Ruffin Gallery Archive, 2010-2011 Schedule

Katie Baines | recent painting

August 25 - September 17, 2010
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We are pleased to introduce our new visiting faculty member for the 2010-2011 academic year, Katie Baines.

Katie Baines' paintings share the playful investigation of mapping strange landscapes with the use of decidedly psychedelic colors, patterns, and contours. Familiar forms, such as grass bordering stylized black and blue pools, buffer hot red and yellow-orange striations that could be unsuccessful Venetian blinds, which open up to delicate linear designs. Or an open geode of translucent purples is immersed with foreign shapes that spill out of the nodule. Her works act as records of what she has "brought back" to us to explore and fascinate over.

Baines earned her MFA from The Ohio State University in 2006. She currently resides in Richmond va and also teaches in the department of art at Virginia Commonwealth University.

Katie Baines. glowing cell, 2010. Acrylic on panel, 60 x 60 inches

Painting on Paper
Megan Marlatt, curator

September 24 - October 22, 2010
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Painting on paper is a much more accessible creative practice than painting on canvas and an important component to the painting program here at U.Va. Highly flexible, water medium on paper takes many forms and directions; from creating studies for larger works as in Judith Linhares gouaches, casual paintings that open the mind to the creative process as in Elena Sisto mixed media pieces, or highly refined works that are a serious end into themselves as in Kathy Muehlemann's watercolors. Not only can a young student use water media on paper to more easily access painting's tradition and discipline, but the approach can be as simple as clearing off the kitchen table for an evening's work session.

Fairy Ring by Amy Chan - Painting on Paper at the University of Virginia's Ruffin Gallery
Amy Chan. Fairy Ring, 2010. Gouache and acrylic on paper, 48 x 72 inches
Judith Linhares. Blaze, 2002. Gouache on paper/ Courtesy of Edward Thorp Gallery, NYC
Judith Linhares. Blaze, 2002. Gouache on paper/ Courtesy of Edward Thorp Gallery, NYC
Linda Marston-Reid. Urban Future, 2004 Watercolor and ink on paper, 7 x 11 inches
Linda Marston-Reid. Urban Future, 2004 Watercolor and ink on paper, 7 x 11 inches

Field Notes
Dean Dass, curator

October 29 - November 26, 2010
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Field Notes is a collaborative group based in upstate New York's Hudson Valley region. Visual artists Robert Capozzi, Lorrie Fredette, Dylan McManus, Laura Moriarty, and Jill Parisi comprise this collective. The artists focus on concepts and issues that relate to the earth and its inhabitants with regard to the temporal, structures, systems, and resources.

For Ruffin Gallery the group will create a new work through a dynamic installation process, interacting with each other for a compressed duration with guidelines, random sequences and original components. The members are inspired by the geography of the Charlottesville region. Hailing from the Shawangunk Ridge and Catskill Mountain Range, this related yet unique location provides new topics to investigate and countless ways to respond visually.

Field Notes at the Unversity of Virginia's Ruffin Gallery
Field Notes at the Unversity of Virginia's Ruffin Gallery
Field Notes at the Unversity of Virginia's Ruffin Gallery

Richard Crozier

December 3, 2010 - January 28, 2011
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The exhibition of landscape paintings highlights some of the changes, large and small, that have happened to the Charlottesville area and it marks the retirement of Dick Crozier after 36 years of teaching at U.Va. Most of the paintings on display are small ones done on site however the exhibition also includes a few larger studio works.
 
 
 

Richard Crozier at the Unversity of Virginia's Ruffin Gallery
Richard Crozier at the Unversity of Virginia's Ruffin Gallery
Richard Crozier at the Unversity of Virginia's Ruffin Gallery

Yes, Sunlight
Photographs by Terri Weifenbach & Angela West

February 14 - March 18, 2011
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This exhibit will feature the color photographs of Angela West and Terri Weifenbach. Both artists take on the grand subject of the South in conceptually distinct and personal ways through beautifully rich works that reflect the mystery and complexity of the southern landscape.
 
 
 
 

Dad with Machete by Angela West - Yes, Sunlight at the Unversity of Virginia's Ruffin Gallery
Angela West. Dad with Machete, 2005
Trash Trees by Angela West - Yes, Sunlight at the Unversity of Virginia's Ruffin Gallery
Angela West. Trashy Trees, 2006
LIV10 by Terri Weifenbach - Yes, Sunlight at the Unversity of Virginia's Ruffin Gallery
Terri Weifenbach. LIV10, April 1999
XXIV by Terri Weifenbach - Yes, Sunlight at the Unversity of Virginia's Ruffin Gallery
Terri Weifenbach. XXIV, May 1993

 
 

Yi Sheng
The Miraculous Mandarin

April 1 - 29, 2011
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These are the kinds of experiences that nudge a kind of homesickness in me. New Jersey is where I grew up, but it's not home.

The question of where that place is and what my fluctuating relationship to "home" might be are the immediate issues that arise. This is the core of my work - the complexities of how we situate our sense of self. What I put forth are the complications and contradictions of the psychology of dislocation. The experience of migration seems to leave me feeling as if I'm constantly straddling two shores, whether it is a physical separation of places, the mental and cerebral remapping of psyches, the linguistic and communicative misfires, or cultural divergences. There's a feeling of permanent impermanence, of never arriving at the destination because both beaches look close but I'm still treading water right in the middle of it all.

While my larger concerns frequently touch on gender, race, and class, my overall practice is based on personal experiences, many of which result in projects that do not always fit so easily within these thematic parameters. I embrace a mix of video, performance, photography, and object making. Employing a broader set of tools with which to communicate enables an added complexity, sparking conceptual and material connections within each piece and between different works. This way of creating feels natural, perhaps because it reflects the exhaustive range of how our daily experiences are comprised.
--Yi Sheng

The artist's mother, 1968, on Yellow Mountain - Yi Sheng | The Miraculous Mandarin at the Unversity of Virginia's Ruffin Gallery
The artist's mother, 1968, on Yellow Mountain.
Orangina Ocarina, 2010; Performance: 5 min 10 sec - Yi Sheng | The Miraculous Mandarin at the Unversity of Virginia's Ruffin Gallery
Orangina Ocarina, 2010; Performance: 5 min 10 sec