#Ruth Asawa (1926-2013)

[bal-bullier]

Ruth Asawa

Through Line

[beyourselfchulanmaria]

"Art is doing," she wrote.

and

"Art deals directly with life."

- Ruth Asawa (1926-2013) -

Ruth Asawa. Chair. 1965

MoMA

[thunderstruck9]

Ruth Asawa (American, 1926-2013), Untitled (Persimmons), c.1970s-80s.Watercolor on paper, 14 × 17 in.

[weepingwidar]

Ruth Asawa (American, 1926-2013) - Untitled (Dancers, BMC.107) (ca. 1948-1949)

[mirellabruno]

Ruth Asawa (American, 1926-2013), Untitled (Persimmons), c.1970s-80s.Watercolor on paper, 14 × 17 in.

[davidhudson]

Ruth Asawa, January 24, 1926 – August 5, 2013.

1957 photo of Asawa and her family by Imogen Cunningham.

[worldsandemanations]

Ruth Asawa (American, 1926-2013) Untitled (SF.045c, Potato print branches, purple/blue) 1951-52, relief print

[abwwia]

Ruth Asawa (1926-2013), Untitled (BMC .59, Meander - Straight Lines), c. 1948. Ink on paper, 7 ⅞ × 13 ½ in (20 × 34.3 cm). Private collection; courtesy David Zwirner. © 2023 Ruth Asawa Lanier, Inc./Artists Rights Society (ARS), New York

[theoriesanddocuments]

This week's theme is repeating elements: images containing identical or similar visual units stamped, pasted, drawn, or painted at regular intervals across the surface of a support. Variations in the color or placement of these units can lend a great deal of visual interest in what might otherwise read as boring wallpaper patterning.

In the Malian mud cloth at top, the same elements continually shift out of alignment with one another, defeating our expectation of symmetry and producing an endlessly fascinating pattern. Anna Albers challenged her textile students to create "woven" patterns using a typewriter; in this example, I find visual appeal in the contrast between the two very rigid patterns, as well as in the slight inconsistency of individual key strikes. Ruth Asawa used a laundry stamp reading "BMC" (for Black Mountain College in North Carolina, where she was a student and also the supervisor of the student-run laundry facility) to produce a dense overall pattern where every inconsistency adds to our perception of a wavy, undulating surface.

Bamana peoples, Mali, Africa. Bogolan Wrap, made before 1910. Cotton and dye, 54 1/2 x 34 1/16 inches. Metropolitan Museum of Art, New York.

Anni Albers (American, born Germany, 1899-1994). Studies made on the typewriter, not dated. Typewriter printing in blue ink on paper mounted on board, 10 1/2 x 6 1/2 inches. The Josef and Anne Albers Foundation, Bethany, CT. Source.

Ruth Asawa (American 1926-2013). Untitled (BMC.145, BMC Laundry Stamp) c. 1948-49. Stamped ink on fabric sheeting, 36 3/4 x 45 1/2 inches. Museum of Modern Art, New York.

[spatialarttaluka]

TASK 1: DIRECTION AND LINE

• Line: The primary material, wire, creates strong, rigid lines that convey tension and movement. The lines are chaotic, with an interplay between controlled and uncontrolled curves, mimicking the fluidity of organic forms yet retaining a sharp, unnatural quality. This tension between fluidity and rigidity in the lines reflects the dichotomy im exploring—angelic grace contrasted with a sense of hostility or danger.

• Shape and Form: The wire forms the outline of a figure that suggests an angel. The loosely arranged wires create a silhouette that can be interpreted as wings, while the central mass suggests a body. The irregular and unpredictable shapes produced by the wire emphasize the contrast between the expected gentle curves of an angelic figure and the harshness of the material.

• Texture: The wire’s texture adds to the hostile essence, with its rough, metallic surface contrasting with the expected softness associated with angelic imagery. This texture further reinforces the dichotomy by giving the viewer an impression of something cold and unforgiving.

Interaction with Site (Environment):

• Contextual Placement: The sculpture is situated in a natural outdoor environment, interacting directly with the tree. The site amplifies the conceptual contrast—placing an “angel” in nature, yet composed of materials that starkly oppose the organic surroundings. This setting emphasizes the sculpture’s alien nature, as it clashes with the tree’s organic lines and textures.

• Light and Shadow: Natural light interacts with the wire, casting complex shadows that extend the lines of the sculpture onto the surrounding surfaces. These shadows create additional forms and lines, expanding the visual impact of the piece beyond its physical boundaries. The way light filters through the wires can evoke a sense of ethereality, ironically using the harsh material to create a delicate, almost spiritual effect.

• Environmental Impact: The outdoor setting adds layers to the work’s interpretation. The wire’s exposure to the elements could lead to rust and deterioration over time, symbolizing the decay of something that was once pure or perfect. The interaction with wind or other environmental factors cause the wires to move slightly, adding an element of unpredictability and life to the piece, which contrasts with the inherent lifelessness of the material.

Conceptual Reflection:

My work creates a compelling dialogue between material and metaphor. The choice of wire—a material associated with construction, boundaries, and even pain—contrasts with the idea of an angel, a symbol of purity, protection, and grace. This juxtaposition forces the viewer to reconsider preconceived notions of what is “angelic.” The environment further complicates this reading, placing the piece in a space where it seems both a part of and alien to its surroundings.

Ruth Asawa

Overview: Ruth Asawa (1926-2013) was an American sculptor known for her intricate wire sculptures. She is celebrated for transforming industrial materials like wire into delicate, organic forms that often resemble natural elements such as water droplets, flowers, or even celestial bodies.

Relevance to My Work:

Material and Form: AAsawa's use of wire as her primary medium is a significant parallel. While her work often evokes a sense of delicacy and grace, the material itself—wire—carries connotations of strength, containment, and even violence, depending on its context. This duality in material and form can inspire how you think about the contrast between the harshness of wire and the gentle, angelic form you're creating.

Spatial Interaction: Asawa's sculptures are known for their spatial dynamism—they interact with light and shadow in ways that make them appear to float or shift in space. This interaction with their environment can provide insight into how my work might similarly engage with its surroundings, casting complex shadows or interacting with natural elements like wind.

Conceptual Depth: Though Asawa's work is often celebrated for its aesthetic beauty, there is an underlying tension in her use of wire, typically associated with boundaries or limitations. This can be a point of reflection in my work as I explore how the "angelic" form can be both beautiful and constrained by the very material that composes it.

Key Works:

Untitled (S.108, Hanging, Six-Lobed, Multilayered Continuous Form within a Form): This piece exemplifies Asawa's ability to create delicate and intricate forms yet made from a fundamentally strong and industrial material. The form-within-a-form structure could inspire how I layer or structure My wire sculpture to convey complexity and tension.

"Untitled (S.389, Hanging Two-Lobed, Multilayered Continuous Form within a Form)": The interlocking loops and spirals in this work evoke a sense of infinite complexity and interconnectedness. Asawa suspends these forms in space could influence how I think about the placement and orientation of My sculpture about its environment.

2. Antony Gormley

Overview: Antony Gormley (b. 1950) is a British sculptor whose work often explores the human body's relationship with space. He is mainly known for his large-scale installations that place human figures in various contexts, from vast landscapes to urban environments.

Relevance to My Work:

Human Form and Abstraction: Gormley's work often involves the abstraction of the human form, reducing it to a series of lines, shapes, or volumes that represent body while also questioning what it means to occupy space. This abstraction could inspire how I depict the angelic form—perhaps focusing on the essence or spirit of an angel rather than a literal representation, which aligns with My use of wire to create a recognisable and abstract figure.

Materiality and Metaphor: Gormley frequently uses materials with specific connotations—like iron, representing strength and vulnerability. In my work, the choice of wire can be seen similarly, as it embodies both the capacity to create and destroy. Gormley's ability to infuse material with metaphor could be a helpful reference point as I explore the duality in my piece.

Environmental Integration: Gormley's works are often site-specific, designed to interact meaningfully with their surroundings. His approach to placing human forms in different environments—whether natural or man-made—can inspire how you situate your sculpture in a way that enhances its narrative or conceptual depth. The tension between the sculpture and its environment, central to my work, is also a key element in Gormley's practice.

Key Works:

"Angel of the North": This monumental sculpture is an iconic example of Gormley's ability to blend human form with environmental context. The piece's sheer scale and location in an open landscape make it a powerful symbol of both protection and industrial heritage, relevant to my exploration of an "angelic" figure made from a material with industrial connotations.

"Another Place": This installation features 100 cast-iron figures placed along a beach, subject to the changing tides and weather conditions. The way these figures interact with the environment—sometimes submerged, sometimes obvious—might inspire how I think about the changing relationship between my sculpture and its site, particularly how natural elements like light, wind, and weather can alter the perception of my piece over time.

[famousdeaths]

Ruth Aiko Asawa was an American modernist artist known primarily for her abstract looped-wire sculptures inspired by natural and organic forms. In addition to h...

Link: Ruth Asawa

[brkfstclubnyc]

2022 Venice Art Biennale #1

We ventured out to Venice, Italy, this time!

Pre-opening days are April 20, 21, 22 and this year's biennale was curated by Cecilia Alemani (Italian curator of the High Line in NYC).

2022 Venice Art Biennale: The Milk of Dreams

April 23 - November 27, 2022

SESTIERE CASTELLO 30122 VENICE

giardini

SESTIERE CASTELLO CAMPO DELLA TANA 2169/F30122 VENICE

arsenale

Names of the artists whom we are familiar in NYC:

Ruth Asawa

Noah Davis

Barbara Kruger

Francis Alÿs

Stan Douglas

Marlene Dumas

Highlights below:

switzerland, latifa echakhch

japan, dumb type

nice fashion

japanese government discussing their visit to the vatican and what they did with japanese christians in the past...

japanese artist

great britain

inside the great britain, sonia boyce

estonia, kristina norman n bita ravazi

francis alÿs

https://francisalys.com

finland, pilvi takala

usa, simone leigh: sovereignty

usa, simone leigh: sovereignty

ruth asawa

reported by Nozomi Kato 2022

[thunderstruck9]

Ruth Asawa (American, 1926-2013), Untitled (S.864, Wall-Mounted Tied-Wire, Open-Center, Six Branched Form Based on Nature), c.1968. Wall-mounted—brass and copper wire with clear glass beads, 35 x 33 x 9 in.

[weepingwidar]

Ruth Asawa (American, 1926-2013) - Spring (1965)

[horizontaldrawing]

ruth asawa (american, 1926-2013), watermelon, 1968. watercolor and conté crayon on paper, 45.4 x 45.4 cm.

[davidhudson]

Ruth Asawa, January 24, 1926 – August 5, 2013.

1952 photo by Imogen Cunningham.