People/Web Search Calendar Emergency Info A-Z Index UVA Email   University of Virginia    
U.Va. Arts Art & Architecture
Public Art
Creative Writing
Drama & Dance
Film, Media, Video
Calendar, Tickets, News

Jody Kielbasa
Vice Provost for the Arts
Director, Virginia Film Festival

Sponsored by
the office of the Provost &
the Vice Provost for the Arts


Ruffin Gallery
2013-2014 Schedule
The Guerrilla Girls

Tuesday, April 8   |   7pm
Campbell 153

Facebook Event >

The Guerrilla Girls Download poster (pdf) >

The Guerrilla Girls are feminist masked avengers in the tradition of anonymous do-gooders like Robin Hood, Wonder Woman and Batman. Over 50 women have been members over the years, some for weeks, some for decades. They use facts, humor and outrageous visuals to expose discrimination and corruption in politics, art, film, and pop culture. They undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. They’ve unveiled anti-film industry billboards in Hollywood just in time for the Oscars, dissed the Museum of Modern Art, New York, at its own Feminist Futures Symposium, and created large scale projects for the Venice Biennale; the Centre Pompidou, Paris; Istanbul; Mexico City; London; Athens; Rotterdam; Bilbao; Sarajevo; Shanghai; Ireland; Krakow and Montreal. They are authors of street projects, stickers, billboards, posters, and several books including The Guerrilla Girls’ Bedside Companion to the History of Western Art; Bitches, Bimbos and Ballbreakers: The Guerrilla Girls’ Guide to Female Stereotypes; The Guerrilla Girls’ Art Museum Activity Book; and The Guerrilla Girls’ Hysterical Herstory of Hysteria and How it Was Cured, from Ancient times Until Now. Their work is passed around by their tireless supporters. They travel the world doing performances and workshops, encouraging thousands of people to invent their own crazy kind of activism, too. Just in the last few years, they have been in the UK, France, Australia, Brazil, Spain, Sweden, Norway, Finland, Switzerland, Poland, Ireland, and Canada, as well as all over the United States.

Recently, they launched a new edition of The Guerrilla Girls’ Art Museum Activity Book, a parody of the publications museums create to teach children to appreciate art (only theirs teaches everyone to criticize museums.) Recent talks/performances and exhibitions include Yoko Ono’s Meltdown Festival, London; Palais de Tokyo, Paris; the Gothenburg Biennial; and Google Lab, Paris. A retrospective of their work, Guerrilla Girls 1985-2013, was at Alhóndiga Bilbao, Spain last fall. It contained over 200 works, plus street photos, correspondence and ephemera.

Supported by the Office of the Provost & the Vice Provost for the Arts and the Studio Art Department

Speech Talks Back
a critical-creative performance

Monday, April 7   |   5pm
Ruffin Hall Room 206

Christine Hume is the author of three books, most recently Shot (Counterpath,2010), and three chapbooks, Lullaby: Speculations on the First Active Sense (Ugly Duckling Presse, 2008), Ventifacts (Omnidawn, 2012), and Hum (Dikembe, 2014). She teaches in the interdisciplinary creative writing program at Eastern Michigan University

Supported by the Office of the Provost & the Vice Provost for the Arts and the Studio Art Department

Christine Hume Download poster (pdf) >
4th & 5th Year Exhibitions

March 31 – May 9
Monday, Wednesday, Friday, 9-5
Tuesday, Thursday, 9-4:30
Ruffin Hall

Closing Receptions
Fridays: April 4  |  April 11  |  April 18  |  April 25  |  May 2  | May 9
5:30-7:30 pm
Ruffin Hall
Parking available in Culbreth Garage during receptions

March 31–4
David Cook
Julia Loman
Nate Wiser
Kai Filippucci
Anthony Olund

April 7–11
Elise Sokolowski
Michelle Lee
Yura Kim
Jordan Fowler
Adriana La Lime
Brett Moody
Bridget Bailey


April 14–18
Carey Coleman
Ally Burnett
Ataira Franklin
Roxana Trujillo
Alice Hong
Kelsey Petrie
Katie Slater
Alice Hong
Elizabeth Piotrowski
Rebecca Hwang

April 21–25
Mitch Oliver
Kate Farrell
Maria Maguire
Constanze Brand
Courtney Debrucky Sara Blake
Deirdre Klima
Eli Morin
Michelle Kearney
Corinne Gordon
Amber Fry
Ese Shaw
Kyle Ruempler
Michelle Lee
Eli Morin
Alison Westfall


April 28 – May 2
Rachel Lane
Nicole Chakeris
Maggie King
Jasmine Le
Sarah Clements
Kyana Afshar
Austin Burdick
Danielle Loleng Samantha Liu
Kana Saechout

May 5–9
Cindy Bernard
(Visiting Faculty, our Ruffin Distinguished Artist)

Cristina Rogozinski

David Cook
David Cook
Ally Burnett
Ally Burnett

Mitchell Oliver
Mitchell Oliver
Ex.Hi.3 Visionary Workbook
The Printmakers Left

February 24 – March 21, 2014
Monday, Wednesday, Friday, 9–5
Tuesday, Thursday, 9–4:30
Ruffin Gallery

Final Friday Opening Reception
February 28, 2014
5:30 – 7:30 pm

Adam Wolpa
Akemi Ohira Rollando
Anne Beck
Annu Vertanen
Barbara Campbell
Berenika Boberska
Charles Beneke
Christopher Thomas
Clay Witt


Dana Giacofci
David Bendernagel
Dean Dass
Elizabeth Stark
John Schulz
Joshua Dailey
Juan Garcia
Jyrki Markkanen
Kate Daughdrill


Lindsay McCulloch
Lydia Diemer
Lydia Moyer
Maggie Booth
Maggie Sullivan
Patrick Costello
Rachel Livedalen
Rachel Singel
Randy Stoltzfus

Detail of Scattered Readings by Berenika Boberska
Detail of Scattered Readings, Berenika Boberska, 2013, Archival Pigment Print, 12x11

The Visionary Workbook is the third and final volume of Exquisite History, a project that was started in 2005 by an international collective known as The Printmakers Left. Ever evolving, the group is composed of roughly thirty artists, architects and poets, scattered across the country and beyond. Over the course of the last decade these collaborations have produced a number of installations, exhibitions, portfolios and books. The organizational core of this collective is composed of University of Virginia faculty, former faculty, visiting artists and alumni.

Exquisite History is modeled after the 1493 Nuremberg Chronicle, an early encyclopedic history of the world. The three-part structure of the Nuremberg Chronicle has been retained: for its Genesis The Printmakers Left published The Land of Wandering, for its History of the Present Day, they offered The New World, and for its Revelation they here present Visionary Workbook.

The very title, combining as it does visionary and workbook already suggests a certain conflict and tension. This tension provides an opportunity. How can the concept visionary relate to the concept workbook, as the latter implies the training manual or lab manual, while the former implies revelation, vision, or a kind of utopian thinking? This is precisely the combination this project asks for. Team members, scattered across the country and beyond, were asked, not for an additional (and ineffective) critique, but rather what do we love? In Detroit, or New Orleans, or Grand Rapids or Charlottesville—what are we actually doing to imagine our new world?

The publication, an unbound boxed set of prints and documents, includes a blank visionary workbook, consisting of a set of assignments and directions, thereby enabling all to reprise the project or re-enact it in new and individual terms. The assignments in this workbook come from N.O. Brown’s 1966 Love’s Body. This same workbook was sent eighteen months ago to all members of the team, and provided the research phase of this project. These workbooks, now full and even overflowing, are here included as part of the exhibition.

The Printmakers Left wish to thank Calvin College Department of Art and Art History and The University of Virginia McIntire Department of Art for their support of this project. We wish also to thank The College of Arts & Sciences at UVa for their Research Fellowship in the Arts and Humanities.

Mixed Bag
Objects, Tools, Weapons, Performances

February 28 – March 5, 2014
Monday, Wednesday, Friday, 9–5
Tuesday, Thursday, 9–4:30
Ruffstuff Gallery
Ruffin Hall first floor

Final Friday Opening Reception
February 28, 2014 | 5–7 pm
Gallery Talks 6:00 PM

Charon by Lauren Shell Charon, Puppet for Helms Theater Production April, 2014, By Lauren Shell, sculptor /MFA Grad Student, Drama Department
George Nick
Third Annual Painter-in-Residence

January 20 – February 14, 2014
Monday, Wednesday, Friday, 9–5
Tuesday, Thursday, 9–4:30
Ruffin Gallery

Final Friday Opening Reception
January 31, 2014
5:30 – 7:30 pm

Final Friday Open Studio 323
April 25, 2014
5:30 – 7:30 pm

Mr. Nick will have an Open Studio presenting the paintings created while in residency at UVa during the Spring semester of 2014, in Studio 323, Ruffin Hall, on Final Friday, April 25, 5:30 – 7:30.

Third Annual Painter in Residence: George Nick
Third Annual Painter in Residence: George Nick

Indian Memories By George Nick
Indian Memories, George Nick, February 2009, 23x30

Mr. Nick is a painter from Boston who has been in residence, teaching and creating his own work at UVa since January 2014. With his residency at UVa coming to an end this semester, Mr. Nick will have an Open Studio presenting his current work in Studio 323, Ruffin Hall, on Final Friday, April 25, 5:30 – 7:30pm.

George Nick is a leading nationally recognized Realist painter. With a career spanning more than sixty-five years, his work is included in the collections of Metropolitan Museum of Art, NY, The Museum of Fine Arts, Boston and the Hirshhorn Museum, DC.

The renowned writer, John Updike wrote of Mr. Nick’s painting in the article In Praise of George Nick: “An integrity of drawing (his translucent outlines in blue wash are paintings in themselves, which it seems a pity to cover) underlies the solid justice of his colors, and an integrity of faith beneath that - a faith that a painting does not have to be forced upon reality, through some trick or exaggeration or other, but can be drawn forth by a simple attentiveness, a patient scanning of what lies beyond the edge of the canvas.”

2014 J-term Sculpture Exhibition by ARTS 2580
The Body

January 13–31, 2014
Gallery hours M-F, 9-5
Ruffstuff Gallery
First Floor Stairwell Ruffin Hall

Final Friday Closing Reception
January 31, 2014 | 5–7 pm
Gallery talks at 6 pm, followed by a spoken word sculpture poem.

Self Portrait on Fire,  Hendaya Haggerty
Self Portrait on Fire, Hendaya Haggerty, plaster, life-size
Photo by Alex McClanahan

Curtis Falkenstein and his Venus in process Curtis Falkenstein and his Venus in process, clay
Photo by Alex McClanahan

This exhibition showcases the 11 sculptors of ARTS 2580,
The Body, who created 55 sculptures in 8 days including:

  • Small intimate body abstractions
  • Interpretations of Paleolithic Venuses
  • Self-portrait life-casts with inventions
  • Sensuous body deformations
  • Life-size bodies in space emerging from a cocoon and filling three floors of the Ruffin Stairwell
Photo by Alex McClanahan
Photo by Alex McClanahan
Photo by Alex McClanahan
Photo by Alex McClanahan

Photo by Alex McClanahan
Photo by Alex McClanahan
Photo by Alex McClanahan
Photo by Alex McClanahan

More photos by Alex McClanahan >

Nine Tube Portraits/Twenty-Five Walkers
Richard Kraft

October 11 – December 6
Monday, Wednesday, Friday, 9–5
Tuesday, Thursday, 9–4:30
Ruffin Gallery

Walking Performance
October 11, 2013 | 3 pm
Downtown Charlottesville

Opening Reception
October 11, 2013
5:30 pm – 7:30 pm
Downtown Charlottesville

Richard Kraft
Richard Kraft
Images: Left to right: Tube Portrait #12, 2012. Inkjet print, 44 x 60 inches
Tube Portrait #20, 2012. Inkjet print, 44 x 60 inches
Las Vegas Walk, 2011. Performance documentation
Death Valley Walk, 2011. Performance documentation

Nine Tube Portraits/Twenty-Five Walkers is an exhibit by artist Richard Kraft in the Ruffin Hall Gallery at UVa.

The first component of the exhibit is the gallery installation itself, consisting of nine portraits made from video footage of people riding on the Tube subway system in London. Kraft has positioned these nine large-scale photographs around the gallery looking upon a sculpture in the middle of the room. The sculpture is made up of twenty-five small plastic figures, modeled after 1960s British bankers in crisp suits and bowler hats, each carrying a unique sandwich-style signboard. The signboards display everything from nonsense sayings to images of atomic bombs going off.

The gallery installation is a scale model of a larger performance piece that Kraft orchestrated in Charlottesville on October 11, 2013. Twenty-five volunteers from UVa and the community dressed in dark suits and donned bowler hats and sandwich boards to walk predetermined routes through downtown Charlottesville. Each walker went in a separate direction but the routes criss-crossed at various locations. During the action the performers remained silent. Interaction with inquisitive passers by was confined to the handing out of a nonsense business card.

Richard Kraft grew up in London and lives in Los Angeles. His work engages many areas of inquiry — language, literature, history, popular and populist cultures, and exploits a variety of media — drawing, photography, collage, installation, and performance. This diversity of interests and methods is united through his transformations of the everyday world that shift awareness and create spaces to explore the inscrutable and seek meaning in ambiguity, nonsense and contradiction.

Twenty-Five Walkers | Charlottesville, Va
Twenty-Five Walkers | Charlottesville, Va
Twenty-Five Walkers | Charlottesville, Va
Twenty-Five Walkers | Charlottesville, Va

Twenty-Five Walkers | Charlottesville, Va
Twenty-Five Walkers | Charlottesville, Va
Twenty-Five Walkers | Charlottesville, Va
Twenty-Five Walkers | Charlottesville, Va

Twenty-Five Walkers | Charlottesville, Va
Twenty-Five Walkers | Charlottesville, Va
Twenty-Five Walkers | Charlottesville, Va
Twenty-Five Walkers | Charlottesville, Va
Looking and Looking Away
photographs by Dave Woody

August 26 – October 4
Monday, Wednesday, Friday, 9–5
Tuesday, Thursday, 9–4:30
Ruffin Gallery

Final Friday Opening Reception
August 30, 2013
5:30–7:30 pm
Ruffin Gallery

Artist Lecture
September 12, 2013 | 5 pm
Ruffin Hall | Room 204

Dave Woody
Dave Woody, Airport Road, Austin, Texas, 2006
Archival Pigment Print 11x14 inches

Looking and Looking Away is an exhibition of works by Dave Woody, an artist whose deep involvement with portraiture has spanned more than two decades. The works presented here are richly detailed views of iconic figures encountered in situ, steeped in qualities of the view camera image—focus that touches, skips, and stings, tones that fade out into gradients. These prints take time to see. We look at them as much as through them. We become absorbed.

Woody has a keen sense for rich outskirts, whether in Texas, Virginia, or his native Colorado. The people in these pictures carry an uneasy familiarity; they are anchored to a world we can name, though they are presented subtly, exceptionally, apart from it. Their gazes mark a moment more than a place. A doubling occurs throughout the exhibition: aspects of vulnerability, isolation, and beauty—countenanced by strangers—charges each scene.

Taken together, as a constellation of pictures, Looking and Looking Away gives shape to a place of the mind, running parallel to the one we see. As viewers of these works we are seized by stillness, before a world that is quietly, thoroughly, insisted upon.

The implication here is as simple as it is profound: through this artist's pictures, time is deepened, errancy and wholeness exist together, self-consciousness slips into absorption, then back again. Looking is a process on both sides of the camera. These are pictures you have to look at, and keep looking at, in order to know.

Why is this so exceptional? These pictures reveal how identifying with another can transform the world. Think of the pre-photographic world of painting visited by Proust in the Louvre. He was well-known for noticing in the canvases of centuries past the faces of his contemporaries. In Woody's portraits, this potential is less a matter of actual resemblance than one of attention and generosity of mind.

The world of myth is apparently ongoing; it is encroaching on these figures, their gestures, the landscape and its weather. It is encroaching on the viewer as well.

Like the pictures of Judith Joy Ross—an artist Woody admires—these works are more condensation than intent, collaborations made indelible by an artist at home in the lingering, abundant world.

— Adam Schreiber
Assistant Professor of Art, DePaul University

Reproduction, including downloading of ARS works is prohibited by copyright laws and international conventions without the express written permission of Artists Rights Society (ARS), New York.