Ruth Asawa
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Asawa in 1952
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en.wikipedia.org › wiki › Ruth_Asawa
Ruth Aiko Asawa (January 27, 1926 – August 5, 2013) was an American sculptor. Asawa's work is in the collections of the Solomon R. Guggenheim Museum and the Whitney Museum of American Art in New York. Fifteen of her wire sculptures ...
Education: Black Mountain College
Known for: Sculpture
Nationality: American
Died: August 5, 2013 (aged 87); San Francisco, ...
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Ruth Asawa as a young artist in 1954, surrounded by several of her wire sculptures, which she began making in the late 1940s.Credit...Nat Farbman/The Life Picture Collection/Getty ImagesSectionsSKIP TO CONTENTSKIP TO SITE INDEX
TRUE BELIEVERS
The Japanese-American Sculptor Who, Despite Persecution, Made Her Mark
Seven years after her death, Ruth Asawa is finally being recognized as an American master. What can we learn from this overdue reappraisal?
圖：Ruth Asawa as a young artist in 1954, surrounded by several of her wire sculptures, which she began making in the late 1940s.Credit...Nat Farbman/The Life Picture Collection/Getty Images
By Thessaly La Force
July 20, 2020
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IN 2009, THE New York City auction house Christie’s received an unsolicited query: A woman named Addie Lanier had a painting by Josef Albers, the midcentury abstract artist who pioneered modern arts education. Could Christie’s help her sell it? It wasn’t uncommon for a major auction house like Christie’s to get cold calls. News generated by large sales can create curiosity and spark interest; people often approach auction houses in the hope of confirming that they have been sitting on priceless works of art. Jonathan Laib — then a senior vice president and senior specialist of postwar and contemporary art at Christie’s — was excited to hear of an Albers.
The details surrounding the painting, from Albers’s “Homage to the Square” series, intrigued Laib. Like many artists, Albers was fond of trades and frequently gave artworks away. Rarely, though, did he gift a painting as substantial as this one. In some respects, the series was his masterpiece; for 26 years, Albers repeatedly nested three to four superimposed squares of varying hues, a cumulative expression of his life’s work in revealing how perception could be manipulated by the arrangement of form and color. Lanier also possessed a signed note from Albers, verifying the painting’s authenticity. It was surprisingly affectionate: “Dear Ruthie, This is just for revenge, And it is yours for the promise not to acknowledge receiving it. Love, A.” Lanier attested that her mother, a woman named Ruth Asawa, and Albers had been friends.
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The story of Ruth Asawa and the secret gift from her teacher Josef Albers.
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