All posts in “Ruth Asawa”

Muse/News: Baroque drama, soap bubbles, and Colescott’s good trouble

SAM News

Are you ready for DRAMA? SAM’s trailer for the major fall exhibition is here in all its glory. Flesh and Blood: Italian Masterpieces from the Capodimonte Museum opens October 17; both Seattle Met and Seattle Magazine recommend it.

Jeffrey Gibson, whose solo show Like a Hammer graced SAM’s walls earlier this year, is officially a genius. He, along with 25 other noteworthy doers, was named a MacArthur Fellow last week. Congrats, Jeffrey!

Local News

The Seattle Times’ Brendan Kiley reports on the conflict within Intiman Theatre between the board and staff, as the organization again comes under threat. The Stranger’s Rich Smith also reported on the rumblings.

The Frye just opened three new shows. Seattle Met’s Stefan Milne loved Pierre Leguillon: Arbus Bonus, calling it “direct, elegant, inquisitive, multitudinous.”

And the Stranger’s Jasmyne Keimig loved Unsettling Femininity, their first thematic show from the founding collection that explores male and female gazes—and one ensorcelling soap bubble—amid newly lavender walls.

“It’ll last forever. It’s been here since before my grandparents were born and will be here for longer than my grandchildren. This bubble with outlast my life as a symbol of how my own life is fleeting. Amongst all that oil paint!”

Inter/National News

GRAY Magazine’s Tiffany Jow on Andrea D’Aquino’s new collage book on Ruth Asawa, which explores the artist’s fascinating personal history. It’s directed at readers age 5-8—but I think you’ll want a copy, too.

Reggie Ugwu of the New York Times reports on last week’s unveiling in Times Square of Kehinde Wiley’s bronze sculpture Rumors of War, of a man and “the horse he rode in on, from a previous century, perhaps, or was it a future one?”

Artnet’s Taylor Dafoe reviews Art and Race Matters: The Career of Robert Colescott, now on view in Cincinnati’s Contemporary Arts Center. Lowery Stokes Sims and co-curators grapple with his amazing work—and his underappreciated status.

“He misbehaved,” she explains matter-of-factly. “He did not conform to any of the canonical ideas about painting, about depictions, about points of view—he just misbehaved and we’re all better for it.”

And Finally

It’s been a month. Farewell, September.

– Rachel Eggers, SAM Associate Director of Public Relations

Atalanta and Hippomenes, ca. 1620–1625, Guido Reni, Italian, 1575–1642, oil on canvas, 75 9/16 x 103 15/16 in., Museo e Real Bosco di Capodimonte.
Share

Object of the Week: Ruth Asawa Family and Sculpture

Though this 1957 photograph is by Imogen Cunningham, its subject is Bay Area artist Ruth Asawa (1926–2013). For decades Asawa has been little known beyond the West Coast, and is all too belatedly finding herself rewritten into the history of American art. Rather than concentrate on photographer Cunningham, this post focuses on Asawa, her diaphanous wire sculptures, and her complex identity as a Japanese-American woman artist.

Cunningham’s photograph is a quiet yet evocative image: Asawa sits with her face occluded by the semi-transparent curvature of one of her hanging wire sculptures. She’s surrounded by her four children, ranging from toddler to six years old. Each, including Asawa, is engaged in and absorbed by his or her own activity: reading, playing, observing, drinking, and making. The iconic photograph has often been read in gendered terms, focusing on Asawa’s demonstrated domesticity, femininity, and passivity. Like too many women artists, Asawa has been positioned primarily as a wife and mother—identities that override her identity as an artist, which can and should include these other identities. As curator Helen Molesworth discusses in her recent paper delivered last month at the Smithsonian, “Ruth Asawa: ‘San Francisco Housewife and Mother’,” this image has additional import, positioning art making as a social activity, and Asawa, therefore, as a citizen above all else.

As a child, Asawa would draw and make art while in a World War II internment camp with her Japanese parents. She was not an outside or self-taught artist though, for she attended Black Mountain College and studied for three years and two summers (1946–49) with Josef Albers, Merce Cunningham, and Buckminster Fuller, among others. For Asawa, “Black Mountain gave you the right to do anything you wanted to do. And then you put a label on it afterwards. I think that’s the nice thing about what Black Mountain did for its students. It was like they gave you permission to do anything you wanted to do. And then if it didn’t fit they’d make a category for you. But I think Black Mountain helped make something with weaving and with printmaking, and it gave people the freedom to make something of each category.”¹

Black Mountain was a transformative place and time for Asawa, creatively as well as socially: incorporated into Black Mountain’s utopian environment was an attitude that expanded what art can do for society. Therefore, to be an artist is to be a citizen—engaging actively in the world and making choices alongside others.² Though Cunningham’s photograph captures Asawa in her home, surrounded by her four (of six) children, central to the visual narrative is her artwork, which is inextricable from her role as an artist, wife, mother, and citizen.

– Elisabeth Smith, Collections Coordinator

Image: Ruth Asawa Family and Sculpture, 1957, Imogen Cunningham, Gelatin silver print, 10 3/8 x 10 3/8 in. (26.4 x 26.4 cm), Gift of John H. Hauberg, 89.43
¹Ruth Asawa, “Oral history interview with Ruth Asawa and Albert Lanier, 2002 June 21-July 5,” interview by Mark Johnson and Paul Karlstrom, Archives of American Art, https://www.aaa.si.edu/collections/interviews/oral-history-interview-ruth-asawa-and-albert-lanier-12222#transcript.
²Helen Molesworth, “Ruth Asawa: ‘San Francisco Housewife and Mother’,” filmed September 12, 2018 at Smithsonian Institution, Washington, D.C., video, 1:07:05, https://americanart.si.edu/videos/clarice-smith-distinguished-lecture-series-scholar-helen-molesworth-154476.
Share

SAMart: Ruth Asawa, in memoriam

A key element in Imogen Cunningham’s photography practice was interaction with fellow artists. This began during her years in Edward Curtis’s Seattle portrait studio, and endured through her many decades of work.

After leaving Seattle, Cunningham lived and worked in San Francisco, where she forged a close friendship with American sculptor Ruth Asawa. Asawa’s woven, hanging sculptures figure prominently in Cunningham’s photographs from the 1950s, recurring motifs that are now associated nearly as closely with Cunningham as they are with Asawa.

In Memoriam: Ruth Asawa, 1926-2013

Ruth Asawa Family and Sculpture, 1957, Imogen Cunningham (American, 1883-1976), gelatin silver print, 10 3/8 x 10 3/8 in., Gift of John H. Hauberg, 89.43, © (1957), 2009 Imogen Cunningham Trust. Not currently on view, but accessible at www.seattleartmuseum.org/emuseum.
Share
Share