PRINT September 2018



Curated by Tamara H. Schenkenberg

Fortunately, our modernist sculptural legacy does not consist only of huge chunks of metal pressing weightily against the earth. We also have the great artist of floating worlds, Ruth Asawa (1926–2013), to look to, whose biomorphic and figurative forms, often made of intricately intertwined wire hovering at eye level, trade the material and metaphoric opacity of iron, bronze, and steel for translucent architectures and spatial mapping. The Pulitzer attempts a major reassessment of Asawa’s career, featuring roughly eighty works of sculpture and drawing that include some of her earliest explorations at Black Mountain College. The catalogue contains deeply insightful essays by Helen Molesworth and Aruna D’Souza, that point toward Asawa’s magical abilities with intimacies of scale and the ways in which transparency functions as cultural allegory within her work. Read ’em!