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A photo of a book about Yayoi Kusama's work called Festival of Life, dated 2019.

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January 10—February 22, 2020

Ruth Asawa: A Line Can Go Anywhere

Archives of American Art Releases New Video Featuring Ruth Asawa

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Ruth Asawa in “Masters of Modern Design: The Art of the Japanese American Experience”

, an immersive monograph on the artist’s life and work, published by David Zwirner Books, Tiffany Bell begins her essay with an insightful anecdote:

In 1971, the renowned twentieth-century inventor and visionary Buckminster Fuller wrote a letter of recommendation in support of Asawa’s application to the Guggenheim Foundation’s annual fellowship program. After noting that he had been writing these recommendations for various candidates for forty-three years, Fuller said: "I state, without hesitation or reserve, that I consider 

 to be the most gifted, productive, and originally inspired artist that I have ever known personally." . . . He cited her wire mesh sculptures, with which he had been familiar since the late 1940s when he and Asawa were both at Black Mountain College in North Carolina.

Also featuring a text by Robert Storr, who discusses Asawa’s work in relation to mid-twentieth-century art, culture, and scientific theory, this publication illuminates the depth and importance of the artist’s practice in the context of modernism. The book’s extensive imagery includes installation views, works on paper, and detailed photographs revealing the intricacy of Asawa’s sculptures, as well as intimate archival portraits of the artist by her friend Imogen Cunningham. Its design is also directly inspired by its subject. Taking the elongated form of the hanging wire works as a starting point, the book’s designer, Michelle Nix of McCall Associates, has addressed the challenge of conveying sculpture on the flat surface of the page through a vibrant combination of inset images and full bleeds, varying indents, and a playful approach to scale. As Nix noted, "One of the advantages for the Ruth Asawa project was being able to view the work at [David Zwirner] before even thinking about the book. . . . Seeing the works in person helped me form a better understanding of the artist, learn the details of her process, and see how the works interacted with each other, the viewer, and the space." Unrestrained by linear narrative, the plates mimic the varied approach one takes when viewing the works in situ, while the lightness of the layout for the essays and illustrated chronology—the freedom to "roam," as Nix puts it—was inspired by an installation view of Asawa’s smaller hanging works that appears on pages 74–75.

Interior spread from a book titled Ruth Asawa, published by David Zwirner Books in 2018.

As the first major monograph about Asawa’s work published since the 

 accompanying a retrospective of her career at the de Young Museum in San Francisco in 2006 (where some of the artist’s works are 

), this book provides a timely overview that many argue is overdue. "In her lifetime," Kaelen Wilson-Goldie wrote in an 

 of Asawa’s work in the fall of 2017, "Asawa weathered storms of weak interpretation . . . that made too much of her positions as a wife and mother and not nearly enough of her contributions to modernism and abstraction."

A detail of a photograph of Ruth Asawa, dated 1950s.

May 2018

Ruth Asawa: Monograph from David Zwirner Books

An artist whose beautiful, restrained and often mutable works are abundant in compelling contradictions, Felix Gonzalez-Torres (1957−1996) was committed to a democratic form of art informed as much by aesthetic and conceptual concerns as by politics. His work eschews the polemical and didactic, while challenging authority and our obeisance to it, dissolving the delineations between public and private, and inviting the viewer to collaborate and complete works with her own inferences, point of view, imagination, and actions.

Made at the height of the AIDS crisis, in a pre-internet era, the photostats—a series of fixed works with white serif text on black fields framed behind glass to create a reflective surface—are profoundly suggestive lists of political, cultural, and historical references. These works disrupt linear time, the seemingly causal relationships of chronology, and hierarchies of information as they ask how we receive and prioritize information, how we remember and forget, and how we continuously create new meaning. The photostats have a deep kinship with poetry in their use of specificity and ambiguity, operating as open fields: each juxtaposition and its oblique friction illuminates connections and disconnections.

The photostats also recall the screen—the television, and now the computer and phone—in which information is furiously delivered, and we are challenged to parse substance from surface, what we choose to assimilate from what we choose to reject. In the gallery, the glass surface of the framed photostats brings the viewer into an intimate relationship with the work as she may literally see herself in it—reflecting, too, her own assumptions. Now, as we find ourselves thirty years later, in a global pandemic, with a national reckoning in the face of enduring protests against police brutality and racial injustice, there is more to see of ourselves in the photostats and their uncanny multiplicity: layers of history with which we are only beginning to grapple as a society, grief in the wake of devastating loss, and the possibility of reinvention and regeneration.

Intended as discrete space to closely read the photostats with sustained attention, this elegant, clothbound volume opens from both sides: on one side, the framed photostats are reproduced as objects as one might encounter them in a gallery; on the other, white texts appear on full-bleed black fields to be read as writing. Its intimate size and its attention to the book as a physical object create a new way to experience the photostats.

In between the two sides, there are gorgeous and thought-provoking writings by poets Mónica de la Torre and Ann Lauterbach that do not explicate the work but instead enter it. Lauterbach penetrates the atmosphere of the photostats, contemplating mourning and memory while invoking Gonzalez-Torres’s spirit of generosity. De la Torre mines Gonzalez-Torres’s dates and references in her constraint-based essay, tracing time from past to present, while keenly attentive to the impossibility of linearity. Both demonstrate the richness of the work and its potential to inspire multiple readings.

A detail from one of Felix Gonzalez-Torres's Photostat works.

Made at the height of the AIDS crisis, in a pre-internet era, the photostats are profoundly suggestive lists of political, cultural, and historical references

Felix Gonzalez-Torres: Photostats

Visit the Phaidon store to shop a special selection of titles curated by David Zwirner Books. Featured artists include Tomma Abts, Josef and Anni Albers, Jeff Koons, Yayoi Kusama, Kerry James Marshall, Raymond Pettibon, and Wolfgang Tillmans. Further titles explore architecture, design, fashion, food, travel, and illustrated books for children.

A detail from a painting by Kerry James Marshall, titled 7am Sunday Morning, dated 2003.

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Josef Albers, Yayoi Kusama, and more

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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.