REVIEW There is something about "The Sculpture of Ruth Asawa: Contours in the Air," the de Young Museum’s current retrospective of Ruth Asawa’s work, that initially feels a bit like a natural history museum display. The darkened space, punctuated with spotlights, showcases Asawa’s floating woven wire forms, which look like giant representations of diatoms or plankton. The shadows this installation creates are an important factor, illustrating the concepts the artist considered during their making: positive and negative space, organic growth, and continuous line. One of the first pieces greeting visitors at the entrance resembles a hanging column of ballooning onion and bell shapes. It’s made of woven aluminum and brass wire, and Asawa describes it as a test to see how large a sculpture she could create in crocheted metal wire without it collapsing from its own weight.
A nearby glass case displays sketchbook pages from her formative art-school years. On one page a sentence stands out boldly: "DRAW AIR WITH NOTHING." The lacy forms of industrial metal wire are paralleled by the pen-and-ink drawings on the walls, some of which Asawa calls "meanderings." They’re images formed in an intuitive yet mathematically exponential process not unlike the route her lifelong career of object making and art activism has taken.
Born in Norwalk, Calif., in 1929 and raised on her parents’ vegetable farm, Asawa was one of thousands of Japanese Americans interned during World War II. At the Santa Anita racetrack camp, she had her first formal lessons in art, taught by several Walt Disney studio animators who were also interned. After the war she attended Black Mountain College in North Carolina, where she studied with legendary artists and thinkers including Josef Albers and Buckminster Fuller. There she met the man who would become her husband and father to her six children, architect Albert Lanier.
After college Asawa studied in Toluca, Mexico, where she learned to crochet baskets. She pushed this traditional craft into the realm of fine art during the 1950s. Her work was chosen to represent the United States in the 1955 São Paolo Biennial, and soon after the Whitney Museum of American Art acquired her work for its collection. However, in the Bay Area, where she has lived since the ’50s, Asawa has remained relatively unknown.
THIS IS THE MODERN WORLD
At the de Young the viewer traipses past Asawa’s complex, bundled copper-wire tumbleweed puffs; wiry snowflake configurations; spongy Möbius strips; plump, electroplated copper, cactilike works; and graphically bold, obsessive-compulsive-esque lithographs and drawings. Some of these date to the late ’90s, but nonetheless, we are really wandering in a realm of late-modernist works. So by today’s postmodernist and post-postmodernist values, Asawa’s pieces don’t readily leap into a contemporary critical arena. They are, for the most part, graceful and avoid the taint of macramé kitsch, although a subtle whiff of hippie-era flavoring does hover over the exhibition. Yet before one judges her art by today’s standards, let’s look at why she merits a retrospective.
This is not Asawa’s first overview: the Oakland Museum of California held one in 2002. One dramatic mandala sculpture on display Wintermass, from the late ’60s is similar to the bronze gracing the front entrance to the Oakland Museum. And this isn’t the only Asawa piece available for free viewing in the Bay Area she is far more ubiquitous than many locals realize. Over the days following my visit to the de Young exhibition, I stumbled upon several of her public works many of which in no way resemble the art chosen for the show. Rather, they seem to be created by an almost evil twin. Asawa’s public objects generally tend to land in a goofier, now quaint public-art aesthetic. The list includes that tourist mecca mermaid fountain at Ghirardelli Square, the sea lion statue (generally hidden under climbing children) at Pier 39, the whimsical San Francisco landscape fountain outside the Grand Hyatt San Francisco at Union Square, the pair of occasionally functioning giant origami fountains in Japantown and the steel origami doughnut fountain (titled Aurora) near the Gap’s Embarcadero headquarters. She also helped with the design of Children’s Fairyland in Oakland and more recently a San Jose memorial dedicated to the Japanese American internment.
Asawa was a public sculptor to be reckoned with during city upgrades in the 1970s and ’80s. She was also the force who created the revolutionary Alvarado School summer art workshops in the early ’70s. She spearheaded the creation of San Francisco’s School of the Arts High School and actively served on both state and city art boards. This exhibit includes photo documentation by Asawa’s close chum Imogen Cunningham of her early work and bohemianlike family life. Asawa saw little difference between making art and teaching it to children, which could easily make her one of the godmothers of the social practice genre. The format in which Asawa chose to display her objects early on could also make her something of a forebear of installation artists.
In a period in which homespun crafts and the DIY joys of creation think ReadyMade magazine are so prevalent, an appreciation of Ruth Asawa is a timely thing. Captured in the wonderfully dated 1978 documentary by Robert Snyder that’s screening at the exhibition, Asawa declares that "a line can go anywhere" and talks of the importance of being like a bulb planted in soil: she should always be growing while here on earth. Much like that enormous New England mushroom discovered expanding for miles underneath the soil, Asawa planted herself here and flourished quietly, germinating an idealistic sense of the importance of art in the community something I hope never grows out of style. *
THE SCULPTURE OF RUTH ASAWA: CONTOURS IN THE AIR
Through Jan. 28
Tues.Thurs. and Sat.Sun., 9:30 a.m.5:15 p.m.; Fri., 9:30 a.m.8:45 p.m., $6$10
De Young Museum
Golden Gate Park, 50 Hagiwara Tea Garden Dr., SF