Art Review December Issue - (Page 54)

F E AT U R E Sterling Ruby of Mike Kelley and Richard Hawkins, two graduate school mentors, Ruby is one of a handful of young artists rejecting the rigid parameters of minimalism, formalism and straight conceptual art in favour of a more holistic model capable of speaking beyond the walls of academia and embracing the complications of an image- and information-saturated world. This approach is gaining him a good deal of attention. Now thirty-four, Ruby was born in Germany to a Dutch mother and American father, and raised in Pennsylvania. He completed his bachelor's this page, clockwise from left: Absolute Contempt for Total Serenity degree at the School of the Art Institute of Chicago, where he lived for several years, showing locally, before Single-C.U.M.I.D. , 2006, Formica on wood, urethane, 159 x 76 x 76 cm. moving to California to attend Art Center College of Design in Pasadena. He began showing with Foxy Photo: Robert Wedemeyer. Courtesy the artist and Marc Foxx Gallery, Los Angeles Production in New York and then Marc Foxx Gallery in Los Angeles soon after. Marc Foxx calls his MFA show the best I've ever seen . He's had seven solo shows in the two years since graduating, the largest of Supermax 2006, 2006 installation view, Galerie Christian Nagel, Cologne which, at Galerie Christian Nagel in Cologne, was offered after a single studio visit. Photo: Simon Vogel. Courtesy Galerie Christian Nagel, Cologne Ruby's manner, in conversation, is open and assured. When asked about the diversity of his production, he responds with an eager nod, like a tour guide happy to share his knowledge of the subject without claiming Ceramic/Brass Facial with Red Bowl, 2006, ceramic on Formica pedestal, 67 x 67 x 127 to be the only authority. Each pocket of work came from a different viewpoint, he explains. But they all cm. Photo: Robert Wedemeyer. Courtesy the artist and Galerie Christian Nagel, Berlin seem to have this lineage between them. I can really generalise and say that everything has a dichotomy of repression and expression. I mean, each work has these kind of push/pull events which lead to it looking expressive, but having this kind of repressive tendency to it. His recent exhibition at Marc Foxx revolved around a symmetrical arrangement of tall, pale Formica-covered monoliths

Table of Contents for the Digital Edition of Art Review December Issue

Art Review December Issue