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Ruth Owens
David and Sweet Ann, study
2019

Name: David and Sweet Ann, study
Brand: Ruth Owens
Price: 3067.51 CHF
Availability: InStock
Rating: 5 (36 reviews)

About the Item

RUTH OWENS is a figurative painter and video artist whose work mines the intersection of honoring the Black archive and expanding the narrative around personal identity. She was born in 1959 to a young German woman and a Black serviceman from Georgia. The nomadic military lifestyle of her childhood was complicated by restrictions to mixed families in many communities and laid the basis for the formation of her cultural identity. Much of the imagery in Owens’ paintings and videos is culled from her family’s super-8 film archive from the 1960s and 1970s. Centering this archival trove is an intimate, gestural, and cinematic means to repair the overlooked history of families of color. Putting forth the concept that identity is fluid and open, her subjects cross boundaries that hold in fixed and static constructs. Revealing the complexity, nuances, and psychology of individual people of color, she resists essential or stereotypical limits. The “Be Kind to Yourself” exhibition celebrates the care and healing offered by the natural environment and serves as an encouraging statement to embrace the spiritual and psychological nurturing available out-of-doors. Granted that the outdoor space represents a site of historical and contemporary ambivalence for Black bodies, it is time to brave opportunities to quietly walk out and listen to what the trees and rivers have to teach us. Artist residencies include the Joan Mitchell Center in New Orleans, LA in 2020, the Addison Gallery of American Art in Andover, MA in 2019, the Vermont Studio Center in 2018, the Studios at MASS MoCA in 2021, and The Joan Mitchell Center 9/20 until 2/21. Her work is in the permanent collection of the Addison Gallery of American Art and the New Orleans Museum of Art. Notable solo shows include “Good Family,” 2019, The Front Gallery; “Identity Theft,” 2018, Jonathan Ferrara Gallery; “Baby Love,” 2018, University of New Orleans Gallery; “Conspiracies,” 2017, Barrister’s Gallery, New Orleans; and “Stepin’ Out,” 2016, Xavier University Chapel Gallery, New Orleans. Ruth has participated in group exhibitions at the New Orleans Museum of Art, the Contemporary Art Center of New Orleans, the Ogden Museum of Southern Art, the Addison Gallery of American Art, and the New Orleans Film Festival, 2019. ARTIST STATEMENT “Debbie Do Dallas” read the handwritten label on a plain black VCR tape tucked in amongst my father’s collection of westerns and adventure movies. Viewing those words as a teenager caused me untold anguish, equally because of the grammatical failure to make subject and verb agree, as the thought of my father watching sexually explicit content. This intersection of personal familial relationships, and the cultural context that leads to inequality of resources, such as access to educational opportunities between those of African and European descent, is what underlies the impetus for my work. Straddling the divide between Teutonic and African ancestries, my concerns are more relevant than ever in our current polarized political milieu, and I attempt to tell my story from an intensely personal viewpoint. An approach to art making that includes both the very personal familial history and the interaction of that family with dominant cultural forces defines the crux of my work. It is with merciless candor that I bring untold family secrets, infidelities, addiction, and mental illness to the fore. Each painting is rooted in a pivotal memory from childhood and represents a psychologically intense moment of personal influence, set in a culture of racial divide. Negotiating psychological and cultural tensions is my driving force, and my communicative tools lie in a very expressive and organic method of painting. The surfaces are scratched, left bare, glopped on, and dripped on for a mood consistent with the emotive content of the image. The surface not only becomes a metaphor for the vulnerability of our physical bodies, but it further represents an attempt to embrace a fluidity of racial identity in order to subvert the prescribed identity dictated by our dominant culture. A Gerhardt Richter-like scrape of facial features denies placement of a figure within the confines of a preordained racial construct. Although we were not wealthy, my parents purchased a super-eight camera to record the now requisite footage of our childhood birthday parties and backyard antics in the 1960’s and 1970’s. This footage has proved to be an extremely valuable resource in mining my psychological past, and clips from these films have served as reference images for my paintings. However, instead of faithfully copying the images in a straightforward representational manner, I have attempted to heighten the emotional and visual impact by use of collage, color alterations, and compositional changes. The corruption of the super-eight film over time is actually an asset in my painting practice. It results in a loss of a significant degree of visual information allowing me to experiment with abstraction in the figure and its surroundings. This abstraction and departure from the representational can go a long way in helping to communicate a fluidity of racial identity, to set the mood for a psychological investigation of memories past, and to speak to the vulnerability of brown and black bodies. Further, the abstraction opens up possibilities for the manipulation color and composition in the service of visual pleasure. Such beauty provides an invitation to the viewer to, perhaps, open up to this racially and culturally complicated family, which arguably stands to represent the norm, more and more, as time goes by.

Creator:

Ruth Owens (1959, American, German)

Creation Year:

2019

Dimensions:

Height: 10.5 in (26.67 cm)Width: 12.75 in (32.39 cm)

Medium:

Casein,Paper

Movement & Style:

Contemporary

Period:

21st Century

Condition:

Gallery Location:

New Orleans, LA

Materials

Paper, Acrylic

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