The Easel

28th July 2020

The Japanese-American Sculptor Who, Despite Persecution, Made Her Mark

Thessaly La Force | The New York Times | 20th July 2020

Asawa’s “rediscovery” was just over a decade ago, yet she is now regarded as a great sculptor. A student visit to Mexico introduced her to weaving techniques that later re-emerged as woven wire sculptures. She exhibited in the 1950’s but slipped off the artworld radar. Of her art career Asawa said “Sculpture is like farming. If you just keep at it, you can get quite a lot done.”

Bill Brandt/Henry Moore, The Hepworth Wakefield review – a matter of perception

Katherine Waters | the arts desk | 3rd March 2020

Brandt, a photographer, and Moore, a sculptor, both recorded London during WW2, working independently but often on similar subjects. Moore’s sketches have a “mythical” quality but Brandt’s developing and cropping techniques made his images equally subjective. There is no hierarchy between these artforms says one critic, “both artists seem to have been aiming for the same semi-abstract goal.”

21st July 2020

The Art World’s Erasure of a Revolutionary Japanese-American Artist

John Yau | Hyperallergic | 18th July 2020

In its excitement about abstract expressionism and Pop, the US art world for a while neglected other goings on. One of those neglected was Amino, a sculptor working in resin and wood. In a career full of experimentation, his most distinctive works were coloured shapes held within a transparent block. Completely unnoticed, Amino had entered “wholly new sculptural territory.”

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