An Overview of Three Exhibitions

Above: The ASU Art Museum is located at 51 East 10th Street in Tempe.

ASU Art Museum exhibitions align closely with its collecting mission and with the ASU Charter to work across disciplines to advance research and discovery of public value, and respond to the economic, social and cultural state of the communities it serves. Exhibitions focus on socially, politically and environmentally engaged work by regional and international artists; innovative contemporary art practices; Latin American and Latinx artists; and 20th century and contemporary ceramics and craft.

The Museum is open to the public Friday through Sunday from 11 a.m.-5 p.m. Admission is free. To ensure the well-being of all visitors and staff, guests are required to wear masks and practice social distancing. As a further precaution, guests must reserve a free timed-entry ticket online prior to arriving at the museum. Four, hour-long reservations are available each day, with 30 minutes in between to allow the staff time to properly sanitize high-touch areas of the museum.

For free time-entry tickets, CLICK HERE

Art in Focus: Highlighting Women Artists from the Collection

Above: 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.

The Art in Focus gallery highlights artwork from the museum’s permanent collection. Along with many institutions across the country, ASU Art Museum actively works to build a more diverse collection that tells a representative history of art, and make it a priority to collect and exhibit artists who have been marginalized. A recent study of the artists represented in the collections of 18 major American art museums found that only 12.6-percent are women. This installation features works on paper, ceramics, basketry, textiles, 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. On view through May 29.

Above: Liz Cohen, Zwickau Routine: Yellow Inward Turn, 2010, C- Print, 16 x 20 inches. Image courtesy of the artist.

Body/Magic: Liz Cohen is an exhibition that, for the first time, combines all aspects of artist Liz Cohen’s Bodywork series. It includes 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 the artist 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 the car at lowrider shows. The project examines her mix…. 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. On view through May 29. 

José Clemente Orozco: The Final Cut

Above: José Clemente Orozco, Skull with Feathers, 1947, Pyroxylin on Masonite, 48 × 45 in. Courtesy of the Orozco Family.

The ASU Art Museum presents an important exhibition of the 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. The artist’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 unrecognized 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. On view through June 5.

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