Events and exhibitions
We invite you to be an active part of our vibrant creative community.
Explore our events and exhibitions
An education in art goes beyond building knowledge and technical skills, it’s about finding one’s voice, igniting curiosity, connecting with others, making meaning of the present and discovering a place in the world. It is important to celebrate successes together because the experiences and relationships one creates here will inform the rest of their life.
ASU Events
Exhibitions
MAMAS, DON'T LET YOUR BABIES GROW UP TO BE COWBOYS
Nov 10 to 21 | Harry Wood Gallery
Closing reception | Nov 21 | 5 to 8 p.m.
“MAMAS, DON’T LET YOUR BABIES GROW UP TO BE COWBOYS”, a solo exhibition by Bailey Anderson, utilizes tropes from “spaghetti western” films to mount a cultural critique. The Spaghetti Western was a genre of film from the 1950s-70s that used artmaking as activism, critiquing Italian and Spanish fascism through the imagery and history of 19th 19th-century United States during the Civil War. Based on a 1978 song by Waylon Jennings and Willie Nelson, this exhibition warns mothers of a terrible fate: their sons would become cold and distant, like the cowboys in the films. Life shaped by the Cold War and the film genre, romanticized violence in the West, and mourns the valiant heroism found in the mirage of the fabricated cowboy.
Through the imagery of Wile E. Coyote and the Roadrunner, and inspired by Sergio Leone's approaches, the sculptural work offers an alternative perspective on masculinity, colonialism, violence and censorship. The genre erases indigeneity, experiences of people of color, and the gaze of anyone in the West during the 18th and 19th centuries. Additionally, it does not account for true attitudes of US colonialism and how this nation shapes its foreign policy. This exhibition considers challenges in a society yearning for traditionalism while moving forward at an impossibly fast speed.
Built in a system of cyclical violence, consumerism and gendered tension, the identity of a man — as reflected in the impossible ideal of the American cowboy — is expected to be constantly under construction.
Image: "THE CHAPEL" Budweiser bottles, solder. Image courtesy of the artist.
ill-mannered, indelible being(s)
Oct 28 to Nov 6 | Gallery 100
Opening reception | Oct 28 | 5 to 7 p.m.
Indelible: (of ink, a pen, etc.) making marks that cannot be removed.
Gallery 100 is pleased to present our newest senior exhibition, “ill-mannered, indelible being(s)”, a wildly imaginative exhibition that engages with themes of femininity, nature, the self, cultural representation and more. Through a range of mediums—including oil painting, animation and photography—our artists reveal their individual strengths and passions. Together, their work demonstrates how diverse ideas and practices can converge in whimsical and unexpected ways through bold experimentation, shared dialogues and personal narratives.
Artists: Diana Angeles, Vanessa Bush, Abigail Charland, Jasmine Delmore, Maia Gelvin, Kelly Kirkby, Nic Morley and Sydney Terpstra.
Image courtesy the artists.
Gallery hours
Monday – Thursday | 12 to 5 p.m.
Friday | 12 to 3 p.m.
Closed on weekends and university holidays
Is this thing on?
Oct 21 to Nov 7 | Harry Wood Gallery
Opening reception | Oct 21 | 4:30 to 6:30 p.m.
“Is this thing on?” brings together four new School of Art faculty whose artistic practices explore communication, connection and the spaces in between.
Zeina Barakeh's animation deploys percussive, industrial sound against historical imagery as a means of digital resistance, broadcasting counter-narratives across a borderless cyberwar landscape.
Bentley Brown's raw, collage-driven paintings sample art history and explore Black identity and interculturalism through improvisation and layered materials.
Ryan Kirkpatrick combines personal sound collage with intimate visual poetry, transforming private disclosure into shared experience.
Geoff Marslett's narrative follows unanswered transmissions—a trucker's CB radio calls and a whale singing at a frequency no one else can hear—mapping isolation and loneliness.
Image: Zeina Barakeh, “Cozy Calafia APT47,” 2025, animation, 6:05 minutes.
Gallery hours
Monday – Thursday | 9 a.m. to 5 p.m.
Fridays | 9 a.m. to 3 p.m.
Closed on weekends and university holidays
Cut It Out: Collage as Fashion Design
Oct 17 to Nov 8 | Step Gallery
Opening reception | Oct 17 | 6 to 9 p.m.
This creative research project by Yang Soon Ju (Assistant Teaching Professor, ASU FIDM) explores how traditional collage techniques spark innovative approaches to fashion design. Made entirely from recycled magazines, such as Vogue, National Geographic, and American Craft, each piece explores shape, texture and concept while embracing sustainability. By merging art elements, fashion illustration and sustainable practice, these works represent a hands-on process that challenges traditional methods.
“As an educator and designer, I use this process to inspire students to see that fashion art can emerge from everyday materials. The act of cutting and rearranging fosters not only design thinking and creativity but also an environmentally conscious mindset.”
“Cut It Out: Collage as Fashion Design” includes over 55 collages and sketches that bridge art and design, encouraging interdisciplinary conversations about materials, sustainability and the future of fashion communication.
Image courtesy the artist.
Thursday – Saturday | 12 to 5 p.m.
First and third Fridays | 6 to 9 p.m.
Closed Sunday – Wednesday and university holidays
Unsuspected
Oct 17 to Nov 8 | Northlight Gallery, 605 E Grant Street Phoenix 85004
Opening reception | Oct 17 | 6 p.m.
Unsuspected proposes to focus on the overlooked, the insignificant, and the forgotten. Photography has a unique capacity to capture something unseen, through either a long or premeditated creative process, experimentation, chance occurrences, as documentation of performative acts, as a transdisciplinary form, a screen shot, etc. It may be raw, traditional, constructed, edited by AI, estranged, diluted, recognizable or not as belonging to the photographic realm.
This exhibition is inspired by the artist Sybil Brintrup (Chile, 1954-2020), a Chilean conceptual artist who worked in diverse media — including video, performance, photography, poetry, objects and games — and was often overlooked. Brintrup found intricate ways to celebrate “little” things, such as her love for lettuce from her series Romances or the act of ironing as a collective form of care. Her extraordinary gestures, intimate, performative, humble, unassuming, celebrated with “Zen humor” some of the most common aspects of our domestic existence, highlighting and elevating the daily in our human condition. Her photographs were often taken from stills of homemade videos and turned into games with instructions that were both humorous and philosophical. Her work was political in the most unexpected ways, due to the intimate and vulnerable nature of her gestures, which could expose her to ridicule or rejection, such as offering to iron the public’s clothing in the museum or ironing while singing at the edge of Laguna del Inca in Valparaíso, Chile. Overlooking Brintrup reflects our collective personal unnoticing, also in the art world.
Curated by: Cecilia Fajardo-Hill
Participating artists: Julie Anand, Sybil Brintrup, Stan Buglass, Amalia Caputo, Liz Cohen, Lenora de Barros, Cameron Gainer, Mehrdad Mirzaie, Elizabeth Pineda, Patricia Sannit and Liza Stout
Gallery Hours
Thursday – Saturday | 12 to 5 p.m.
First and third Fridays of the month | 6 to 9 p.m.
Closed Sunday – Wednesday and university holidays
