Ruth Asawa

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Ruth Asawa
Imogen Cunningham - Ruth Asawa.jpg
Asawa in 1952
Born
Ruth Aiko Asawa

(1926-01-24)January 24, 1926
Norwalk, California, U.S.
DiedAugust 5, 2013(2013-08-05) (aged 87)
San Francisco, California, U.S.
Education Black Mountain College
Alma mater Milwaukee State Teachers College
Known for Sculpture
Spouse
Albert Lanier
​
​
(m. 1949;died 2008)​
Children6
Website ruthasawa.com

Ruth Aiko Asawa (Japanese: 浅和 愛子 [1] , Hepburn: Asawa Aiko; January 24, 1926 – August 5, 2013) was an American modernist artist primarily known for her abstract looped-wire sculptures inspired by natural and organic forms. In addition to her three-dimensional work, Asawa created figurative and abstract drawings and prints influenced by nature, particularly flowers and plants. [2]

Contents

Born in Norwalk, California in 1926 to Japanese immigrant parents, Asawa was the fourth of seven children and grew up on a truck farm. In 1942, her family was was sent to different Japanese internment camps as a result of U.S. isolation policies during World War II. [2] At the Rohwer War Relocation Center, Asawa learned to draw from illustrators interned there. In 1943, she left the camp to attend Milwaukee State Teachers College. Hoping to become a teacher, Asawa was ultimately unable to, as her Japanese ancestry prevented her from obtaining a teaching position in Wisconsin. [2]

In 1946, Asawa joined the avant-garde artistic community at Black Mountain College, where she studied under German-American Bauhaus painter and color theorist Josef Albers, as well as the American architect and designer Buckminster Fuller. It was at Black Mountain College that Asawa began making looped-wire sculptures inspired by the basket crocheting technique she learned in 1947 on a trip to Mexico. [2] In 1955, she held her first exhibition in New York. By the early 1960s, Asawa had achieved commercial and critical success and became an advocate for public art, saying, "art for everyone." [2] Asawa was the driving force behind the creation of the San Francisco School of the Arts, which was renamed the Ruth Asawa San Francisco School of the Arts in 2010. [3]

Her work is featured in collections at the Solomon R. Guggenheim Museum and the Whitney Museum of American Art in New York City. [4] Fifteen of Asawa's wire sculptures are on permanent display in the tower of San Francisco's de Young Museum in Golden Gate Park, and several of her fountains are located in public places in San Francisco. [5] In 2020, the U.S. Postal Service honored her work by producing a series of ten stamps that commemorate her well-known wire sculptures. [6] [7]

Early life and education

Ruth Aiko Asawa was born in 1926 in Norwalk, California. One of seven children, [8] [9] [10] her parents, immigrants from Japan, operated a truck farm until the Japanese American internment during World War II. [11] Besides Asawa's father, the family was interned at an assembly center at the Santa Anita racetrack for much of 1942. After 1942, they were sent to the Rohwer War Relocation Center in Arkansas. [12] Asawa said about the internment:

I hold no hostilities for what happened; I blame no one. Sometimes good comes through adversity. I would not be who I am today had it not been for the internment, and I like who I am. [13]

Asawa became interested in art at an early age. As a child, her third grade teacher encouraged her to create her own artwork. [10]

Following her graduation from the internment center's high school, Asawa attended Milwaukee State Teachers College to become an art teacher. Unable to secure the required practice teaching hours to complete her degree, she left Wisconsin without a degree. (Wisconsin awarded the degree to her in 1998.) [14] Asawa recounted an experience in Missouri when she and her sister didn't know which bathroom to use and chose to use the colored toilet. Her experience at Black Mountain and the adversity her family faced led to the social consciousness seen in her sculptures. [15]

The summer before her final year in Milwaukee, Asawa traveled to Mexico with her older sister Lois. There, Asawa attended an art class at the Universidad Nacional Autonoma de Mexico. Among her teachers was Clara Porset, an interior designer from Cuba and friend of artist Josef Albers. [16] Porset told Asawa about Black Mountain College, where he was teaching. [17] Asawa recounted:

I was told that it might be difficult for me, with the memories of the war still fresh, to work in a public school. My life might even be in danger. This was a godsend, because it encouraged me to follow my interest in art, and I subsequently enrolled at Black Mountain College in North Carolina. [18]

From 1946 to 1949, she studied at Black Mountain College with Josef Albers. [19] Under Albers's mentorship, Asawa learned to use commonplace materials and began experimenting with wire. [20] Like other Black Mountain College students, Asawa took courses on different art forms, which shaped her artistic practice. Under Ilya Bolotowsky and Josef Albers's mentorship, her drawings explore pattern and repetition. She was especially intrigued by the meander as a motif. [21] Asawa was particularly influenced by the summer sessions of 1946 and 1948, which featured courses by Jacob Lawrence, Beaumont Newhall, Jean Varda, John Cage, Merce Cunningham, Willem de Kooning, Leo Amino, and R. Buckminster Fuller. According to Asawa, the dance courses she took with Merce Cunningham were especially inspirational. [22] In one class, Asawa recalls running down a large hill with flaming torches to Stravinsky's The Rite of Spring. In contrast, Asawa described her experiences studying under Josef Albers as more formalist, which she connected with due to her cultural background and what she described as an intolerance for emotion. [15]

Career

In the 1950s, while a student at Black Mountain College, Asawa made a series of crocheted wire sculptures in abstract forms. Asawa learned the wire-crocheting technique from villagers in Toluca, Mexico, when she visited Josef Albers on sabbatical. The villagers used a similar technique to make baskets from galvanized wire. She explained:

I was interested in it because of the economy of a line, making something in space, enclosing it without blocking it out. It's still transparent. I realized that if I was going to make these forms, which interlock and interweave, it can only be done with a line because a line can go anywhere. [10]

Asawa began with basket designs and later explored bimorphic forms that hang from the ceiling. She felt that she and her classmates were ahead of the Black Mountain College administration in developing their own form of modernism in sculpture.

Following her trip to Mexico, Asawa's drawing teacher, Ilya Bolotowsky, noted her new fascination with using wire as a way of drawing in space. [21] Her looped-wire sculptures are shapes that are simultaneously inside and outside, embodying interior and exterior, line and volume, past and future material states. [23] While her technique resembles weaving, Asawa did not study weaving nor use fiber materials. In college, she embraced inexpensive found objects such as rocks, leaves, and sticks. [15] [24]

Untitled (S.449, Hanging Three Lobed Form with Stripes and Two Interior Spheres) (c. 1958) at the Metropolitan Museum of Art in 2022 Untitled (S.449, Hanging Three Lobed Form), Ruth Asawa at Met 2022.jpg
Untitled (S.449, Hanging Three Lobed Form with Stripes and Two Interior Spheres) (c. 1958) at the Metropolitan Museum of Art in 2022

Asawa's wire sculptures brought her prominence in the 1950s, when her work appeared several times in the Whitney Biennial, in a 1954 exhibition at the San Francisco Museum of Modern Art, and in the 1955 São Paulo Art Biennial. [25] [26]

In 1962, Asawa began experimenting with tied wire sculptures of branching forms rooted in nature, which became increasingly geometric and abstract as she continued to work in that form. [27] With these pieces, she sometimes treated the wire by galvanizing it. She also experimented with electroplating, running the electric current in the "wrong" direction in order to create textural effects. [28] "Ruth was ahead of her time in understanding how sculptures could function to define and interpret space," said Daniell Cornell, curator of the de Young Museum in San Francisco. "This aspect of her work anticipates much of the installation work that has come to dominate contemporary art." [29]

Asawa participated in the Tamarind Lithography Workshop Fellowship in Los Angeles in 1965 as an artist. Collaborating with the seven printmakers at the workshop, she produced fifty-two lithographs of friends, family (including her parents, Umakichi and Haru), natural objects, and plants. [30]

In the 1960s, Asawa began receiving commissions for large-scale sculptures in public and commercial spaces in San Francisco and other cities. [31] Asawa installed her first public sculpture, Andrea (1968), after dark in Ghirardelli Square, hoping to create the impression that it had always been there. [32] The sculpture depicts two cast bronze mermaids in a fountain, one nursing a merbaby, splashing among sea turtles and frogs. [32] The artwork generated much controversy over aesthetics, feminism, and public art upon installation. [10] Lawrence Halprin, the landscape architect credited with designing the waterfront space, described the sculpture as a suburban lawn ornament and demanded the artwork's removal. [10] Asawa countered: "For the old, it would bring back the fantasy of their childhood, and for the young, it would give them something to remember when they grow old." [10] Many San Franciscans, especially women, supported Asawa's mermaid sculpture and successfully rallied behind her to protect it. [33]

Near Union Square (on Stockton Street, between Post and Sutter Streets), she created a fountain for which she mobilized 200 schoolchildren to mold hundreds of images of the city of San Francisco in dough, which were then cast in iron. [10] Over the years, she went on to design other public fountains and became known in San Francisco as the "fountain lady". [10]

The artist's estate is represented by David Zwirner Gallery. [34]

In 2019, her Untitled (S.387, Hanging Three Separate Layers of Three-Lobed Forms), circa 1955, sold for US$4.1 million. Untitled (S.401, Hanging Seven-Lobed, Continuous Interlocking Form, with Spheres within Two Lobes), circa 1953-1954, sold for US$5.4 million in 2020. [35] [36]

The first exhibition to focus on Asawa's life-long drawing practice, Ruth Asawa Through Line, opened at the Whitney Museum of American Art in fall 2023 [37] and traveled to the Menil Collection in Houston in early 2024. [38] Co-organized by both institutions in close collaboration with the estate of the artist, this note-worthy show highlighted the breadth of Asawa's works on paper, including drawings, collages, watercolors, and sketchbooks that she produced as part of her daily sketching routine, establishing drawing as a continuous strand throughout the artist's career and crucial to developing her distinct, inventive aesthetic sensibilities. While Asawa has been widely celebrated for her three-dimensional work in her lifetime, "...she itched to push her drawings forward. 'Working in wire was an outgrowth of my interest in drawing' she often insisted," the New York Times review of the exhibition notes. [39]

The San Francisco Museum of Modern Art (SFMOMA) and The Museum of Modern Art, New York (MoMA) jointly organized Ruth Asawa: A Retrospective at SFMOMA [40] [41] April 5–September 2, 2025, and at MOMA [42] October 19, 2025–February 7, 2026.  It will also be shown Guggenheim Museum Bilbao, Spain March 20–September 13, 2026, and Fondation Beyeler, Riehen/Basel, Switzerland, October 18, 2026–January 24, 2027. An exhibition catalog of the same name was edited by Janet Bishop and Cara Manes and published in 2025. [43]

Public service and arts education activism

Asawa had a passionate commitment to and was an ardent advocate for art education as a transformative and empowering experience, especially for children. [44] In 1968, she was appointed to be a member of the San Francisco Arts Commission [45] [ verification needed ] and began lobbying politicians and charitable foundations to support arts programs that would benefit young children and average San Franciscans. [46] Asawa helped co-found the Alvarado Arts Workshop for school children in 1968. [46] In the early 1970s, this became the model for the Art Commission's CETA/Neighborhood Arts Program using money from the federal funding program, the Comprehensive Employment and Training Act (CETA), which became a nationally replicated program employing artists of all disciplines to do public service work for the city.

The Alvarado approach worked to integrate the arts and gardening, mirroring Asawa's own upbringing on a farm. Asawa believed in a hands-on experience for children, and followed the approach "learning by doing." Asawa believed in the benefit of children learning from professional artists, something she adopted from learning from practicing artists at Black Mountain College. Eighty-five percent of the program's budget went toward hiring professional artists and performers to instruct the students. [18] This was followed up in 1982 by building a public arts high school, the San Francisco School of the Arts, [4] which was renamed the Ruth Asawa San Francisco School of the Arts in her honor in 2010. [47] Asawa would go on to serve on the California Arts Council, the National Endowment for the Arts [ clarification needed ] in 1976, [45] [ verification needed ] and from 1989 to 1997 she served as a trustee of the Fine Arts Museums of San Francisco. [45] [ verification needed ]

At the end of her life, Asawa recognized art education as central to the importance of her life's work. [48]

Personal life

In July 1949, Asawa married architect Albert Lanier, whom she met in 1947 at Black Mountain College. [49] The couple had six children: Xavier (born 1950), Aiko (born 1950), Hudson (born 1952), Adam (1956–2003), Addie (born 1958), and Paul (born 1959). [10] Albert Lanier died in 2008. [10] Asawa believed that "Children are like plants. If you feed them and water them generally they'll grow." At the time of their marriage, interracial marriages were illegal in all but two states, California and Washington. [15] In 1960, the family moved to San Francisco's Noe Valley neighborhood, [15] where she was active for many years in the community. [5]

Death

Asawa died of natural causes on August 5, 2013, at her San Francisco home at the age of 87. [10] [44]

Legacy

Featuring some 300 artworks at MoMA in winter 2026, the huge, multi-room "Ruth Asawa: A Retrospective" exhibit is the first posthumous survey of Asawa's six-decade-long career, displaying her "lifelong explorations of materials and forms in a variety of mediums, including wire sculpture, bronze casts, drawings, paintings, prints, and public works." The exhibit is the largest one MoMA has ever devoted to a woman. [50] On January 26, 2026 the museum was also scheduled to host a special event celebrating Asawa's 100th birthday. [51]

Awards and honors

Collections


Selected works

Awards

Film

See also

References

  1. ↑
  2. 1 2 3 4 5 Yoshimoto, Midori (October 16, 2013). "Asawa, Ruth". Grove Art Online. Oxford University Press. doi:10.1093/gao/9781884446054.article.t2085614. ISBN   9781884446054 . Retrieved September 16, 2023.
  3. 1 2 Tucker, Jill (February 24, 2010). "S.F. school board votes to send pink out slips". San Francisco Chronicle . Archived from the original on November 4, 2012. Retrieved September 4, 2024– via SFGate.
  4. 1 2 RELEASE: RUTH ASAWA Archived August 23, 2013, at the Wayback Machine Christie's; April 2, 2013.
  5. 1 2 3 4 5 Anders, Corrie M (November 2005) "Ruth Asawa's Sculptures on Prominent Display in De Young." Archived June 29, 2012, at the Wayback Machine Noe Valley Voice. (Retrieved June 21, 2018.)
  6. 1 2 "Ruth Asawa Artworks Grace New US Postage Stamps". Hyperallergic . April 3, 2020. Retrieved April 9, 2020.
  7. ↑ "Pioneering Japanese American Artist Ruth Asawa Honored With Forever Stamps". about.usps.com. Retrieved July 8, 2021.
  8. ↑ "Life". Ruth Asawa. Archived from the original on October 24, 2017. Retrieved September 4, 2024. Born Ruth Aiko Asawa on January 24, 1926 in Norwalk, California, to Umakichi and Haru Asawa, immigrants from Japan. She is the fourth of seven children.
  9. ↑ Great Women Artists. Phaidon Press. 2019. p. 41. ISBN   978-0714878775.
  10. 1 2 3 4 5 6 7 8 9 10 11 Martin, Douglas (August 17, 2013). "Ruth Asawa, an Artist Who Wove Wire, Dies at 87". The New York Times . ISSN   0362-4331. ProQuest   1425567701. Archived from the original on August 18, 2013. Retrieved March 29, 2017.
  11. ↑ Cornell, Daniell; Asawa, Ruth l government initiated; M.H. De Young Memorial Museum (2006). Cornell, Daniell; Japanese American National Museum (Los Angeles, Calif.) (eds.). The Sculpture of Ruth Asawa: Contours in the air (illustrated ed.). Fine Arts Museums of San Francisco. p. 10. ISBN   978-0-520-25045-1. Archived from the original on March 29, 2017. Retrieved March 29, 2017– via Google Books.
  12. ↑ Ollman, Leach (May 1, 2007). "The Industrious Line". Art in America.
  13. ↑ Editors (May 1, 2019) "Who Is Ruth Asawa, the Artist in Today's Google Doodle?" Archived May 1, 2019, at the Wayback Machine New York Times. (Retrieved May 1, 2019.)
  14. ↑ Auer, James (December 18, 1998). "Artist's return remedies a postwar injustice". Milwaukee Journal Sentinel. NewsBank document ID 0EB82C32E269DCB3.
  15. 1 2 3 4 5 Asawa, Ruth; Lanier, Albert (June 21 – July 5, 2002). "Oral History Interview with Ruth Asawa and Albert Lanier, 2002 June 21 – July 5". Archives of American Art Oral History Program (Interview). Interviewed by Karlstrom, Paul; Johnson, Mark. Smithsonian Institution. Retrieved December 11, 2021.
  16. ↑ The sculpture of Ruth Asawa : contours in the air. Cornell, Daniell., Asawa, Ruth., M.H. de Young Memorial Museum., Japanese American National Museum (Los Angeles, Calif.), Japan Society (New York, N.Y.). [San Francisco]: Fine Arts Museums of San Francisco. 2006. p. 42. ISBN   0-520-25044-3. OCLC   70775773.{{cite book}}: CS1 maint: others (link)
  17. ↑ Quinn, Bridget (2017). Broad Strokes: 15 Women Who Made Art and Made History, in That Order. San Francisco: Chronicle Books. pp. 135–144. ISBN   9781452152363. OCLC   951710657.
  18. 1 2 Asawa, Ruth; Dobbs, Stephen (1981). "Community and Commitment: An Interview with Ruth Asawa". Art Education. 34 (5): 14–17. doi:10.2307/3192471. JSTOR   3192471.
  19. ↑ "The College Died, but the Students Really Lived". The New York Times. March 14, 1992.
  20. ↑ "Life: Black Mountain College Archived October 14, 2017, at the Wayback Machine ", section "Influences". Ruth Asawa. Estate of Ruth Asawa. ruthasawa.com. Retrieved October 13, 2017.
  21. 1 2 The sculpture of Ruth Asawa : contours in the air. Cornell, Daniell., Asawa, Ruth., M.H. de Young Memorial Museum., Japanese American National Museum (Los Angeles, Calif.), Japan Society (New York, N.Y.). [San Francisco]: Fine Arts Museums of San Francisco. 2006. p. 62. ISBN   0-520-25044-3. OCLC   70775773.{{cite book}}: CS1 maint: others (link)
  22. ↑ Molesworth, Helen (2014). Leap Before You Look: Black Mountain College 1933–1957. Institute of Contemporary Art Boston. p. 366.
  23. ↑ The sculpture of Ruth Asawa : contours in the air. Cornell, Daniell., Asawa, Ruth., M.H. de Young Memorial Museum., Japanese American National Museum (Los Angeles, Calif.), Japan Society (New York, N.Y.). [San Francisco]: Fine Arts Museums of San Francisco. 2006. p. 30. ISBN   0-520-25044-3. OCLC   70775773.{{cite book}}: CS1 maint: others (link)
  24. ↑ Hauseur, Krystal R. (2016). "The Crafted Abstraction of Ruth Asawa, Kay Sekimachi, and Toshiko Takaezu". In Langa, Helen; Wisotzki, Paula (eds.). American Women Artists, 1935–1970: Gender, Culture, and Politics. Farnham, Surrey: Ashgate Publishing. p. 147. ISBN   978-1-4724-3282-7.
  25. ↑ Baker, Kenneth (November 18, 2006). "An Overlooked Sculptor's Work Weaves Its Way into Our Times". San Francisco Chronicle. Archived from the original on August 11, 2016. Retrieved August 20, 2016– via SFGATE.
  26. ↑ The sculpture of Ruth Asawa : contours in the air. Cornell, Daniell., Asawa, Ruth., M.H. de Young Memorial Museum., Japanese American National Museum (Los Angeles, Calif.), Japan Society (New York, N.Y.). San Francisco: Fine Arts Museums of San Francisco. 2006. p. 19. ISBN   0-520-25044-3. OCLC   70775773.{{cite book}}: CS1 maint: others (link)
  27. ↑ "Art: Sculpture Archived October 13, 2017, at the Wayback Machine ", section: "Tied Wire Sculpture". Ruth Asawa. Estate of Ruth Asawa. ruthasawa.com. Retrieved October 13, 2017.
  28. ↑ The sculpture of Ruth Asawa : contours in the air. Cornell, Daniell., Asawa, Ruth., M.H. de Young Memorial Museum., Japanese American National Museum (Los Angeles, Calif.), Japan Society (New York, N.Y.). San Francisco: Fine Arts Museums of San Francisco. 2006. pp. 22–23. ISBN   0-520-25044-3. OCLC   70775773.{{cite book}}: CS1 maint: others (link)
  29. ↑ Cooper, Ashton (November 26, 2013). "Ruth Asawa's Late, Meteoric Rise From Obscurity" Archived April 30, 2014, at the Wayback Machine . BlouinArtinfo. Retrieved December 6, 2014.
  30. ↑ The sculpture of Ruth Asawa : contours in the air. Cornell, Daniell., Asawa, Ruth., M.H. de Young Memorial Museum., Japanese American National Museum (Los Angeles, Calif.), Japan Society (New York, N.Y.). San Francisco: Fine Arts Museums of San Francisco. 2006. p. 23. ISBN   0-520-25044-3. OCLC   70775773.{{cite book}}: CS1 maint: others (link)
  31. ↑ Driscoll, Sally (2013). Asian and Pacific Islander Americans. Ipswich, MA: Salem Press. pp. 38–39. ISBN   978-1-58765-860-0.
  32. 1 2 Isenberg, Alison (December 1, 2010). "'Culture-a-Go-Go': The Ghirardelli Square Sculpture Controversy and the Liberation of Civic Design in the 1960s" . Journal of Social History . 44 (2): 379–412. doi:10.1353/jsh.2010.0076. ISSN   0022-4529. S2CID   143928052.
  33. ↑ Sullivan, Robert (December 29, 2013). "Ruth Asawa, the Subversively 'Domestic' Artist". The New York Times Magazine . p. 20. ISSN   0362-4331. ProQuest   1471956890 . Retrieved April 15, 2021.
  34. ↑ "Ruth Asawa". David Zwirner. Archived from the original on February 9, 2018. Retrieved February 8, 2018.
  35. ↑ "Ruth Asawa". MutualArt.com .
  36. ↑ "Ruth Asawa's Record-Breaking Year". MutualArt.com.
  37. ↑ "Ruth Asawa Through Line". whitney.org. Retrieved September 7, 2024.
  38. ↑ "Ruth Asawa Through Line". The Menil Collection. Retrieved September 7, 2024.
  39. ↑ Princenthal, Nancy (September 14, 2023). "Ruth Asawa: Solid Form Meets Thin Air". The New York Times. Retrieved March 27, 2024.
  40. ↑ "Ruth Asawa: Retrospective". SFMOMA. Retrieved June 30, 2025.
  41. ↑ Esplund, Lance. "'Ruth Asawa: Retrospective' Review: SFMOMA's Ethereal Abstractions". WSJ. Retrieved June 30, 2025.
  42. ↑ "Ruth Asawa: A Retrospective | MoMA". The Museum of Modern Art. Retrieved June 30, 2025.
  43. ↑ Bishop, Janet; Manes, Cara, eds. (2025). Ruth Asawa: retrospective. New Haven: San Francisco Museum of Modern Art in association with Yale University Press. ISBN   978-0-300-27885-9.
  44. 1 2 3 Baker, Kenneth (August 6, 2013). "California Sculptor Ruth Asawa Dies". San Francisco Chronicle. Archived from the original on April 26, 2014. Retrieved August 2, 2014– via SFGate.
  45. 1 2 3 "Asawa's Life". Ruth Asawa Website. Ruth Asawa Lanier, Inc. 2015. p. 2. Archived from the original on March 7, 2015. Retrieved August 2, 2014.[ self-published source ][ independent source needed ]
  46. 1 2 "Arts Activism". Ruth Asawa Website. Ruth Asawa Lanier, Inc. 2015. Archived from the original on February 18, 2015. Retrieved August 2, 2014.
  47. ↑ Romney, Lee (August 6, 2013), "Ruth Asawa, artist known for intricate wire sculptures, dies at 87", The Los Angeles Times , archived from the original on August 7, 2013, retrieved August 7, 2013
  48. ↑ Chase, Marilyn (2020). Everything She Touched: The Life of Ruth Asawa. San Francisco. ISBN   978-1-4521-7440-2. OCLC   1110673451.{{cite book}}: CS1 maint: location missing publisher (link)
  49. ↑ The sculpture of Ruth Asawa : contours in the air. Cornell, Daniell., Asawa, Ruth., M.H. de Young Memorial Museum., Japanese American National Museum (Los Angeles, Calif.), Japan Society (New York, N.Y.). [San Francisco]: Fine Arts Museums of San Francisco. 2006. p. 15. ISBN   0-520-25044-3. OCLC   70775773.{{cite book}}: CS1 maint: others (link)
  50. ↑ Lucas, Julian. "Ruth Asawa's Art of Defiant Hospitality". newyorker.com. Conde Nast. Retrieved January 31, 2026.
  51. ↑ "Ruth Asawa A Retrospective". moma.org. MoMA. Retrieved January 17, 2026.
  52. ↑ (April 3, 2020) "National news: U.S. Postal Service Reveals Additional Stamps for 2020" (press release). United States Postal Service. (Retrieved April 3, 2020.)
  53. ↑ Schultz, Issac (April 6, 2020). "A Trailblazing Japanese-American Sculptor Is Getting Her Own Postage Stamps". Atlas Obscura. Archived from the original on April 6, 2020.
  54. 1 2 "Celebrating Ruth Asawa". Google. May 1, 2019. Archived from the original on May 1, 2019. Retrieved May 1, 2019.
  55. ↑ "Who's Who in Crochet". Crochet Guild of America. Retrieved October 22, 2021.
  56. ↑ Press Release, National Endowment for the Arts (October 21, 2024). "President Biden to Award National Medals of Arts." National Endowment for the Arts. (Retrieved October 21, 2024).
  57. ↑ "Artist Info". www.nga.gov. Retrieved March 20, 2024.
  58. ↑ Kunst, Franz. "Asawa (Ruth) papers". Online Archive of California. Retrieved August 1, 2020.
  59. 1 2 "Ruth Asawa". KQED. May 4, 2005. Retrieved August 1, 2020.
  60. 1 2 "Ruth Asawa Bibliography" (PDF). Stanford University Libraries. pp. 48, 56. Retrieved August 1, 2020.
  61. ↑ "Asawa". Gazetteer of Planetary Nomenclature. IAU/USGS/NASA . Retrieved December 1, 2024.
  62. ↑ "Each One Teach One. The Alvarado School Art Program. by Valerie Soe and Ruth Asawa in SearchWorks catalog". searchworks.stanford.edu. Retrieved March 5, 2019.

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