Konstfacks bibliotek

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*020  $a9781941701683
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*041  $aeng
*043  $aa-ja---$an-us---
*050 4$aN6537.A74$bA4 2018
*080  $aASAWA
*08204$a730.92$223
*084  $aIbz Asawa, Ruth$2kssb/8
*24500$aRuth Asawa
*264 1$aNew York, New York :$bDavid Zwirner Books,$c[2018]
*264 2$aNew York, New York :$bARTBOOK/D.A.P.
*300  $a199 pages$billustrations (chiefly color), portraits, facsimiles$c34 cm
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*336  $astill image$bsti$2rdacontent
*337  $aunmediated$bn$2rdamedia
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*340  $b34 cm
*500  $aCatalog of the exhibition held at David Zwirner, New York, September 13-October 21, 2017.
*5058 $tForeword /$rJonathan Laib --$tRuth Asawa: working from nothing /$rTiffany Bell --$tPlates --$tRuth Asawa: sketches of the cosmos /$rRobert Storr --$tChronology /$rEmily K. Doman Jennings with Jaime Schwartz --$tList of works.
*520  $a"David Zwirner is pleased to announce the gallery's first exhibition dedicated to the work of Ruth Asawa since having announced the representation of the artist's estate earlier this year, which will take place at the 537 West 20th Street location. The exhibition will bring together a selection of key sculptures, paintings, and works on paper spanning Asawa's influential practice, as well as rare archival materials, including a group of vintage photographs of the artist and her work by Imogen Cunningham."$c--David Swirner.
*599  $aImported from: zcat.oclc.org:210/OLUCWorldCat (Do not remove)
*60007$aPlastik$2gnd
*60010$aAsawa, Ruth,$d1926-2013
*60010$aAsawa, Ruth$xCriticism and interpretation.
*60010$aAsawa, Ruth$xThemes, motives.
*60016$aAsawa, Ruth,$d1926-2013
*60017$aAsawa, Ruth,$d1926-2013
*60017$aAsawa, Ruth,$d1926-2013
*648 7$a1900-1999$2fast
*650 0$aJapanese American art$y20th century.
*650 0$aMinority women artists$zUnited States$y20th century.
*650 0$aWire in art$y20th century.
*650 0$aSculpture, Abstract$y20th century$vExhibitions.
*650 0$aSculpture, Modern$y20th century$vExhibitions.
*650 0$aMetal sculpture$y20th century$vExhibitions.
*650 7$aThemes, motives.$2fast
*650 7$aSculpture, Modern.$2fast
*650 7$aMinority women artists.$2fast
*650 7$aJapanese American art.$2fast
*650 7$aMetal sculpture.$2fast
*650 7$aSculpture, Abstract.$2fast
*650 7$aWire in art.$2fast
*650 7$aDraht$2gnd
*651 7$aUnited States.$2fast
*655 7$aIllustrated works.$2fast
*655 7$aEssays.$2fast
*655 7$aCriticism, interpretation, etc.$2fast
*655 7$aExhibition catalogs.$2fast
*655 7$aExhibition catalogs.$2lcgft
*655 7$aEssays.$2lcgft
*655 7$aIllustrated works.$2lcgft
*70012$aAsawa, Ruth$tWorks.$kSelections.$eartist.
*7001 $aBell, Tiffany$ewriter of added commentary.$4wac
*7001 $aStorr, Robert$ewriter of added commentary.$4wac
*7102 $aDavid Zwirner (Gallery)$ehost institution$epublisher$eissuing body.$4his$4pbl
*752  $aUnited States$bNew York (State)$dNew York.
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Known for her extensive body of intricate and dynamic wire sculptures, American sculptor, educator, and arts activist Ruth Asawa challenged conventional notions of material and form through her emphasis on lightness and transparency.

Asawa began her now iconic looped-wire works in the late 1940s while still a student at Black Mountain College. Their unique structure was inspired by a 1947 trip to Mexico, during which local craftsmen taught her how to create baskets out of wire. While seemingly unrelated to the lessons of color and composition taught in Josef Albers's legendary Basic Design course, these works, as she explained, are firmly grounded in his teachings in their use of unexpected materials and their elision of figure and ground.

Presenting an important and timely overview of the artist's work, this monograph brings together a broad selection of her sculptures, works on paper, and more. Together the body of work demonstrates the centrality of Asawa's innovative practice to the art-historical legacy of the twentieth century. In addition to an incredible group of photographs of the artist and her work by Imogen Cunningham, a selection of rare archival materials will illustrate a chronology of the artist's life and work. Featuring an extensive text by Tiffany Bell which explores the artist's influences, history, and, most importantly, the work itself, as well as a significant essay by Robert Storr discussing Asawa's work in relation to mid-twentieth century art history, culture, and scientific theory.