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Untitled (S.036, Hanging Seven-Lobed, Multilayered Interlocking, Continuous Form within a Form, with Spheres in the First, Sixth, and Seventh Lobes)
ca. 1959
137 1/2 x 17 x 17 in. (349.25 x 43.18 x 43.18 cm)
Ruth Asawa (Norwalk, California, 1926 - 2013, San Francisco, California)
It's About Time: Celebrating 35 Years (2004-2005)
Ruth Asawa first began experimenting with wire sculpture in the late 1940s while volunteering with the Quaker American Friends Service Committee in a small town in Mexico. Inspired by her early childhood memories of her family’s farm, these sculptures assume organic patterns and shapes, often resembling the bulbous forms of desert plants. Having worked on these pieces from1955 to1965, Asawa’s wire crochet technique can be viewed as a feminist act—transforming a traditional women’s craft into fine art sculpture.
Ruth Asawa: Citizen of the World, May 21 – August 21, 2022, Modern Art Oxford, UK; and October 1, 2022 – January 22, 2023, Stavanger Kunstmuseum, Norway.
Ruth Asawa: Life's Work, September 14, 2018 – February 16, 2019, Pulitzer Arts Foundation, St. Louis, MO.
Revolution in the Making: Abstract Sculpture by Women in 1947 - 2016, March 3 - September 4, 2016, Hauser, Wirth & Schimmel, Los Angeles, CA
Random Encounters, January 9 - June 30, 2008, Lobby niche, San José Museum of Art.
It's About Time: Celebrating 35 Years, October 3, 2004 - February 13, 2005, New Wing, Gibson Family Gallery and Plaza Gallery, First Floor, San José Museum of Art.
Parallels and Intersections: Art/Women/California 1950 -2000, June I, 2002 - November 3, 2002, San José Museum of Art.
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Untitled (S.036, Hanging Seven-Lobed, Multilayered Interlocking, Continuous Form within a Form, with Spheres in the First, Sixth, and Seventh Lobes)
Sculpture
ca. 1959137 1/2 x 17 x 17 in. (349.25 x 43.18 x 43.18 cm)
Ruth Asawa (Norwalk, California, 1926 - 2013, San Francisco, California)
Object Type: Sculpture
Medium and Support: Oxidized copper and brass wire
Credit Line: Gift of the artist with additional support from the Collection Committee, in honor of the San Jose Museum of Art's 35th anniversary
Accession Number: 2003.28.04
SJMA Label Text
It's About Time: Celebrating 35 Years (2004-2005)
Ruth Asawa first began experimenting with wire sculpture in the late 1940s while volunteering with the Quaker American Friends Service Committee in a small town in Mexico. Inspired by her early childhood memories of her family’s farm, these sculptures assume organic patterns and shapes, often resembling the bulbous forms of desert plants. Having worked on these pieces from1955 to1965, Asawa’s wire crochet technique can be viewed as a feminist act—transforming a traditional women’s craft into fine art sculpture.
Exhibition
Ruth Asawa: Citizen of the World, May 21 – August 21, 2022, Modern Art Oxford, UK; and October 1, 2022 – January 22, 2023, Stavanger Kunstmuseum, Norway.
Ruth Asawa: Life's Work, September 14, 2018 – February 16, 2019, Pulitzer Arts Foundation, St. Louis, MO.
Revolution in the Making: Abstract Sculpture by Women in 1947 - 2016, March 3 - September 4, 2016, Hauser, Wirth & Schimmel, Los Angeles, CA
Random Encounters, January 9 - June 30, 2008, Lobby niche, San José Museum of Art.
It's About Time: Celebrating 35 Years, October 3, 2004 - February 13, 2005, New Wing, Gibson Family Gallery and Plaza Gallery, First Floor, San José Museum of Art.
Parallels and Intersections: Art/Women/California 1950 -2000, June I, 2002 - November 3, 2002, San José Museum of Art.
Additional Images Click an image to view a larger version
Dimensions
- Sculpture Dimensions: 137 1/2 x 17 x 17 in. (349.25 x 43.18 x 43.18 cm)
Bibliography List
This object has the following bibliographic references: - Selections: The San Jose Museum of Art Permanent Collection. Selections: The San Jose Museum of Art Permanent Collection San Jose Museum of Art. San Jose, CA, 2004
Page Number: 14-15 - Art/Women/California: Parallels and Intersections 1950-2000. Art/Women/California: Parallels and Intersections 1950-2000 San Jose Museum of Art and University of California Press. Berkeley, CA, 2002
Page Number: 87
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