How We Work: An Interview with Kate Ruggeri

May 9, 2014 · Print This Article

Guest post by A.Martinez

Kate Ruggeri is a Chicago-based artist, DJ, and curator who has shown at Roots & Culture (Chicago), Green Gallery East (Milwaukee), Western Exhibitions (Chicago), and Important Projects (Oakland). She is one of those people who exudes a humble cool, yet is enthusiastic about all she’s committed to, and excited about life and the people and things in it. After a handful of years of staying in touch from afar, I wanted to connect more closely to ask Kate some questions about her life and her work before she moves to New Haven in July to pursue her MFA at Yale.

A.Martinez: Were art and making art important to you from a young age?

Kate Ruggeri: Oh, yeah. Totally. My parents were always really encouraging. In elementary school I started taking drawing classes outside of school. I won a few poster contests. I used to do this thing every year called The Olympics of The Visual Arts, which is a New York State program. Pretty much you assemble a team, work on a year long project, and then compete against other teams. When I got a little older I got really into dark room photography. You know, carrying a camera around all the time and developing film in your bathroom. My mom and I took figure drawing classes together. A lot of colleges have art classes for kids during the summer, so I was always doing that too.

Kate in her studio

Kate in her studio

Martinez: How long have you kept a journal? And what does this practice of journaling do for you and your art practice?

Ruggeri: Since elementary school. I think my first one has a little lock on it. I never really stopped. It’s actually super important, to clear your head, to drain it. I try to write every day. I feel very scattered if I don’t. For art making, it’s good for me to work through ideas and to understand impulses I have. Often I make something and I’m not sure why I made that decision or was drawn to that form. Writing brings everything to the surface. It brings clarity. Studio work is one way of thinking and writing is how I detangle everything. Not just artwise, but life wise. It’s all the same, of course.

Martinez: How long have you had your own studio space? What does it look like?

Ruggeri: After school I had a tiny studio in a building across from Moonshine on Division. It’s been torn down since. I’ve been in the spot I’m at now for a little over a year. It’s a co-op at Damen and Fulton. I moved in there after my old spot on Elston burned down. We have an entire floor that is divided amongst us. My studio’s a mess. I see other people’s studios sometimes, and they have a turntable and little plants and it’s very cozy. My place is like a construction zone. I like that better. It lets me focus on the work.

Martinez: What is a typical day in the studio like for you?

Ruggeri: Nights are better. I like working when no one is around. You can play music loud. I believe in a witching hour. It really depends, though. I usually am working on one sculpture and 4-5 paintings at the same time. If I just finished something big or just installed a show, I draw and watch movies at home. I don’t really have a routine. Ben Medansky once described his ceramic studio as being around a million crying babies. That’s how I feel in there. I work a lot in series, so I just treat 6 pieces at the same time, and then have some experiments going. Right now I have some exercise balls I’ve been sort of doodling on. Then I’ll carve on these wood paintings until my hand hurts. Then I’ll cut some wood shapes out to paint. Or dump plaster on something. It’s a mix of working on very planned pieces and experiments. Everything always changes though.

"Tree Gremlin" 2012

“Tree Gremlin” 2012

Martinez: How do you begin a painting?

Ruggeri: Putting something down, anything! I break it in. I try not to think about it too much and just get the ball rolling. Usually it’s a good color.

Martinez: You work in both 2D and 3D- how does a piece become one or the other?

Ruggeri: When I was in school I used to trip myself up with that question. I can say now that they’re all paintings. I’m a painter that has sculptural impulses. I try to feed both ways of making. I try to be democratic about it. The larger sculptures can be exhausting to make, so there is often a down period of just painting and drawing before starting one again. Material, color, and mark making can drive a piece to be 3D or 2D. Finding a good object. Seeing a particularly inspiring show of painting or sculpture.

"They Have To Cut Out Part Of My Heart And Rebuild It With New Valves And Shit" 2014

“They Have To Cut Out Part Of My Heart And Rebuild It With New Valves And Shit” 2014

Martinez: What artists inspire you?

Ruggeri: Philip Guston, Mike Kelley, Matisse, Picasso, Claes Oldenberg, Cy Twombly, Franz West, Rauschenberg, Joan Miro, Giacometti, Sterling Ruby, William J. O’Brien, Jonathan Meese,  Mary Heilmann, Huma Bhabha, Gerhard Richter, Howard Fonda

Martinez: You have a pretty extensive record collection and DJ monthly at Danny’s. Do you feel there’s a connection between your music endeavors and your art-making?

Ruggeri: Yes. It feels very connected.

Martinez: What musicians inspire you?

Ruggeri: Parliament/Funkadelic, Dead Moon, Congos, Minutemen, Bad Brains, Robert Wyatt, Brian Eno, Miles Davis, Captain Beefheart, Sparks, Beach Boys, Lee Scratch Perry, Roxy Music, De La Soul, Neil Young, Patrick Cowley, Big Star

"Ghost Curtain Call" 2013

“Ghost Curtain Call” 2013

Martinez: What do you typically listen to while in the studio working?

Ruggeri: It’s different every time, chosen for the day and mood. But Nas “Illmatic” gets played a lot. J.Dilla, Shuggie Otis, Pastor T.L. Barrett, Skip Spence, Velvet Underground. Mixes from friends. Jorge Ben, Milton Nascimento, Witch, Amanaz are all good…

Martinez: Do you do collaborations with other artists?

Ruggeri: Sure, I’ve done it a few times. Right now I’m working on a collaboration with Alex Valentine. He gave me these plates to draw on, and then we’ll print them together on newsprint, and then use them to paper mache a sculpture. It’s great because Alex is primarily a printmaker and I know barely anything about the process. I love the idea of making a sculpture made out of drawing. A perfect hybrid.

Martinez: In 2012, you co-curated a show, “Quarterly Site 11: Line-of-Site“,  at Western Exhibitions. How did you land this opportunity? What was the experience like for you? And do you think you’ll curate more shows in the future?

Ruggeri: Jamilee Polson Lacy asked me to do it. She’s been doing these curatorial series for a while now, asking artists to curate a show at a different gallery. It was great. I got to work with Alicia Chester and Karolina Gnatowski. It’s fun to be on the other side of things, and it gave me an opportunity to create a show entirely different from my practice. I really wanted to see a show of top notch performance work. Curating is a lot of work, but I would love to do it again. I think the trick is when you start to think, “Why isn’t ___ kind of work being shown? Why hasn’t someone curated a show about ____?” is when you should get on curating a show. I’m starting to feel that, but I would need the right time and space.

Martinez: You and I actually met while undergrads at the School of the Art Institute of Chicago. What is something that has stuck with you from your education and experience there about being a painter, artist, or person?

Ruggeri: Something that always stuck with me is remembering how I felt there: supported, invigorated, and that changing the world was definitely possible. It’s good to protect that enthusiasm, even when you’re working 9 to 5 and feel too tired to go to the studio.

"Dollar Sign" 2012

“Dollar Sign” 2012

Martinez: How has your experience at Ox-Bow School of Art as student and then again as a fellow affect your art? How long were you there total?

Ruggeri: Ox-Bow. Oh, man. I first went in 2007 as a student, and pretty much tried to take as many classes there as I could. If you got work study, you just had to pay for the credits, which I needed anyway. I went three consecutive Summers and one Winter. The Summer of 2010 was great, I took a class with Jose Lerma called “Expanded Painting, Expanded Sculpture.” Not hard to see it was a big influence on me. I was really lucky to receive a Joan Mitchell Fellowship this past Fall and I was an artist-in-residence for 5 weeks. As a student, classes meet everyday. I also had to wake up every morning to clean toilets for work study. This time, as a resident, it was like being at a beautiful retreat. There were only other residents, I had my own studio, and I got to structure my own day. It was incredible.

Martinez: Congratulations on your acceptance to the MFA Painting program at Yale!  What are you most excited about in starting this program in the fall?

Ruggeri: Thanks! I’m most excited about a fresh start. And making better art.

Martinez: What do you think are some interesting things happening around the city of Chicago art-wise?

Ruggeri: Ryan Travis Christian has a show up at Western Exhibitions that I need to get over to. William J. O’Brien at the MCA. Isa Genzken at the MCA. Alexander Valentine has a show at 3433 coming up.

Martinez: What are you currently working on?

Ruggeri: I’m finishing up a re-make of a sculpture I lost in the fire. It’s a harp. I just wrapped up these brooches I made for the Three Walls Gala coming up in June. Starting some new paintings. I keep thinking I need to stop because I’m moving, but I have some projects I want to do before I leave. I have an ongoing series of fake album covers, and I have a photo shoot coming up for the next installment.

"Rainbo Series" 2013

“Rainbo Series” 2013

Martinez: Your recent show, “Tropical Depression” at LVL3 just closed May 4th. Do you have any other openings coming up?

Ruggeri: No, thankfully! I’m moving to New Haven end of July. I’m trying to tie up loose ends.

Martinez: Is there a piece of advice, art related or not that you think of often?

Ruggeri: Say yes to all opportunities offered to you. Avoid excessive thinking about the past and future.


To find out more about Kate, her artwork and her upcoming shows go to http://kate-ruggeri.com/ 

All photos courtesy of the artist.

 

A.Martinez is a freelance art and music organizer living in Chicago, IL. She is currently working on a performing arts summer festival called The Living Loop, and will release her first book of poetry this summer.

 




EDITION #20

November 18, 2013 · Print This Article

Two buses, Two shows

The Central Techno Authority really came through this past Friday as perpetually late but perfectly on time for not one, but two rounds of seriously heady electronic music. First off, I just want to say that I had been excited for this Oneohtrix Point Never show at Constellation for-ever. I heard from a murky internet source that the show was to be opened by Chicago’s Brett Naucke. However, it later surfaced that Naucke was premiering a quadrophonic composition at Experimental Sound Studio. For this iteration of ESS’s Oscillations Series, Naucke was going cultural with a piece based on Richard Serra’s sculpture Reading Cones. Obviously, I had to go to both.

OPN at Constellation.

I headed off on the long journey north to ESS on first the 74 east and then the 50 northbound to wherever Edgewater is. Despite the two buses, I arrived right on time to get a seat for Naucke’s set. I closed my eyes and felt like my brain was unraveling, in a pleasant way. Naucke’s 30 minute set was distinctly metallic, and gave off the aural vibe of the sculpture, which itself appears to be some sort of Staregate-like vortex propelling industrial wavelengths into the atmosphere. The sounds were given life and movement through the quadrophonic experience, which immersed the audience who were also fully zoned. The piece culminated with a twinkly modulation that echoed into silence and eased the audience back to reality. My reality was that I needed to get to Oneohtrix Point Never stat!

Bootleg of Naucke’s Composition for Richard Serra’s Reading Cones.

I unfortunately had to skip out on Alex Barnett & Ken Camden as I boarded the 50 southbound to the 77 back west to Constellation. To be honest, I was a little panicked– I had spaced out and forgot to buy tickets. The show had sold out, but reality wasn’t going to get in the way of my destiny. After another endless bus ride, I arrived at the venue ready to scheme my way inside. Shout out to the slackers who bought tickets and didn’t show up cause I got into the shit no problem. Sat down three rows back, right in front of point never’s Daniel Lopatin right as he began to play.

Oneohtrix Point Never’s encore at Constellation.

Lopatin’s sound has noticeably evolved with his most recent release on Warp Records and I was really curious to see how his new sound would translate live. Oneohtrix Point Never was initially known for the mellow post-apocalyptic feel he achieved by looping his Juno 60 and pitched down samples. His set reflected this change. Instead of his trusty Juno 60 dominating his rig, Lopatin’s faced glowed angelically under the ambient light of his Mac laptop. Although the method has changed, the vibe remains the same. The audience was treated to a series of electronic compositions incorporating many of his new techniques including melodious chopped up vocal samples and pulsing synthesizers and a surprising amount of bass and percussion. The pulsating live visuals played off the hyper modern digital Wabi-sabi design of his most recent album covers. The pairing of music and visuals created a polysensorial glimpse into our inevitable cold futures wandering aimlessly in small pods across space time into nothingness. As the set came to close, I felt uplifted. That night the impossible became possible.

On the CTA, time is not linear. Manifest your own reality.

Brandon Warren Alvendia (Chicago, IL) 36 y.o. male Filipino-American is a suspect in the petty theft of 2.5 sentences of a press release text from an undisclosed New York City Art Gallery. The perpetrator attempted to invoke Fair Use Doctrine and thus waived the use of the cryptomnesia defense. The victims will remain unidentified to protect the privacy of their families. Alvendia is expected to plead guilty and accept his sentence of a lifetime of community service.

Installation at Women Weed & Weather.

The Weatherman Report

Gerhard Richter, Rain, 1988 (oil on canvas, 67 cm x 92 cm).

Cement Obstacle Foils Cyclists on Damen

Tired of the conventional potholes and run-of-the-mill cracks that dot and line every block of the city? Bike commuters were no doubt asking for a new kind of obstacle, and Chicago has answered the call. Introducing an impressive, and hopefully temporary, cement addition to the already difficult cycling conditions at Damen and Walnut.

It’s existed long enough to earn some traffic cones and warning signs, though the majority of the safety equipment has fallen over and drifted into the bike lane. Other rough-riding winners of the week include the nearly bike-proof eastbound stretch of Grand, between Pulaski and Central Park, and the viaduct on 23rd street, between Western and Rockwell, which last month featured a white loveseat that was perfectly situated in the middle of the craggy westbound lane. Keep reading the Traffic Report for more roadway gossip and Chicago street surprises in the future!

From Emerald City to blue painted beans, Saturday Night Openings Pop

A gem by Annie Strachan. at LVL3’s Emerald City.

LVL3 directors, Vincent Uribe and Anna Mort showing emerald solidarity at the exhibition’s opening.

Cutris Mann’s new cutout images of his studio are to die for.

A detail of Daniel Luedtke’s large scale mixed media sculptural work at the opening for Secound Primary at 3433.

Carson Fisk-Vittori and Derek Fretch during their triumphiant return to Chicago for the opening of Women Weed & Weather at Carrie Secrist Gallery.

WTT? visits New York, Gets Killer Mani

SO, here’s the T. Last week I was in NY for a wedding at Bryant Park.* The affair was black tie and I arrived in NY in desperate need of a manicure. In an usually unusual turn of events, I ended up in the East Village apartment of Miss Pop Nails, fashion manicurist to all my favorite drag queens, celebrities and designers. Being the So Fla yentas that we both are we totes hit it off, and Miss Pop gave me the most to die for manicure I’ve ever had.

Photo by Spencer J. LaFrandré.

Since I can’t keep anything to myself, here are some masterpieces nails that Ms. P created for the Guggenheim before the project was unfortunately scraped due to some “other” museums nail salon.

Masterpieces of nail couture.

If you’re like me, and can’t get enough of fly nails, follow Miss Pop Nails on tumblr/instagram and check out her tutorials. Here’s how to do my wedding nails on Cosmo. Living for her Warhol-inspired flower mani and the project with KAWS!

I died.

*A shooting went down on the ice rink the same night as the wedding! That was it’s whole own crazy story.




Catholic Craft

May 17, 2013 · Print This Article

Guest Post by Robert Burnier

 

Alicja Kwade
Andere Bedingung (Aggregatzustand 6), 2009
steel, copper, glass, mirror, iron, mop stick, seven parts
Format variable

 

I once had a penchant for the obsessive, compulsive traditions of certain Dutch painters like Paulus Potter, Adriaen van der Spelt and Jan van Cappelle, so whenever I was in an encyclopedic museum, I would always make my way toward those galleries. Afterward, however, I would go straight to where the modern art was and stand in front of a Cy Twombly or some other such work. In 2002 the Gerhard Richter retrospective, 40 Years of Painting, came to the Art Institute of Chicago. One salient aspect of this was to witness a similar kind of range more or less present in one artist; one who held up Reading, Grey Mirror, and 256 Colors as artistic statements of the same order. I see these memories as analogies for the way I continue to approach works of art, especially – though in a limited sense – when it comes to issues of craft.

Mari Eastman
My Architect, 2011
Prismacolor, oil and glitter on canvas
20 x 16 in.

When I look at art today, I would say my taste still involves a dialectic similar to my earlier favorites. I can appreciate artists like Roxy Paine and Mari Eastman, Nicole Eisenman and Richard Rezac. With Paine, we have someone creating sculptures by a distribution of expertise among multiple minds through the idiosyncratic use of high-tech machines and processes, producing objects of a mysterious and alien ilk. Eastman at once shows her knowledge and understanding of painting while withholding some obvious trappings of virtuosity in favor of revelations of a seemingly more personal sort, which are then often further complicated by some borrowed subject or motif. Eisenman is commingling many ideas of painting together with the understanding of craft necessary to put them in conversation with each other, adapting them to her subjects. Rezac makes highly resolved and technological constructions that are nonetheless very slippery to our perception and suggestive through their careful arrangement. In all cases, the individual hand moves, sometimes at a distance, even if only to turn the knobs so that the machine overruns its target output.

Of course, for many reasons – call it the loss of center [1], bourgeois democratic/market forces, technology, transportation, and communication – our era is splintered artistically. It is apparent in public collections where many eras are present at once, creating a stacking effect of latent visual experience. Our perception of space and time are compressed. It isn’t really possible to point out what to do or not to do because no one person can index all of it. Technology is of little help. It only reminds us of our difficulties even more. But we can reach into this heap of history, as I like to think Robert Smithson might have put it, for resources, touchstones, and questions unanswered. [2] We can look for ways and means that might yield new meanings or recuperate older ones in new ways. Not only does this apply to the mode and medium, but also to the work, effort, or craft involved.

The degree of facility is linked to the effectiveness of the artistic statement, with the critical caveat that it is for something and not self-reflexive. I often find myself saying to people that craft is only craftiness when facture overtakes ethos. If you paint the sides of a stretched canvas because you want it to look “finished” the painted side remains a superficial garnish; if the painted side reinforces the conceptual aspect of the object, it can serve the work intrinsically. We could get into semantic questions of intent here, but I think if you really know it and mean it, it has a greater chance of seeming to be true, or we have a greater chance of becoming involved in the work on a deeper level. A specific example would be the vast difference between Karthik Pandian’s recently exhibited sculpture at Rhona Hoffman, I Am My Own Wife – a highly polished construction in steel and industrial-grade color – and any number of sculptures that are often sprinkled along Navy Pier or grace the ad pages of a major art magazine, aspiring to a similar finish. Pandian’s work perhaps takes us a distance toward examining issues of gender while the other sculptures too often don’t take us anywhere in particular beyond the awareness of their often massive size and tired formalism. Another successful example would be the work of an artist like Alicja Kwade, whose phenomenological sculptures and installations can cause a shift in our basic understanding of the elements of experience. Works such as Andere Bedingung (Aggregatzustand 6), 2009, toy with assumptions of objecthood in terms of weight, substantiality and permanence. So what I’m saying is that with our incredibly intense media saturation, I turn to usage before material specificity for what I get out of seeing a work of art. I want to try to not judge a book by its cover; to allow the myriad options to play out; to remain variable, accepting and catholic in my assumptions about material and craft. Here I am reclaiming the non-religious sense of having a catholic attitude, which simply means to be open to a wide range of tastes.

Karthik Pandian
I Am My Own Wife, 2013
Stainless steel and plastic vase
81 ¼ x 20 x 20 in.

Alternatively, the work of an artist can be de-skilled either in the sense that he does not concern himself personally with technique or high craft, or he transfers it to an outside technician (or even leaves it to chance). But if this becomes too dominant to the meaning of the work, then the lack of facility or personal involvement may fall into banality. For example, I’ve found it hard to pay attention to very much “glitch” art. This has surprised me somewhat since it seems to go against my own extensive background in computer science. However, much of it seems to stop at the glitch itself, piling one glitch on top of another. Aside from the sense that I think glitch art may be claiming a little too much for itself anyway [3], I just can’t be too impressed by the mere malfunction of a computer, even though I’m fully aware of the potential auratic qualities of such failure. [4] It just stops too soon. That said, I really liked Christopher Meerdo’s recent show at Document. What separates his work is not only a very careful selection of some of the more uncanny images and a spectacular transformation into the medium of print, but also the stress laid on the origin and the process of exhuming source images: discarded vacation photos on found memory cards. Meerdo’s exhibition really reflects on the medium, its relationship to our human lives, and our capacity for recording and forgetting through the usage and leveraging of those very same auratic tendencies of malfunction. I draw a similar conclusion about the difference between some of the stacking and leaning of things we are seeing today [5], and the output of an artist like Felix Gonzales-Torres, some of whose best work relies utterly on stacking and piling for it to function.

So there is a kind of competence I see that has to do with an investigation within an artistic practice and through the artist’s level of experience with it. This most often involves objects and materials, though it could also be bodies and spaces or something else. The artist grows a micro history of production, a personal academy and repertoire. The depth of the work emerges from the depth of the investigation and the shape of the path walked by the artist. She can come to know quite well what she is doing, while avoiding the twin pitfalls of connoisseurship and disinterestedness. This is about studio time. [6] The artist may find it better to reflect on what she did rather than what she thought, or accept what happened over what she intended. This doesn’t involve the rejection of purpose, but the acceptance of things that come into view. For example, looking at R.H. Quaytman’s work for the first time a few years ago, I felt initially that the pieces functioned like works of art as essays in the sense put forward by Art & Language [7]. But even as they projected a kind of ultra-intellectual air they had a resolve and physical quality that drew me in. From subsequent lectures and artist talks, I learned about the experiential origins of much of Quaytman’s work. [8]  A frequent refrain I remember in her talks went something like “… after I did that, of course I thought it worked because…” In the end, the body of work she’s constructing is one of thoughts and contexts, but also of trials, errors and discoveries.

Christopher Meerdo
IMG65, 2013
Archival inkjet print
16 x 22 in.

What kinds of experts do these artists become? All of them possess expertise in the statements they want to make in relation to their own concerns and toward the historical context. But in the same way that de-skilling was a term borrowed from economics, I want to say that these works have been “right-sized” in their respective areas of making. Pretty close to the mark from my perspective is a relatively recent piece by Claire Bishop where she says, “Some will say that skills no longer matter, that the artist today should be fully ‘spectralized,’ because the truly emancipatory position is to erase the line between professional and amateur. […] That said, the best forms of de-skilling evoke in the viewer something of this spectralization: Such works generate in us not a disdainful ‘I could do that’ but the generative energy of ‘I want to do that!’” [9] If I ever get that kind of energy from viewers of my work, then I have probably done my job.

 

 

NOTES:

[1] I saw this phrase in Christine Mehring, Jeanne Anne Nugent, Jon L. Seydl, Gerhard Richter: Early Work, 1951-1972. J. Paul Getty Museum, 2010.
[2] http://www.robertsmithson.com/drawings/heap_p104_300.htm
[3] What I mean here is that glitch is a breakdown, a misuse or a chance process. Not a new idea, though consistent with a medium specific conversation, the fact that it is a computer malfunction makes it a contemporary concern. It’s a concern that is, of course, worth examining, but the question is how to approach it.
[4] See, for example, Martin Dixon, The Horror of Disconnection: The Auratic in Technological Malfunction, Transformations Journal, http://www.transformationsjournal.org/journal/issue_15/article_06.shtml
[5] Robin Dluzen, https://twitter.com/RobinDluzen/status/324255330265595904/photo/1
[6] For a fascinating read on contemporary issues regarding studio time and its effect on the production of art, try Dieter Roelstraete, The Business: On The Unbearable Lightness of Art, http://www.e-flux.com/journal/the-business-on-the-unbearable-lightness-of-art/
[7] Such as in Charles Harrison, Conceptual Art and Painting: Further Essays on Art & Language, MIT Press, 2003.
[8] Society for Contemporary Art lecture, The Art Institute of Chicago, March 15, 2012 and The Opening Reception Artist talk at The Renaissance Society, January 6, 2013.
[9] http://www.brooklynrail.org/2011/12/art/unhappy-days-in-the-art-worldde-skilling-theater-re-skilling-performance

 

 

ROBERT BURNIER is an artist and writer who lives and works in Chicago. He is an MFA candidate in Painting and Drawing at The School of the Art Institute of Chicago and holds a B.S. in Computer Science from Shippensburg University of Pennsylvania. Recent exhibitions include The Horseless Carriage at Andrew Rafacz Gallery, Salon Zurcher at Galerie Zurcher, New York, the Evanston and Vicinity Biennial, curated by Shannon Stratton, and Some Dialogue, curated by Sarah Krepp and Doug Stapleton, at the Illinois State Museum, Chicago.