Within the realm of artistic genres, the area of sculpture has perhaps become the most elastic in definition. Installation is sculpture. Performance is sculpture. Assemblage is sculpture. For many the word still evokes the traditional figurative carvings of Michelangelo or the rounded bronze castings of Henry Moore, but ultimately the term is endlessly pliable. For New York-based artist Arlene Shechet, sculpture is about action as well as form, about painterly experimentation as well as material. Her abstract, textural work is on view now at the Institute of Contemporary Art in a comprehensive retrospective that has introduced me to her art for the first time.
I stumbled across a photograph of Ruth Asawa a few months ago on tumblr, and was embarrassed I’d never heard of her before. She seems like exactly the type of artist I should know about, but then I guess it’s indicative of the ever-exclusionary “canon” I’ve studied in school and am continually trying to break away from. Asawa was a Japanese-American artist who led a fascinating life, and forged a successful art career out of her own ingenuity, diligence, and focus. She was born in 1926 to Japanese immigrant parents, farmers in Southern California who were not allowed to own land (or become citizens) due to their background, but worked to establish a business on leased farmland.