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Ruth OwensBabydoll Merline2017
2017
About the Item
Edition 2/6
RUTH OWENS graduated in 2018 with an MFA from the University of New Orleans after leaving her medical practice of 25 years. She is represented by the Jonathan Ferrara Gallery, and belongs to the artist collective, “The Front,” both in New Orleans. Owens’ work is concerned with contributing to and preserving the black archive, and she uses personal super-8 film references in her painting and video art. Artist residencies include the Joan Mitchell Center, the Addison Gallery of American Art, the Vermont Studio Center, and the Studios at MASS MoCA. She is slotted to attend the International Studio and Curatorial Program in NY in 2023. Her work is in the permanent collections of the Ackland Art Museum at UNC-Chapel Hill, the Addison Gallery of American Art, the Ogden Museum of Southern Art, the Dale Center for the Study of War and Society, and 21c Museum.
The artist says of her work…
In the sixties, my father was stationed at a military base in the deep South for several years. Although it was prescribed by law, our mixed race family was perfectly happy to live in an exclusively African-American section of town. Our more respectable African-American neighbors refused to associate with us and we had very few friends, most of whom were marginalized by joblessness and alcoholism. A child of one of these families became a shadowy constant in our home. She had the typical facial features of fetal alcohol syndrome and we cared for her when her own mother was unable to do so. This girl’s struggles with alcoholic family problems echoed my own. We shared feelings of insecurity brought on by the alcoholism of her mother and my father.
My paintings and videos are rooted in such pivotal memories from childhood that represent significant psychological moments, set in a culture of racial divide. My family’s personal narrative includes issues like alcoholism which can plague any race or culture. However, as a mixed-race person, cultural power differentials based on race or skin tone (colorism) affect me on a daily basis and must also be considered when telling my story.
My communicative tools lie in an 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 manifest the concept of a fluid racial identity.
My parents filmed events in my childhood with a Super 8 camera. This footage proves to be a valuable resource in mining my psychological past, and clips from these films serve as reference images for my paintings. To heighten the emotional and visual impact of these images, I use of collage, color alterations, compositional changes, and abstraction.
Clips from the Super 8 footage are also used in my video work, along with contemporary clips of my children. Mixing up footage of my children with clips of my childhood causes distortion and confusion of time, and speaks to the idea that past traumas are recorded in genetic memory. The videos inform any exhibition of my oil or casein paintings, and reinforce the feeling of getting an intimate view of a mixed-race family’s personal story through a cultural lens.
- Creator:Ruth Owens (1959, American, German)
- Creation Year:2017
- Dimensions:Height: 8.9 in (22.61 cm)Width: 5.9 in (14.99 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:New Orleans, LA
- Reference Number:1stDibs: LU105211137802
Ruth Owens
Ruth Owens was born 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. She will graduate with a Masters of Fine Arts from the University of New Orleans after quitting her medical practice of over 25 years. She will continue her artistic pursuits showing with Jonathan Ferrara Gallery of New Orleans, and participating in an artist collective called The Front located in that city’s St. Claude art corridor. Further, the well-respected Vermont Studio Center awarded Ruth an artist residency, which she will attend in July 2018. Notable solo shows include “Baby Love” in 2018 at the University of New Orleans Gallery, “Conspiracies” in 2017 at Barrister’s Gallery in New Orleans, and “Steppin' Out” at Bellarmine Chapel Gallery in 2016. Ruth Owens has also participated in numerous group shows including the “Currents, 2018,” at A.I.R. Gallery, Brooklyn, New York, “Honey Trap,” at The Front Gallery, New Orleans, LA, “Image and Text” 2017, at Site: Brooklyn Gallery, Brooklyn, New York, “LA Contemporary, 2015” at the Ogden Museum of Southern Art, “Contemporary Artists Respond to the New Orleans Baby Dolls,” 2015, at the McKenna Museum of African American Art, “Imago Mundi: New Orleans: Repatriation,” Prospect.3 Adjunct at the New Orleans Museum of Art, “True Colors,” 2014, at the Ashé Cultural Arts Center, and “NOLA NOW: The Human Figure,” 2012 at the Contemporary Arts Center in New Orleans.
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