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X-WR-CALDESC:Events for ASU Art Museum
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220305
DTEND;VALUE=DATE:20250301
DTSTAMP:20261006T082949
CREATED:20220912T183003Z
LAST-MODIFIED:20240812T175244Z
UID:609-1646438400-1740787199@asuartmuseum.org
SUMMARY:ASU Art Museum’s Public Art
DESCRIPTION: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. \nCommissioned 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. \n“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 \n“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. \nIn “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. \nExplore the ASU Art Museum’s public art with works by Leo Villareal\, Robert Arneson\, Luis Jimenez and Eduardo Sarabia.
URL:https://asuartmuseum.org/event-exhibition/asu-art-museums-public-art/
LOCATION:ASU Art Museum\, 51 E 10th St\, Tempe\, AZ 85281\, Tempe\, 85281
CATEGORIES:blue,Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230215
DTEND;VALUE=DATE:20250101
DTSTAMP:20261006T082949
CREATED:20230209T210411Z
LAST-MODIFIED:20240621T190457Z
UID:1488-1676419200-1735689599@asuartmuseum.org
SUMMARY:Opportunity (reflection)
DESCRIPTION: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. \nThe 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. \n  \n\n  \n 
URL:https://asuartmuseum.org/event-exhibition/opportunity-reflection/
LOCATION:ASU Art Museum\, 51 E 10th St\, Tempe\, AZ 85281\, Tempe\, 85281
CATEGORIES:Exhibition,gold
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240713
DTEND;VALUE=DATE:20250630
DTSTAMP:20261006T082949
CREATED:20240701T202328Z
LAST-MODIFIED:20250222T221843Z
UID:3855-1720828800-1751241599@asuartmuseum.org
SUMMARY:Chicano/a/x Prints and Graphics: Selections from the Hispanic Research Center’s Collection\, 1980–2010
DESCRIPTION:“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. \n“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. \n  \nChicano/a/x Prints and Graphics Audio Guide\nUse the audio players below at the corresponding exhibition location. \nStop 1: Isabel Martinez\, “VG Got Her Green Card”\n\n  \nStop 2: Leo Limón\, “Morena y Quetzalcoatl”\n\n  \nStop 3: Alma López\, “Chuparosa”\n\n 
URL:https://asuartmuseum.org/event-exhibition/chicano-a-x-prints-and-graphics-selections-from-the-hispanic-research-centers-collection-1980-2010/
LOCATION:ASU Art Museum\, 51 E 10th St\, Tempe\, AZ 85281\, Tempe\, 85281
CATEGORIES:Exhibition,green
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240713
DTEND;VALUE=DATE:20250630
DTSTAMP:20261006T082949
CREATED:20240918T005844Z
LAST-MODIFIED:20241031T171653Z
UID:3832-1720828800-1751241599@asuartmuseum.org
SUMMARY:Spiraling\, Twisting\, Unraveling: Explorations in Pattern and Form
DESCRIPTION:Exhibition Overview\n\n\nSpiraling\, Twisting\, Unraveling Audio Guide\nUse the audio players below at the corresponding exhibition location. \n  \nStop 1: Maria Poveka Martinez\n\n  \nStop 2: Bradley R. Miller\n\n  \nStop 3: Jiro Yonezawa\n\n  \nInterpretation questions\n\n\n\n 
URL:https://asuartmuseum.org/event-exhibition/spiraling-twisting-unraveling-explorations-in-pattern-and-form/
LOCATION:ASU Art Museum\, 51 E 10th St\, Tempe\, AZ 85281\, Tempe\, 85281
CATEGORIES:Exhibition,gold
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240907
DTEND;VALUE=DATE:20250113
DTSTAMP:20261006T082949
CREATED:20240727T005427Z
LAST-MODIFIED:20250114T225546Z
UID:4070-1725667200-1736726399@asuartmuseum.org
SUMMARY:Muddy Terrains: Mariana Ramos Ortiz + Estephania González
DESCRIPTION:Exhibition Overview\n\n\nMuddy Terrains Audio Guide\nUse the audio players below at the corresponding exhibition location. \n  \nStop 1: Introduction\n\n  \nStop 2: Mariana Ramos Ortiz\n\n  \nStop 3: Estephania González\n\n  \nStop 4: “Points of confluence: in between the island and the desert”\n\n  \nInterpretation questions
URL:https://asuartmuseum.org/event-exhibition/muddy-terrains-mariana-ramos-ortiz-estephania-gonzalez/
LOCATION:ASU Art Museum\, 51 E 10th St\, Tempe\, AZ 85281\, Tempe\, 85281
CATEGORIES:blue,Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240907
DTEND;VALUE=DATE:20250113
DTSTAMP:20261006T082949
CREATED:20240731T224559Z
LAST-MODIFIED:20240801T175105Z
UID:3948-1725667200-1736726399@asuartmuseum.org
SUMMARY:Notes on Motherhood
DESCRIPTION:What role does community play in contemporary mothering experiences? How might we tackle taboo topics such as postpartum anxiety\, rage\, and birth trauma\, while celebrating maternal joy\, love\, sacredness and the spectrum of emotions in between? What can we do to acknowledge the invisible labor of mothering\, recognizing it is not a monolithic experience\, and offering a rich tapestry of alternative\, inclusive narratives? \n“Notes on Motherhood” explores various stages of matrescence\, or “mother-becoming” –– from birth and caregiving to grief and loss. The exhibition challenges the narrow depictions of mothers and mothering within art history and visual culture. Drawing from the museum’s dynamic collection\, the presentation assesses the presence and absence of nuanced\, complex portrayals of motherhood. Often\, maternity is viewed through a male gaze\, with the image of the Madonna and Child dominating the experience. Alongside selections from the collection\, the exhibition inserts voices and perspectives traditionally left out. Regional women-identified artists\, such as Megan Driving Hawk (United States\, b. 1988)\, Gabriela Muñoz (United States\, b. Mexico 1980) and Ashley Czajkowski (United States\, b. 1986)\, each offer a unique perspective on mothering\, thereby expanding upon the limited understandings of birth\, nurturing and unseen domestic labor. \nArtists include: Pitseolak Ashoona (Inuk\, 1904–1983)\, James S. Baillie (United States\, active 1838–1855)\, Judy Chicago (United States\, b. 1939)\, Sue Coe (England\, b. 1951)\, Ashley Czajkowski (United States\, b. 1986)\, Francis de Erdely (United States\, 1904–1959)\, Raoul Deal (United States\, b. 1956)\, Louis Delsarte (United States\, 1944–2020)\, Renée Dennison (Diné\, b. 1963)\, Megan Driving Hawk (United States\, b.1988)\, Albrecht Dürer (Germany\, 1491–1528)\, Margaret Garcia (United States\, b. 1951)\, R.C. Gorman (Diné\, 1933–2005)\, Mildred Howard (United States\, b. 1945)\, Sara Hubbs (United States\, b. 1978)\, Victoria E.H. Huntley (United States\, b. 1900–1971)\, Käthe Kollwitz (Germany\, 1867–1945)\, John P. Leeper (United States\, 1909–1989)\, Adriana Lestido (Argentina\, b. 1955)\, Gabriela Muñoz (United States\, b. Mexico 1980)\, José Clemente Orozco (Mexico\, 1883–1949)\, Lisa Reinertson (United States\, b. 1955)\, Margery Ryerson (United States\, 1886–1989)\, Edwin Scheier (United States\, 1910–2008)\, Forrest Solis (United States\, b. 1979)\, Roxanne Swentzell (Santa Clara Tewa\, b.1962)\, Akio Takamori (United States\, 1950–2017)\, Dorothy Trujillo (Cochiti Pueblo\, 1932–1999)\, Andy Warhol (United States\, 1928–1987)\, June Wayne (United States\, 1918–2011) and Russell Wray (United States\, b. 1955). \n“Notes on Motherhood” is organized by ASUAM Curator Brittany Corrales and is made possible by an award from the National Endowment for the Arts. The exhibition is presented in collaboration with a Community of Practice composed of Briauna Jensen\, UX Researcher; Julia Rodriguez\, Communications Manager at First Things First; and Deborah Sussman\, Associate Director of Strategic Communications and Media for the Herberger Institute for Design and the Arts.
URL:https://asuartmuseum.org/event-exhibition/notes-on-motherhood/
LOCATION:ASU Art Museum\, 51 E 10th St\, Tempe\, AZ 85281\, Tempe\, 85281
CATEGORIES:Exhibition,pink
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240929
DTEND;VALUE=DATE:20250728
DTSTAMP:20261006T082949
CREATED:20240821T200731Z
LAST-MODIFIED:20250721T163615Z
UID:3981-1727568000-1753660799@asuartmuseum.org
SUMMARY:Mariana Castillo Deball: The Flames Leave a Feathered Mark on the Clay Spider in the Chamber of Ash and Clay
DESCRIPTION:Exhibition Overview\n\n\nMariana Castillo Deball Audio Guide\nUse the audio players below at the corresponding exhibition location. \n  \nStop 1: Introduction\n\n  \nStop 2: The Flames Leave a Feathered Mark on the Clay Spider in the Chamber of Ash and Clay\n\n  \nStop 3: Cabeza Olmeca San Lorenzo 1 (rostro lado derecho)\n\n  \nInterpretation questions\n\n\n\n 
URL:https://asuartmuseum.org/event-exhibition/mariana-castillo-deball-the-flames-leave-a-feathered-mark-on-the-clay-spider-in-the-chamber-of-ash-and-clay3/
LOCATION:ASU Art Museum\, 51 E 10th St\, Tempe\, AZ 85281\, Tempe\, 85281
CATEGORIES:Exhibition,green
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