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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September 24, 2013 · Print This Article
Guest Post by Britton Bertran
I was there in 2005 at the beginning of Bad at Sports (Episode 4!) and I hope Iâ€™m not there at the end. Â It was the year I opened my gallery, 40000. It was a good idea at the time. I was fed up with not seeing what I wanted to see and equally mesmerized by controlling my own destiny in a commercial sort of way. There were plenty of other interesting things happening and I figured â€“ why the hell not.
The years 2005 and 2006 were ok years for Chicago Art. It seemed to be an upswing couple of years when apartment galleries and art interest were peaking. (These things come in waves â€“ Iâ€™d put us in a upward motion now after reaching the bottom in 2011.) The MCA was showing interesting work (a Dan Flavin Retrospective, Deb Sokolow and William J. Oâ€™Brien had 12 x 12â€™s), blogs were percolating with critical activity (anyone remember panel-house.com or iconoduel.org?) and this new fandangled thing called a podcast had people sitting with their bulky desktops and REALLY listening.
I took a leap of art faith and quit my job, borrowed some money from my mom and with the help of a couple close friends including a now-deceased bartender from Phyllisâ€™, rocked out a storefront space on Winchester and Augusta. A year and a half later, some guy bought the building and wanted to turn it in to a really small Italian restaurant. I moved the gallery in the summer of 2006 to the bustling 119 N. Peoria building (soon to be home to only one gallery in 2014.)
Like-minded nice folks like Corbett vs. Dempsey, The Green Lantern, 65GRAND, Fraction Workspace, Western Exhibitions, Lisa Boyle Gallery, Duchess and a couple of more spaces, were all blazing fiery paths outside the West Loop in WestTown (does anyone even know where this is now?). We even organized, set up a network, handed out flyer/maps and coordinated openings. It worked for the most part. I think.
There was no social media except for Friendster and then that thing called Myspace. My digital camera had something like 3 megapixels and took incredibly shitty pictures. It took a solid hour to update my clunky website. It was rough out there in a walking up the hill backwards in a snowstorm kind of way. But it was great. Lots of visitors – mostly artists – came, drank and stole beer during openings, I sold art here and there, got a few reviews in national art magazines, was invited to fancy pants museum openings, met not-so-nice individuals who essentially run the art world, shook hands with some artist heroes and even did the occasional art fair in and outside Chicago.
But mostly, having this gallery gave me some pretty solid insight into how artists work, what they think about and what really matters the most to them career-wise. Surprisingly, and thankfully for me, it wasnâ€™t money. 40000 was definitely a failure in that regard and the main reason I closed in 2009. I was also unable, and did not want to, secure a sugar daddy/momma, which I slowly realized was the only way to sustainability. [A little secret â€“ there is less than a handful of galleries in Chicago that donâ€™t have one of these.]
I think itâ€™s pretty telling that almost half of the original West Town Gallery Network is still in effect.Â Corbett vs. Dempsey just got admitted to the Main Fair of Art Basel Miami Beach (a big damn deal). Western Exhibitions is still cranking out shows with aplomb and has incredible dedication to itâ€™s artists. 65GRAND (all caps no gaps, please) is run by one of the smartest and nicest gallerists in Chicago. Only one of these galleries is still in West Town â€“ though itâ€™s stretching it a bit. All of these spaces work so damn hard itâ€™s difficult for me to even comprehend how theyâ€™re possibly doing it. Most of us are still here in Chicago, I think. Whether or not we are running galleries, we are all getting old, raising families, have â€œrealâ€ jobs, etcetera. I hope you wonâ€™t forget us.
The artists I worked with are for the most part pretty successful in their careers. One or two I never hear from, a couple of others I never want to hear from. Nonetheless, it gives me great pleasure to know that I have a place in Chicago art history. Itâ€™s funny though, I seriously often wonder what would have happened if I had at least a 10 megapixel camera back then.
A little addendum here: I was often asked, â€œWhat the hell does 40000 mean?â€Â In fact a couple of months ago a collector emailed me out of the blue and straight up asked.Â So I told him.Â I named the gallery after Joe “40,000” Murphy. Â â€œ40,000â€ was a Chicago outsider artist and events usher in the 1950â€™s who either knew 40,000 famous people, or was renowned for saying â€œaboutâ€¦. 40,000 empty seats!â€ when asked how many people where coming to that dayâ€™s event.Â When people asked me, I made them guess. NobodyÂ got it right.
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. Stay tuned for a couple more guest posts where Britton will be discussing his tumblr-famous tumblr â€œInstallatorâ€ and his take on whatâ€™s wrong with the Chicago art world circa 2013 – while thinking out loud about how to fix it.Â
On this monthâ€™s episode of Fielding Practice, Richard Holland joins Duncan MacKenzie, Dan Gunn and I for our regular roundtable discussion about art, culture, and related happenings in Chicago. Duncan provides a brief report on this yearâ€™sÂ Open Engagement, an annual conference addressing current issues in art and social practice; and we all discuss our views of the current survey of William J. Oâ€™Brienâ€™s ceramic sculptures at The Renaissance Society (May 15-June 26, 2011). Click on over to Art:21 blog to listen to the podcast, and thanks for tuning in!