition with new scholarship written about his final years.
“José Clemente Orozco: The Final Cut” is supported by the Diane and Bruce Halle Foundation and sponsored by the Andrew B. Kim & Wan Kyun Rha Kim Family Foundation.
The accompanying exhibition catalog is funded by the Andrew B. Kim & Wan Kyun Rha Kim Family Foundation and produced in association with Temblores Publicaciones, the publishing house of Terremoto Magazine.
To ensure the well-being of all our visitors and staff, we ask that you please comply with our new ASU and city guidelines to keep all of us safe. Reserve your free timed-entry tickets and learn more about our new guidelines before visiting.
Image credit: José Clemente Orozco, “Skull with Feathers,” 1947, Pyroxylin on Masonite, 48 × 45 in. Courtesy of the Orozco Family.

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BODY/MAGIC: Liz Cohen
2021-01-16 00:00 - 2021-05-29 00:00
“BODY/MAGIC: Liz Cohen” is an exhibition that for the first time combines all aspects of artist Liz Cohen’s “Bodywork” series, including new and unseen works in various media at various scales that include video, photographs, performance and ephemera related to the project. For the “Bodywork” series she transformed two cars, the American El Camino and the East German Trabant into a lowrider while simultaneously transforming her own body to become a bikini model for her car at lowrider shows. The project examines her in-betweenness as a first-generation Latina and a child of the Cold War, with Colombian parents who tended to favor Warsaw Pact countries over Disneyland for summer vacations. “Bodywork” was also an avenue for Cohen to explore her own femininity and create dialogue around issues relating to immigration, nonconformity and resistance.
This exhibition is curated by Julio César Morales, curator at ASU Art Museum. “BODY/MAGIC: Liz Cohen” is supported by the Andy Warhol Foundation for the Visual Arts and sponsored by Patti Parsons.
To ensure the well-being of all our visitors and staff, we ask that you please comply with our new ASU and city guidelines to keep all of us safe. Reserve your free timed-entry tickets and learn more about our new guidelines before visiting.
Image credit: Liz Cohen, “Zwickau Routine: Yellow Inward Turn,”2010, C- Print, 16 x 20 inches, image courtesy of the artist.

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Restless Balance: boredomresearch
2020-12-05 00:00 - 2021-05-30 00:00
From the textbooks of ancient Greek physician Hippocrates to current research on the coronavirus pandemic, we know that human health is impacted by environmental factors. Internationally renowned British artists Vicky Isley and Paul Smith of boredomresearch have collaborated with leading science institutions over the past decade to create dynamic video installations that explore how large scale environmental changes have altered disease transmission. In 2019 they worked with the researchers at the Arizona Cancer and Evolution Center at the ASU Biodesign Institute on radically new ways of thinking about cancer treatment. This exhibition is the U.S. premiere of the resulting video installation, ‘In Search of Chemozoa,’ along with three striking earlier works based upon animated robots navigating Venice’s polluted canals, flight patterns of mosquitos carrying malaria and intertidal snails adjusting to changed coastal conditions.
For more information on the artists visit boredomresearch.net .
“In Search of Chemozoa” was commissioned and funded by the Arizona Cancer Evolution Center (ACE), a new center established through an award from the National Institute of Health/National Cancer Institute and housed at the Biodesign Institute at ASU. The exhibition is co-presented by the ASU Art Museum and co-curated by Pamela Winfrey, scientific research curator, ACE; Heather Sealy Lineberry, curator emeritus, and Brittany Corrales, curator, ASU Art Museum.
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Image credit:boredomresearch, “In Search of Chemozoa,” 2020. Image courtesy of boredomresearch.

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Leo Villareal, “Point Cloud (ASU)”
2020-11-18 00:00
“Point Cloud (ASU)” is a newly 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. Villareal used mobile 3D scan technology to map both the inside and outside of the building, creating over 200,000,000 data points. The artist then manipulated the data points with his own custom software to create this public artwork. This is the first time Villareal has used actual data sampled from a location as part of an artwork.
Leo Villareal, “Point Cloud (ASU)” is part of the ASU Art Museum’s Halle Public Art Initiative and is generously supported by The Diane and Bruce Halle Foundation with additional funding by the Herberger Institute Dean’s Creativity Council.
Image credit: Leo Villareal, “Point Cloud (ASU),” 2020, 12′ 10” x 3′ 3” x 1′ 1”, LEDs, custom software, electrical hardware, steel. Image courtesy of the artist.

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Art in Focus: Highlighting Women Artists from the Collection
2020-09-26 00:00 - 2021-05-29 00:00
The Art in Focus gallery highlights artwork from the museum’s permanent collection. As we, along with many museums across the country, actively work to build a more diverse collection that tells a representative history of art, we make it a priority to collect and exhibit artists who have been marginalized. A recent study of the artists represented in the collections of eighteen major American art museums found that only 12.6% are women. This installation features works on paper, ceramics, baskets and wood objects made by a range of influential women artists, including Betye Saar, Faith Ringgold, Sandra Ramos, Maria Martinez, Rose Cabat and Louise Nevelson.
To ensure the well-being of all our visitors and staff, we ask that you please comply with our new ASU and city guidelines to keep all of us safe. Reserve your free timed-entry tickets and learn more about our new guidelines before visiting.
Image credit: Betye Saar, “Mystic Sky with Self-Portrait,” 1992, Offset Lithograph, 21 1/2 x 25 1/4 in. Gift of the Brandywine Workshop and Archives, Philadelphia, Pennsylvania.

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Pilot Projects: Art. Response. Now.
2020-09-05 00:00 - 2020-10-31 00:00
In March 2020, the museum underwent a hiatus unprecedented in its history with the closure of the state due to Covid-19. At that moment, we found ourselves having to innovate and radically re-imagine the museum’s role in the digital realm.
When George Floyd was killed on May 25th, the Black Lives Matter movement mobilized efforts that have been in the works for years, calling for racial justice and accountability across all systems in America. This led to a nationwide reckoning of museums to address racial and social justice within their walls.
We are now living in a world that is questioning what museums will look like in the future. While our museum has had a long-standing commitment to social justice, this particular moment urges us to prototype a series of tactics that can lead to innovative solutions. Pilot Projects is an institutional initiative that emerged from our unique ability as a university art museum to be adaptive and experimental. Our role is to position artists at the center of these conversations. To this end, we are launching a year-long series of interventions called Pilot Projects: Art. Response. Now.
To begin the series, from September to October we will open two galleries for film screenings and weekly conversations. In Gallery 1, we will show eight videos by eight artists whose work addresses racial and social justice issues through their own unique lenses and varying life experiences. In Gallery 2, we looked to our collection and selected two artworks by African American artists Lorna Simpson and Sonya Clark to bring this discussion to our gallery walls.
Video schedule:
Sept 5–12: Jason De León, “Hostile Terrain 94: A Moment of Global Remembrance”
Sept 15–19: La Morena (Lucinda Yrene Hinojos), “La Morena”
Sept 22–26: Virgil Ortiz, “ReVOlution: Rise Against the Invasion”
Sept 29–Oct 3: Gregory Sale, “Future IDs at Alcatraz”
Oct 6–Oct 10: Stephanie Mei Huang, “yellow porcelain,” “white vegetable,” “the border is a private space” and “the foul lump in my throat”
Oct 13–17: Roberto Lugo, “Without Wax”
Oct 20–24: Edgar Arceneaux, “Until, Until, Until…”
Oct 27–31: Kara Walker, “8 Possible Beginnings or: The Creation of African-America”
To ensure the well-being of all our visitors and staff, we ask that you please comply with our new ASU and city guidelines to keep all of us safe. Reserve your free timed-entry tickets and learn more about our new guidelines before visiting.
Image credit: Kara E. Walker, “8 Possible Beginnings or: The Creation of African-America,” 16mm transferred to video (black and white, sound), 15 mins. 57 secs, 2005, Courtesy of Kadist Foundation and artist.

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For the Animals: Tania Candiani, Part II
2020-08-20 00:00 - 2020-12-06 00:00
“For the Animals” tests the physical, environmental and social boundaries between nature and culture by creating a hybrid installation of land and sound art. The project focuses on various species that are native to the Sonoran Desert such as the endangered jaguar and the Mexican grey wolf. These animals will be most affected by the newly proposed border wall between Mexico and the U.S., by restricting their ability to navigate the Sonoran Desert as they have for hundreds of years. Candiani is collaborating with electronic musicians to create experimental musical scores that are intended as lullabies for the Sonoran creatures, attempting to create an ultrasonic dialogue with nature. The exhibition will include videos, ephemera and sculptural sound pieces which will translate the music for viewers through a visual language. “For the Animals” is a metaphor for the ongoing migration predicament at the U.S./Mexico border, especially with the recent influx of Central American women and youth fleeing violence and poverty. Through the shared experience of sound — between animals and humans, the project aims to bring larger ideas of migration into a lived reality, thereby humanizing the migration crisis.
About the artist:
Tania Candiani represented Mexico in the 56th Venice Biennale. She is interested in experiments with sound, sculpture and computer science and is among the most highly respected artists in Mexico. Candiani’s work has been included in group exhibitions around the world, including the National Museum of Fine Arts, Taiwan; Museum Boijmans Van Beuningen, Netherlands; XI Cairo Biennial; Palace of Arts, Egypt; Laboratorio de Arte Alameda, Mexico. She is a recent Guggenheim Fellowship recipient and currently a Smithsonian fellow.
Image courtesy of Tania Candiani.

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Look to Nature: Toshiko Takaezu
2020-08-20 00:00 - 2021-02-28 00:00
Drawn from ASU Art Museum’s permanent collection, “Look to Nature” presents the work of internationally-known artist Toshiko Takaezu. Growing up in Hawaii infused a deep sense of nature in her that never left. Takaezu worked actively in clay, fiber and bronze for more than six decades using a combination of Eastern and Western techniques and aesthetics. In the late 1950s, she developed her signature style of closed-form vessels, containers that held air and space. They conveyed a sense of tranquility from the simplicity of the forms and subtle brush decoration.Takaezu started working in bronze toward the end of her career and created a series of bells, which explore the relationship between sculpture and sound.
“Look to Nature: Toshiko Takaezu” is supported by the Windgate Charitable Foundation as part of the Windgate Contemporary Craft Initiative and Peter Russo.
An initiative presented in association with the Feminist Art Coalition (FAC).
Image courtesy of Toshiko Takaezu Foundation.

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Michael Sherrill Retrospective
2020-02-29 00:00 - 2020-11-01 00:00
In his delicately rendered sculptures, Michael Sherrill seeks to elicit a sense of wonder from viewers and to make them see things afresh. Working with clay, glass and metal, his exquisite floral forms have the allure of Martin Johnson Heade’s passionflower and orchid paintings and the botanical engravings of John James Audubon, at the same time they are remarkably new. This retrospective will illustrate the artist’s evolution over his more than 40-year career and highlight his contributions to contemporary art, craft and design. Primarily a self-taught artist, Sherrill moved from Charlotte, North Carolina to the western North Carolina mountains in 1974. His early influences came from the North Carolina folk pottery tradition and the community surrounding Penland School of Crafts and the Southern Highland Handicraft Guild. Sherrill began his career by making functional clay vessels in the 1970s and 1980s, but his desire for continued growth led him to create altered vessels of more abstracted form in the 1990s. Ultimately he shifted his focus to multimedia sculptures inspired by nature, as seen in “Temple of the Cool Beauty (Yucca).” He explores the beauty in natural growth and decay with bright colors, often through painstaking technical processes. Sherrill’s exceptional skill is based on his innovative approach to using tools, technology and his keen sense of materials together to achieve what he calls his “natural narratives.”
Sherrill’s artistic evolution led him to master techniques of metalworking and glass working and to invent new tools where needed. In 1995, out of the need for tools that did not exist, he designed Mudtools®, now a successful line of tools for potters and sculptors. He is a frequent instructor at Penland and has taught at craft schools and workshops across the country. In 2003, The Mint Museum honored him as Artist of the Year. Sherrill served a two-month residency at the John Kohler Art Center in Sheboygan, WI in 2006. His work is in several major museum collections, including the Smithsonian American Art Museum and the Los Angeles County Museum of Art. As part of the World Ceramic Exposition/KOCEF, Sherrill was one of ten artists invited to build outdoor sculptures placed permanently at The Museum at Icheon World Ceramic Center, Icheon-si, Gyeonggi-do, South Korea, in 2004. He received a United States Artists Windgate Fellowship in 2010.
“Michael Sherrill Retrospective” is organized by The Mint Museum. Funding for the exhibition catalog and national tour provided by the Windgate Foundation. Additional funding for the ASU Art Museum’s presentation is supported by the Windgate Foundation as part of the Windgate Contemporary Craft Initiative.
Image credit: Michael Sherrill, “Dutch Solomon,” 2015, porcelain, silica bronze, glass, 12 x 27 x 8 in., John Michael Kohler Arts Center, gift of the artist, 2015.022.001. Photo by Scott Allen.

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Total Collapse: Clay in the Contemporary Past
2020-02-01 00:00 - 2020-06-27 00:00
“Total Collapse: Clay in the Contemporary Past” features diverse and experimental work in sculpture, performance and site-specific installation. The artists utilize a variety of engaging practices which have contributed to and reflect recent developments and expansion in the field of contemporary ceramics. The exhibition is organized around ideas that explore the function of clay as an anthropological device, representing early human technology and as an everyday contemporary object. “Total Collapse” examines the value of ceramic objects as artifacts with sociopolitical potential but also questions their role as mass-produced goods with potential impact on future histories.
Artists: Ane Fabricius Christiansen, Armando Cortes, Kahlil Irving, Gala Porras Kim, Daniel L Bare, Michael Jones McKean, Kristen Morgin and Unknown Fields Division.
“Total Collapse” is guest curated by Andres Payan-Estrada and co-organized with the Rubin Center for the Arts at the University of Texas at El Paso. The ASU Art Museum presentation is supported by the Windgate Charitable Foundation as part of the Windgate Contemporary Craft Initiative, the Andy Warhol Foundation for the Visual Arts, Mission Clay Products and Baron Studio.
Image credit: Daniel L. Bare, “Medicine Hat Platter,” 2016, Post-consumer found objects, Medelta souvenir cowboy hat ashtrays, porcelain, glaze, 22 x 22 x 9 in. Courtesy of the artist, Jane Hartsook Gallery and Greenwich House Pottery. Photo by Alan Weiner.

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