A sculpture by Ruth Asawa, called Untitled (S.175, Hanging Single-Lobed, Four-Layer Continuous Form within a Form), dated c. 1992.

American artist, educator, and arts advocate 

 (1926-2013) is known for her extensive body of wire sculptures that challenge conventional notions of material and form through their emphasis on lightness and transparency. Born in rural California, Asawa first studied under professional artists while her family and other people of Japanese descent were detained at Santa Anita, California, in 1942. Following her release from an incarceration camp in Rohwer, Arkansas, sixteen months later, she enrolled in 1943 in Milwaukee State Teachers College. Unable to receive her degree due to continued hostility against Japanese Americans, Asawa left Milwaukee in 1946 to study at Black Mountain College in North Carolina, then known for its progressive pedagogical methods and avant-garde aesthetic environment. Asawa's time at Black Mountain proved formative in her development as an artist, and she was particularly influenced by her teachers Josef Albers, Buckminster Fuller, and the mathematician Max Dehn. She also met architectural student Albert Lanier, whom she would marry in 1949 and with whom she would raise a large family and build a career in San Francisco. Asawa continued to produce art steadily over the course of more than a half century, creating a cohesive body of sculptures and works on paper that, in their innovative use of material and form, deftly synthesizes a wide range of aesthetic preoccupations at the heart of postwar art in America.

Asawa’s work has been exhibited widely since the early 1950s, including early solo exhibitions at Peridot Gallery, New York in 1954, 1956, and 1958. In 1965, Walter Hopps organized a solo exhibition of the artist’s sculptures and drawings at the Pasadena Art Museum (now the Norton Simon Museum) in California, where Asawa completed a residency at the Tamarind Lithography Workshop the same year. Other solo presentations include those held at the San Francisco Museum of Art (1973); Fresno Art Museum, California (2001; traveled to Oakland Museum of California through 2002); de Young Museum, San Francisco (2006); Amon Carter Museum of American Art, Fort Worth, Texas (2012); and the Norton Simon Museum of Art, Pasadena, California (2014).

In 2018 to 2019, the Pulitzer Arts Foundation in St. Louis presented the major museum exhibition 

. An accompanying catalogue published by the Pulitzer Arts Foundation and Yale University Press includes essays by Aruna D’Souza, Helen Molesworth, and Tamara H. Schenkenberg. The two-person exhibition, 

was on view at the San Francisco Museum of Modern Art in 2021. In 2022, 

 was on view at Modern Art Oxford, England, and later traveled to the Stavanger Kunstmuseum, Norway. In September 2023, 

, a solo presentation of the artist’s work, opened at the Whitney Museum of American Art, New York, and traveled to the Menil Drawing Institute, Houston, in 2024.

The artist’s works have also been included in significant group exhibitions, including 

Leap Before You Look: Black Mountain College 1933–1957

, Institute of Contemporary Art, Boston (2015; traveled to Hammer Museum, Los Angeles, and Wexner Center for the Arts, Columbus, Ohio, through 2017); 

, Whitney Museum of American Art, New York (2015); 

Revolution in the Making: Abstract Sculpture by Women, 1947–2016

Making Space: Women Artists and Postwar Abstraction

, The Museum of Modern Art, New York (2017); 

The Pencil Is a Key: Drawings by Incarcerated Artists

, The Drawing Center, New York (2019); and 

In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury

, Art Institute of Chicago (2019). A selection of the artist's work was presented at the 59th Venice Biennale, 

In addition to her wire sculptures, Asawa is well known for her public commissions, particularly in San Francisco and the wider Bay Area. These include the much beloved 

fountain in Ghirardelli Square (1966-1968) and the 

 outside the Grand Hyatt Union Square (1970-1973), the latter of which includes hundreds of baker’s clay images molded by local schoolchildren, friends, and other artists cast in bronze.

Upon moving to San Francisco in 1949, Asawa, a firm believer in the radical potential of arts education from her time at Black Mountain College, devoted herself to expanding access to art-focused educational programs. She co-founded the Alvarado School Arts Workshop in 1968 and was instrumental in the creation of the first public arts high school in San Francisco in 1982, which was renamed the Ruth Asawa San Francisco School of the Arts in her honor in 2010. Additionally, Asawa served on the California Arts Council, the National Endowment for the Arts, and was a trustee of the Fine Arts Museums of San Francisco. Asawa was awarded a 2022 National Medal of Arts by President Joe Biden in 2024, only the second visual artist to receive this high honor posthumously.

The Estate of Ruth Asawa has been represented by David Zwirner since 2017. The gallery’s inaugural solo exhibition of the artist’s work took place the same year in New York, and was accompanied by an extensive publication that includes texts by Tiffany Bell and Robert Storr and features an illustrated chronology. In 2020, the gallery’s London location presented 

, which was the first major presentation of the artist’s work outside of the United States. In 2021, 

was on view at the gallery’s West 20th Street location in New York. 

, curated by Janet Bishop and Cara Manes, will open at San Francisco Museum of Modern Art before traveling to The Museum of Modern Art, New York; Guggenheim Bilbao, Spain; and Fondation Beyeler, Riehen/Basel, Switzerland, through January 2027. The first international institutional and posthumous retrospective of the artist’s work, the exhibition is accompanied by a forthcoming catalogue with new scholarship.

The artist’s work is represented in prominent museum collections, including Crystal Bridges Museum of American Art, Bentonville, Arkansas; de Young Museum, San Francisco; Harvard Art Museums, Cambridge, Massachusetts; J. Paul Getty Museum, Los Angeles; Los Angeles County Museum of Art; The Museum of Modern Art, New York; San Francisco Museum of Modern Art; San Jose Museum of Art, California; Solomon R. Guggenheim Museum, New York; and the Whitney Museum of American Art, New York. Asawa has been the recipient of numerous prestigious awards.

Edited by Kim Conaty and Edouard Kopp. Contributions by Aleesa Pitchamarn Alexander, Jordan Troeller, Scout Hutchinson, Kirsten Marples and Isabel Bird

A groundbreaking examination of how the act of drawing was a vital component of Ruth Asawa’s multifaceted art

“A revelatory exhibition. . . . [A] fine exhibition catalog.”—Nancy Princenthal, 

Ruth Asawa (1926–2013), widely known for her looped-wire sculptures, was an inveterate drawer. She filled sketchbook after sketchbook and even stated that drawing was central to her sculpture. This volume is the first to consider the significance of drawing in Asawa’s oeuvre throughout her career, featuring essays that examine the range of Asawa’s aesthetic maneuvers across materials and techniques; how Asawa’s drawing intertwined with the Bay Area arts community and her contributions to public education as a teacher and organizer; and the influence of Josef Albers’s pedagogy and Asawa’s lifelong adoption of his type of paper folding. Tracing Asawa’s artistic journey from her first formal art lessons in a Japanese American internment camp during World War II through her time at Black Mountain College and beyond, this comprehensive overview of the artist’s drawings includes reproductions of more than one hundred works—many of which have never been published—organized into eight thematic sections that cut through time, reflecting an art-making practice that was more circular or cyclical than linear.

Ruth Asawa: Through Line

Ruth Asawa: Through Line | Books

David Zwirner is an art gallery with locations in New York, Los Angeles, London, Paris and Hong Kong. We present physical and online exhibitions, podcasts, books, and more.