Ruth Asawa

Winning: When Forms Come Alive, at the Hayward, reviewed

In case you didn’t know, we live in a ‘post-minimalist’ age, sculpturally speaking. Not a maximalist age, though some of the works in the Hayward’s new sculpture show are huge – an age of revolution against neatness. Who’s to blame for this call to disorder? Women. The two prime movers of this movement, if you can call it that, could not be more different, but both rebelled against minimalist geometry. As a student at Black Mountain College in the late 1940s, Ruth Asawa travelled to Toluca, Mexico, and saw villagers looping wire to make baskets for eggs. It struck her as a way of drawing in three dimensions and later,