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.
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.
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.
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
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.
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.
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.
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“Tumblr is a great way for people who don’t create content to share content thus lending their life some kind of creative import.â€ Â This is the somewhat omniscient Jayson Mussonâ€™s tweet from a couple of weeks ago.Â The more I think about it â€“ and I have been thinking about it way too much â€“ the more I realize that heâ€™s probably right.Â There are a lot of people on Tumblr and I am one of them.Â And I cannot get enough. Â But you know what, I donâ€™t care if these people havenâ€™t created the content theyâ€™re posting, at least theyâ€™re posting content â€“ which, in of itself, is a creative act. Â And itâ€™s visual, and I personally am constantly learning from it. Â Itâ€™s a visual literacy of the highest import.
My own Tumblr, Installator, is a curated (for lack of a better term) blog of other peopleâ€™s content.Â Â Â Installator (wrapit-tapeit-walkit-placeit) is essentially a compendium of art in a state of movement â€“ being installed, de-installed, moved, crated, knocked down, hung, lifted, cleaned, screwed together, and on and on.Â Itâ€™s about art as an object, but decidedly not the object that most people understand it to be.Â Not precious, or in some cases priceless, well-lit aesthetic nuggets that just seems to appear on walls, or pedestals, in fields, on buildings and above couches.Â These are images of artworks that are not static.
Sometimes I wonder if people who go to museums or galleries think these things just kind of magically appear overnight – like some sort of aesthetic fairy flitting down to delicately place a painting on a wall with their sparkly fairy-dusted level.Â Well they donâ€™t, and there is a magical coterie of individuals who do make it happen: art handlers/preparators/riggers/etcetera.Â I am not an art handler, though I have done my fair share of handling art (Iâ€™m also married to a former preparator).Â It is with the utmost respect for these folks that I showcase them in the photos that make up Installator.Â Other people are impressed too.Â Of the many comments I do get on one photo or another â€“ a common one is some form or another of: â€œI want to do this for living!â€
Looking for images can be a pain in the ass, but when I find a good one I get really excited.Â I have a loose set of criteria that I stick to when finding them; ideally itâ€™s a large jpeg; includes an image of a person(s); is of an artwork or artist that I admire; is visually representative of the act of installing or de-installing and has to be stimulating to look at.Â Funny pictures help, as do process-oriented sets of images.Â I mostly start with a Google image search including an artistâ€™s name (or sometimes an artwork) and the word â€œinstallingâ€.Â Another route I take is plundering the Facebook photo albums of museums.Â I find that European museums do the best job of documenting their behind-the-scenes, but there are a few museums with their own oft-updated Tumblrs, blogs and websites (the Dallas Museum of Art, Contemporary Museum of Art, Houston and the Walker Art Center are tops.)
At this point it seems as though a lot of Museums are catching onto this peeking-behind-the-curtain-thrill.Â Many of them are sharing much of the work that goes into setting up an exhibition, not only by posting more and more images for the public, but also using it as a form of education about the lives of artworks.Â This can only be healthy.Â It humanizes the pricelessness that these objects are assumed to have once they enter the institution.Â It also showcases the care for these objects from a preservation standpoint.Â I thought this quote from the Chrysler Museum of Art was interesting, even though the images they did post were some of the most beautiful Iâ€™ve come across: “We generally do not discuss anything related to the movement of art. There are lots of reasons for this, ranging from the obvious (security) to the obscure (proper protocols and handling).Â â€¦. We rarely if ever actually photograph art being moved. This is [a] field where mistakes are not an option, and a great work of art being damaged because somebody tripped over a photographer just canâ€™t happen.â€
There is also what I cannot find. Â I have a mental list of artists whose work I would very much like to see installed.Â There are also museums that simply arenâ€™t interested in showing how work travels from the bowels of their storage to the walls of their galleries.Â Outside of Instagram, commercial galleries very rarely show images of their artists work being installed (though Salon94 has a great blog that features this).Â Along the same lines, itâ€™s often difficult to find images of art fairs being loaded in.Â Artists who have their own websites also rarely show images of their work from this viewpoint (Sterling Ruby and Martin Eder (?) are a couple of exceptions).Â Holy Grail images would include almost anything pre-1980, better yet pre-1950.Â Â The Smithsonianâ€™s Archives of American Art (watermarks excluded) is by far one of the best resources Iâ€™ve found.Â As far as mediums go, who knew it was so hard to find images of drawings and photographs being installed?
A short wish list, in case anyone was inclined to do some of their own digging and submit: Morris Louis (a good one, though this one is pretty good), Allan McCollum, Eve Hesse, Cady Noland and On Kawara.
Whatâ€™s next? I thought an old fashion artbook might be a good way to harness a lot of whatâ€™s happening on the Installator tumblr.Â There is more to mine here: from the relational aesthetics of it all to the art historical precedents of installing art. Â However, after looking into it and making a couple of inquiries, I realized that it would never happen.Â I donâ€™t own these images and I certainly wouldnâ€™t want to deal with the red tape (from artist to gallery to museum) about ownership and rights.Â Nonetheless, I do worry that with the fleeting nature of screen-scrolling, people arenâ€™t really looking.Â Good old fashion page-turning sounds nice to me – maybe one of these days.Â For now, Iâ€™ll still be looking for content and posting it for my 137,507 â€œfollowersâ€.
Bio: Britton Bertran ran 40000 from 2005 to 2008. He currently is an Instructor at SAIC in the Arts Administration and Policy department and the Educational Programs Manager at Urban Gateways. An occasional guest-curator, he has organized exhibitions for the Hyde Park Art Center, the Loyola Museum of Art and several galleries. You can find him trying to be less cranky about the art world on twitter @br_tton.Â Stay tuned for a couple more guest posts where Britton will be waxing poetic on whatâ€™s wrong with the Chicago art world circa 2013, while thinking out loud about how to fix it and another post about looking forward to 2014 (and maybe a top 10 list of sorts too.)
- â€œKULTÃšRA NAPJAINKBAN, dan perjovschi utÃ¡n szabadon” (via richardlivesus)
- “The Acrobatic Sculptures of the Rooftop Garden”. Alexander Calderâ€™s “Man” being installed atÂ SFMOMA
- MoMA staff dismantling Pablo Picassoâ€™s â€œGuernicaâ€ (1937) for shipment to Spain. Photo taken on September 8, 1981 by Mali Olatunji. Image Â© The Museum of Modern Art, New York
- â€œMonumental wall sculpture by Ellsworth Kelly installed on Dartmouth campus.Â This major site-specific work, titled Dartmouth Panels, was commissioned by longtime arts patrons Leon Black â€˜73 and his wife Debra, who contributed $48 million towards the creation of the center.â€ (artdaily.org)
- “This piece is made of ceramics, a medium which Robert Arneson helped bring to a full-fledged, independent art form. Typically, large-scale works such as this would be made out of bronze or marble. Luckily for our installation crew, this piece is hollow, meaning it only weighs between 500-700 lbs. Heave-ho!” (SFMOMA)
- â€œThis incredible sculpture by Turner Prize-winning artist Anthony Gormley, consisting of 40,000 clay figures, has been put on display at an empty Tudor manor houseâ€¦. It took five days to place the humanoid characters into positionÂ across the ground floor of Barrington Court, a National Trust Property near Ilminster in Somerset. TheÂ installationÂ â€˜Field for the British Islesâ€™, was originally created in 1993 and has been loaned to the property by the Arts Council Collection through its Trust New Art Programme.â€
- Felix Gonzalez-Torres,Â Untitled (Placebo), 1991.Â Installation process.Â Image courtesy of the Williams College Museum of Art; photo by Roman Iwasiwk (curatedobject.us)
- DominiqueÂ de MÃ©nilÂ supervise lâ€™acrochage dâ€™une toile deÂ BarnettÂ NewmanÂ en 1991. |Â Dominique de MÃ©nil oversees the hanging of a Barnett Newmanâ€™s painting in 1991. (MarcÂ Riboud, circa 1991, 38 x 52Â cm viaÂ Galerie Verdeau, viaÂ tongue depressors; via bruvu)