Ruth Roots
ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.
ANDREWKREPS.COMRUTH ROOT Born 1967, Chicago, IL. Currently lives and works in New York City.
Education2003Yaddo1994 Skowhegan School of Painting and Sculpture1993 MFA, The School of the Art Institute of Chicago 1990Brown UniversityAwards1996 National Endowment for the Arts, Mid-Atlantic Grant in Painting1996 New York Foundation for the Arts Fellowship in Painting Solo Exhibitions2019Forum, Carnegie Museum of Art, Pittsburgh, PA2017356 Mission, Los Angeles, CA2016Marta Carvery Gallery, Madrid2015Old, Odd & Oval, The Aldrich Contemporary Art Museum, Ridgefield, CT Andrew Kreps Gallery, Nailery Nikolaus Ruziicka, Salzburg, Austria2014The Dartmouth Experiment, Dartmouth College, Hanover, NH2011The Suburban, Oak Park, IL2009Galerie Nikolaus Ruziicka, Salzburg, Austria Maureen Paley Gallery, London2008Gallery Minmi, Tokyo2007Andrew Kreps Gallery, New Yorkdale Marta Carvery, Madrid2005Galerie Nikolaus Ruzicska, Salzburg, Austria2004Maureen Paley Interim Art, LondonGaleria Marta Carvery, Madrid2003 Andrew Kreps Gallery, New York2001 Andrew Kreps Gallery, New York2000Galleria Franco Nero, Turin, Italy1999Andrew Kreps Gallery, New YorkMuseumExhibitions2018Inherent Structure, Wexner Centerport the Arts, Columbus, OH Surface/Depth, Museum of Arts and Design, New York, NY2015New York Painting, Kunst museum Bonn, Bonn, Germany2008Unique Act, Dublin City Gallery, The Hugh Lane,Dublin2007Don’t Look.
Contemporary Drawings from an Alumna’s Collection Martina Yamen, class of 1958, Davis Museum at Wellesley College, Wellesley, MA2005Extreme Abstraction, curated by Claire Schneider and Louis Gracchus, Albright Knox Art Gallery, Buffalo, NY2004City Maps, ArtPlace, San Antonio and TX.
ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.ANDREWKREPS.COM2003Permanent Collection On View, Los Angeles County Museum of Art, Los Angeles The ContemporaryArtProject Collection, Seattle Art Museum, Seattle, WA2002Emotional Rescue: The ContemporaryArtProject Collection, Curated by Linda Farris, Seattle Art Museum, Seattle, WAS am collect –contemporary art project, Seattle Art Museum, Seattle, WA2000Greater New York, Duplex solo installation, Curated by Klaus Eisenach and Laura Hauptman, PS1 Contemporary Art Centre, New York Group Exhibitions2019Painters Reply: Experimental Painting in the 1970s and now, curated by Alex Glauber and Alex Logsdail,Lisson Gallery, New York, NY2018Twist,fused/Jessica Silverman Gallery, San Francisco, CA2018 Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY 2017Man Alive, Mariana Mercier, Brussels2016Looking Back, The 10thWhite Columns Annual –Selected by Matthew Higgs, White Columns, New York Life Eraser, Brand New Gallery, Milan Shapeshifters, Luring Augustine, New York The Congregation, Jack Hanley Gallery, New York 2014Les Plaisirs Démodé (The Old-Fashioned Way), Galerie Nikolaus Ruziicka, Salzburg, Austria2013Wit, The Painting Centre, New York2012To the Venetians II: Chris Martin, Matt Rich and Ruth Root, curated by Carrie Moyer and Dennis Congdon, RISD Painting Department Providence, RI2011-12The Indiscipline of Painting, Tate St. Ives, Cornwall, UK, touring to the Mead Gallery, University of Warwick, UK2009Trail Blazers in the 21st Century, The David and Ruth Robinson Eisenberg Gallery, New Brunswick, NJ Print, Mushroom Works, Newark upon Tyne, United Kingdom2008Take Me There Show Me The Way, Haunch of Venison, New York David Reed Studio, New York Gallery Minmi, Japan2007 NE integrity, Derek Eller Gallery, New York Bushels, Bundles & Barrels, Superfund Investment Centre, New York The Painting Show-Slipping Abstraction, Mead Gallery, Coventry, United Kingdom2006Untitled (for H.C. Westermann), The Contemporary Museum, Honolulu, HI Ruth Root, Alex Brown, Cameron Martin, Sally Ross, Gallery Minmi, Tokyoite is, “what is it”, Andrew Kreps Gallery, New York2005The Early Show, White Columns, New York Trade, White Columns, New York2004Painting & Sculpture, Mark Moore Gallery, Santa Monica, CA2003Greetings from New York: A Painting Showalterian Thaddaeus Ropak, Salzburg, Austria20thAnniversary, Welcome Home, Gavin Brown’s Enterprise, New York2002Jump, Curated by Ross Nether, The Painting Centre, New York-Beam, Cynthia Brogan Gallery, New York Inheriting Matisse: The Decorative Contour in Contemporary Art, Curated by MichelleGrabner, Rocket Gallery, London Acme Gallery, Los Angeles Abstract Redux, Danes Gallery and New York.
ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.
ANDREWKREPS.COMState of the Gallery, Andrew Kreps Gallery, New York2001The Approximative, Galerie Ghislaine Huss not, Paris Painting show, Curated by Laura Owens, Chicago Project Room, Los Angeles2000 Fuel Serve, Curated by Kenny Schachter, Kenny Schachter/Rove, New York Salty Salute, Westing Art Space, Toronto Perfidy -Exhausted Embrace, Curated by Martyn Simpson and Daniel Sturgis, Convent Sainte Marie de La Tourette, Evreux, FranceKosmobiologie, Curated by Nancy Chaykin, Bellwether Gallery, Brooklyn, NY1999Fifteen, Deutsche Bank, Curated by Walter Robinson, New York Free Coke, Greene Naftali Gallery, New York1998Home and Away, Curated by Kirsty Bell, Gavin Brown’s Enterprise, New York Son-of-a-Gusto, Curated by Nina Bovisa, Clementine Gallery, New York Cambio, Part 2, Curated by Kenny Schachter, Museo Universitario Del Choop, Mexico City Sassy Nuggets, Andrew Kreps Gallery, New York New Museum Benefit Auction, Pierogi 2000 Portfolios, New York Superfreaks: Part II, Odyssey, Greene Naftali Gallery, New York1997Cambio, Curated by Kenny Schachter, 526 West 26th St., New York Wrong Place, Right Time, Curated by Giovanni Garcia-Fenech, Temporary Space, New York Vague Pop, Curated by Giovanni Garcia-Fenech, View room, New York1996The Experimenters, Curated by Kenny Schachter, Lombard-Fried Fine Arts, New York Taking Stock, Curated by Kenny Schachter, 25 Broad Street, New York Texas Meets New York, Curated by Kenny Schachter, Arlington Museum of Art, Arlington, Texas Bump, The Greene County Council on the Arts, Catskill, NY The Death of the Death of Painting, Curated by Kenny Schachter, New York1995Lookin’ Good, Feeling’ Good, 450 Gallery, New York Eat or Be Eaten/ Painting, Not Painting, Anderson Gallery, Buffalo, NYX-Sightings, Anderson Gallery, Buffalo, NY1994Crash, Thread Waxing Space, New YorkBibliography2017Gerwin, Daniel.
“Ruth Root” Artform, September2016 Hodari, Susan. “
Painting Overtakes Pixels in Aldrich Museum Exhibition.”
The New York Times, 18 February2015Biswas, Allie. “
Ruth Root: ‘I love to see how artists create such a joy from colour’ “Studio International, December 17. Campbell, Andriana.
“Ruth Root.” Artforum.com, 13 July Pfeiffer, Produce. “Ruth Root.” Artform, October Vogel, Wendy. “The Lookout: Ruth Root” Art in America Online, 2 July Vogel, Wendy. “Ruth Root” Art in America, September Hawley, Anthony. “Ruth Root” The Brooklyn Rail, 8 September Yau, John. “Two Ways of Making Painting in the 21stCentury” Hyperallergic, 19 July The New Yorker, 27 JulySchwendener, Martha.
“Review: Ruth Root, Minimal and Opulent, at Andrew Kreps Gallery, The New York Times, 2July2009James, Nicholas, “Between Painting and Sculpture,” artslant.com, 25 January 2009.
ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.ANDREWKREPS.COMNickas, Bob.
“Colour and Structure.” Painting Abstraction: New Elements in Abstract Painting. London, UK. Phaedo Press. 2009Carrier, David. "Ruth Root.” aruspices 24/24 Fall -Winter2008McKeon, Belinda.
“Taking Root on Gallery Walls.” The Irish Times, March 11Maine, Stephen.
"Brand Boosters.” The New York Sun, March 6Ruth Root. The New Yorker, March 3Rosenberg, Karen.
"Ruth Root. “The New York Times, February 222007 “The Painting Show -Abstracts at Warwick University Mead Gallery.”24 Hour Museum.org. Kmart 15 Jannuzzi, Waldemar.”
The pleasures of undescriptive colour. “Times Online, February 182005Huntington, Richard. "A sampling of all things abstract—old and new.
“The Buffalo News, August 13 Flynn, Barbara. “Exhibition round-up: New York. “Artform. 546Rimanelli, David. "Greater New York 2005.” Artforum,MayColes, Alex. "Ruth Root.
“Modern Painters, May, p.112.De Chasse, Eric. "Painting (Cont'd).” art press, n310, March 2004Campagnola, Sonia.
"Ruth Root. “Flash Art, Summer Pozuelo, Abel H., "Ruth Rote Cultural, May Carpio, Francisco. "Ruth Root. “
ABC Cultural, June Pardo, Taneal. "Ruth Root. “Exit Express, June Boyce, Roger. “Ruth Root at Andrew Kreps Gallery.”
Art in America, February 2003Richard, Frances “Ruth Root: Andrew Kreps Gallery.”
Artforum,September Kerr, Merrily. “New York New York: Art Fragments from the Big Apple. “Flash Art, July-September Burton, Johanna. “Ruth Root. “Time Out New York, May 15-22“Ruth Root.”
www.flavorpill.com,May 10Smith, Roberta. “Ruth Root. “The New York Times, May 92002Pagel, David. “
Some Things Old, Some Things Mewls Angeles Times, May 102001Isé, Claudine. “Coughlan, Reeder, Root, Weatherford.” Team Celeste, September/October Schmirler, Sarah. “Gallery Beat. “
Art on Paper,July-AugustJohnson, Ken. “Ruth Root. “The New York Times, April 27Mahoney, Robert. “Ruth Root. “Time Out New York, May 10-17Naves, Mario. “These Paintings Are Watching You. “
The New York Observer, May 7Wehr, Anne. “Cigarette break. “Time Out New York, April 19-262000Cibulski, Dana Mouton. “New York. “Art Papers Magazine, November / December Conti, Tatiana. “Ruth Root. “Team Celeste, November Adult, Gary Michael. “Salty Salute at the West Wing Art Space.” The Globe and Mail, September 30Orange, Mark. “Greater New York.” Untitled,AutumnKino, Carol. “The Emergent Factor. “Art in America, July Hunt, David. “Symbiology. “Time Out New York, July 27Shave, Stuart. “Man Made.” idrapril Sumpter, Helen. “Ruth Root.” Hot Tickets, March Cook, Mark. “Ruth Root. “The Big Issue, March Cotter, Holland.
“New York Contemporary, Defined 150 Ways. “The New York Times, March 6Turner, Grady. “Beautiful Dreamers. “Flash Art, January-February 1999Cotter, Holland. “Ruth Root.”
Art in Review, The New York Times, March Pinchbeck, Daniel. “Ruth Root. “The Newspaper of New York and March.
ANDREW KREPS GALLERY22 CORTLANDT ALLEYNEW YORK, NY 10013TEL (212) 741-8849FAX (212)741-8863WWW.ANDREWKREPS.COMSchmerler, Sarah. “Ruth Root.” Time Out New York, March Sapid, Sue. “Met Life.” The Village Voice, March Turner, Grady.
“Son of a Gusto.” Flash Art, January1995“Eclectic Exhibition Opens at the Anderson Gallery. “Metro Weekend, November Huntington, Richard. “The Expected and Unexpected -A Fun Mix from Near and Far.”
The Buffalo News, July Huntington, Richard. “Nasty at Times. “The Buffalo News, December Victor, Mathieu. “Eat or Be Eaten.” Artvoice, NovemberCatalogues2015Smith-Stewart, Amy. Ruth Root: Old, Odd, and Oval.
The Aldrich Contemporary Art Museum. Ridgefield, CT2014Artist-in-Residence Spring 2014: Ruth Root Paintings. Jaffe-Frieda Gallery, Hopkins Centre for the Arts, Dartmouth College.
Hanover, NH2005Schneider, Claire and Gracchus, Louis. Extreme Abstraction. Albright Knox Gallery. Buffalo, NY. The Buffalo Fine Arts Academy Reddy Young, Tara.2002Sam Collects Contemporary Art Projects.
Seattle Art Museum. Seattle, WA2001Dailey, Meghan and Gingers, Alison M. The Approximative. Mink Ranch Productions. Paris, France2000Groom, Simon. Perfidy: Surviving Modernism.
Kettle’s Yard. Cambridge, UK1999European Galleries. Art Forum Berlin. Berlin, Germany Swenson, Susan (ed.). Pierogi Press. vol. 3, New York, NY1997Schachter, Kenny. Cambio. Mexican Cultural Institute of New York.
New York, NYLectures2001Conversations with Contemporary Artists, MoMA, New York, NY Public Collections Austin Museum of Art, Austin, TX Bard College, Annandale-on-Hudson, NY Carnegie Museum of Art, Pittsburgh, Hirschhorn Museum and Sculpture Garden, Washington D.C.Institute of Contemporary Art, Boston, MA Los Angeles County Museum of Art, Los Angeles, CA Whitney Museum of American Art, New York and NY.
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So I live in Providence and I have access to the John Hay Library (the one that all of Lovecraft’s personal library and papers was donated to after he died) and I’m starting to go through and photograph the letters and poems and things of note in general that I’ve found. If anyone is interested in specific aspects of the collection, let me know and I’ll try to get it for you! I’m putting them all in a Google Docs folder here if anyone wants to see the what I’ve got so far, but here are a couple of highlights:
Header for Weird Tales magazine c. 1925. Maybe I’m a Super Nerd, but I just love old fonts and stationary from different hotels.
Poem to A.A.S. c. 1924 (ish). “Here’s The old stuff--without much pep/ As measur’d by your zippy rep (sic),/ But warm & cordial--like clean through,/ And what (sic) a simple goof can go!” What a dork.
On the subject of poetry, a Christmas poem to Felis (Frank Bellknap Long’s cat) c. 1924 (ish). “Little Tiger, burning bright/ With a subtle Blakeish light,/ Tell what visions have their home/ In those Eyes of flame & chrome!/ Children vex thee--thoughtless, so--/ Holding when thou wouldst away:/ What dark love is that which though,/ Spitting, mixest with thy meow?”
But honestly the highlight has got to be this scorching letter from Lovecraft’s ex-wife Sonia Greene to August Derleth. For context, Derleth was starting the Arkham House company and wanted to publish Sonia’s story (that Lovecraft revised and edited) The Invisible Monster--later The Horror At Martin’s Beach--and several highly personal letters for a whopping $600 after three years. She tried to negotiate with him and he threatened her--I’ll let her take it from here.
Transcript under the cut.
Sept. 13, 1947
My Dear Mr. Derleth:
Your spec. del. [note: special delivery] letter was since (sic) what incomprehensible to me.
Am I to understand that letters H.P.L. had written to me subsequent to our marriage and then he wrote to me afterwards are not my own private property to do with as I choose? That I must not use them in any way I wish? I am not using material he may have written to some one else, only that which he has written to me and for me; such as my stories & poems revised by him. Do these, too, belong to you?
The use only, of The “Invisible Monster” was sold to Weird Tales. The editor, upon questioning told me himself that I may use the story, and that I may, if I wish, object to any one else using it.
But of course, if I am to interpret your veiled threats and open intimidation correctly, then I need not involve myself at all in writing “The Private Life of H.P.L. and Sonia”.
I have not spared (sic) myself anymore than any one else about whom I wrote, during the hectic period between 1921 and 1932. You cannot really mean that you wish this knowledge, through the circumstance of a technicality to be withheld!
My interpretation of your attitude, if I am correct, is that if I write the article and publish it, you will punish me. Then why should I bother for the paltry sum it would bring!
I know it is not a work of art but it states facts, facts that you lead me to tekir (sic), the world wants.
The thesis is frankly revealing and may shock and surprise the readers if they even got hold of it.
So upon consideration I shall probably destroy it and let it go at that’ just as it had been before I knew that such infor-mation was sought.
Am I likely to be threatened by destroying the story as far as it is written?! Even tho’ it is my own?
I, too, feel that the world should learn the truth, even if it is an infinitesimal part of the world that wants it.
Therefore unless you retract the intimidating parts contents of your letter I shall not go on with it at all.
Having a publisher of my own, with a well-organized sales force I felt that I might be at liberty to do what I wish with my own property.
Frankly, I have already offered the material to one W. T. Scott of the Providence Journal but I’ve retracted the offer which he had gladly accepted and offered to pay me for its use in the paper, learning the copywright to me, so that I might use it again! But all this is now in abeyance (sic).
Yours very truly
S. H. Davis.
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List for Survey of African American Literature, part 5: 1960-1979
Martin Luther King, Jr. (”Letter from a Birmingham Jail,” nonfiction; Why We Can’t Wait, nonfiction)
James Baldwin (The Fire Next Time, nonfiction; No Name in the Street, nonfiction)
William Demby (The Catacombs, novel)
Melvin Tolson (Harlem Gallery, poetry)
Malcolm X & Alex Haley (The Autobiography of Malcolm X, nonfiction)
Margaret Walker (Jubilee, novel - based on a true story)
John A. Williams (The Man Who Cried I Am, novel)
William Melvin Kelley (dem, novel)
Carlene H Polite (The Flagellants, novel)
Eldridge Cleaver (Soul on Ice, memoir)
Gwendolyn Brooks (Riot, nonfiction)
Amiri Baraka (Four Black Revolutionary Plays)
James Alan McPherson (Hue and Cry, short stories)
Maya Angelou (I Know Why the Caged Bird Sings, memoir)
Shirley Chisholm (Unbought and Unbossed, nonfiction)
Toni Morrison (The Bluest Eye, novel; Sula, novel)
Alice Walker (Meridian, novel)
Mari Evans (I Am a Black Woman, poetry)
Nikki Giovanni (Black Feeling, Black Talk/Black Judgement, poetry)
Ernest J. Gaines (The Autobiography of Miss Jane Pittman, novel)
Ishmael Reed (Mumbo Jumbo, nonfiction)
Haki Madhubuti (Directionscore: Selected and New Poems, poetry)
Huey P. Newton (To Die for the People: The Writings of Huey P. Newton, nonfiction)
Toni Cade Bambara (Gorilla, My Love, short stories)
Albert Murray (Trainwhistle Guitar, novel)
Henry Dumas (Play Ebony: Play Ivory, poetry)
Angela Davis (Joan Little: the Dialectics of Rape, nonfiction)
Gayl Jones (Corregidora, novel)
Carolyn Rodgers (How I Got Ovah: New and Selected Poems)
Ntozake Shange (For colored girls who have considered suicide/when the rainbow is enuf, play/poetry)
Alex Haley (Roots, history of the author’s family in novel form)
Michael Harper (Images of Kin: New & Selected Poems)
Sonia Sanchez (I’ve Been a Woman: New and Selected Poems)
Michele Faith Wallace (Black Macho and the Myth of the Superwoman, nonfiction)
Octavia Butler (Kindred, novel)
Here’s the list of books, compiled from a combination of Alice Walker’s recommendations and references in In Search of Our Mothers’ Gardens, reading lists from several universities’ African American Studies courses, and a few “Top 100″ lists of novels by Black authors. If anyone sees glaring gaps, please let me know. No hyperlinks doesn’t mean there are no free copies online; i didn’t look for them this time. A lot of these authors are still alive, and i/we can support them by buying their books or even just checking them out from libraries, so i want to promote that. Capitalism is bullshit, but authors aren’t rich (as a rule).
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