Ruth Pastine: Interplay by Scott White Contemporary Art

R U T H PA S T I N E

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Previous spread: Red Green 1-S48 (Red Magenta), Interplay Series, 2013, oil on canvas, 48 x 48 inches. Above: Ruth Pastine. Photo by Eric Minh Swenson.

LE T THERE BE LI GHT TH E I L LUMINATED E XPE RI E N C E BY RU TH PASTI N E

It is a rare thing to meet an artist, to follow them through a long stretch of time, to see their work develop, evolve, and eventually, bear witness to their dedication culminate in ground-breaking work. I can only speak for myself as an art dealer, but there is no greater joy and excitement than to see the full maturation of an artist presented in a body of work that can only be described as pivotal, career defining, and simply extraordinary. And so, as an art dealer, long-time admirer, and collector of her work, I am thrilled to be presenting this new exhibition by Ruth Pastine. I met Ruth over a decade ago, shortly after her move to the West Coast from New York. I was immediately struck by the luminosity of her paintings. Her influence drawn from post-war New York School movements were clear, taking notes from minimal abstraction and color field painting in particular. A keen color theorist, and meticulously skilled, Ruth’s canvases seemed to emerge from a bath of pure color, appearing to emit light from within. Her move to the West Coast, specifically to Los Angeles where the “Light and Space” movement spawned in the 1960’s, was no coincidence. Her work, already strongly developed by the time she arrived to Los Angeles, immediately found rapport with the works of noted “Light and Space” artists such as James Turrell and Doug Wheeler. And critics agreed. As noted by Robert Pincus in a review from 1999, Ruth “… seems to have taken a cue from the California ‘Light and Space’ movement, learning from the effects that artists like James Turrell and Doug Wheeler achieved with installations and bringing them back into painting. And she does it deftly.”* 5

Living in Los Angeles also influenced the scale of her work. Working within the expansive landscape of Southern California, Ruth’s canvases moved to larger sizes, yielding a commanding, almost monolithic presence. At this scale, her exceptional skill with paint and brush is inarguable, even inexplicable, as she barely leaves a trace of a brush stroke on the surface. At this scale the visceral modulations of luminous color resonate within the canvas, and moves beyond its edges to envelope an entire room with perceptual experience. While Turrell and Wheeler create this experience of light using light as the medium, Ruth Pastine achieves the same effect through paint. The result is a different experience than that of walking up to a Doug Wheeler installation, or standing inside of a light filled room constructed by James Turrell. Ruth Pastine’s light is, indeed, ethereal. Yet it is also finite. The colors are contained within the edges of the canvas, the surface tactile in ways that only oil paint can be. The perception of light that emits from the surface is exactly that: Perception. Her light is simply a viewer’s retinal response to what Ruth achieves on her canvases: layers of oil paint meticulously applied by her hands, using a loaded brush. In this new body of work, which I am proud to present for the first time, Pastine arrives to a new place. One that, it now appears in retrospect, her work has been heading towards all along. While her previous paintings explored color shifting in one direction— either from the center then outward, or from one side to the other—this new body of work achieves a balanced composition. Using vertical bands of color, hues move from one to another, then back again as it moves across the canvas. The full effect is an exalting, harmonious, and meditative experience of color and light. It is an achievement that can only be described as an amalgam of profound dedication, unyielding focus, and deep investigation by a visionary artist. Congratulations, Ruth. Thank you for allowing us to showcase this exemplary work.

Scott White Director, Scott White Contemporary Art

* Pincus, Robert L. “Color Guard- Ruth Pastine Revels In The Art Of The Hue,” San Diego UnionTribune, April 1, 1999, p. 48. 6

RU TH PASTI N E: THE OPTICAL SU B LI M E B y Peter Fr a nk

Painterly practice today can be said to range along an “axis of accident,” that is, a scale that might measure the degree of discovery and deliberation determining a painter’s approach. This pertains for all painters, but abstractionists in particular, by and large free of any depictive goal, bring forth their work at differing levels, and interactions, of accident and design. Gestural painters, it is assumed, spring forth from haphazard initial strokes, while geometric painters operate from more-or-less entirely predetermined structures. Painters working with color can find themselves at various points along the aforementioned axis, but would logically exercise more control and premeditation the more they seek to exploit the perceptual effects of color (and concomitant form). Ruth Pastine’s painting exploits these effects, and does so uniquely, achieving a quality, even condition, of appearance quite unlike any other in the realm of pure-color painting, whether monochrome (or “radical”) or light-and-space (or “perceptual”). Pastine’s approach, however, is one of on-site evolution: however much she may know what the overall perceptual presence of her paintings will be upon completion, she does not begin those paintings certain of what colors, or even necessarily what overall compositions, will present themselves. For Pastine, paintings evolve – towards a known kind of effect but to unknown effect. Pastine’s method of painting evolves color presences and relationships – especially relationships – built up out of countless small brushstrokes. This method, surprisingly enough, is grounded in an experimental approach, one that establishes conditions of light, conditions that generate color and dissolve at least any material appearance. Aware of various color theories,

Pastine follows the dictates of none, allowing hues and chromas and values to find their way to one another through what might be called a process of optical induction, a stepwise edging of color fields towards and against but never away from one another. In a way, she paints by moving through light – the visible spectrum – the way we might move through dark, inching along, allowing her eyes (and thus ours) to adjust gradually to the phenomenological presence of colors, to the way they present themselves and to the way they react to one another. It is a highly intuitive, and painterly, approach, one not normally applied to the focused realm of “pure” color painting. But it “unfolds” color, pure color, the way the human eye unfolds color, as an effect in itself but not a thing in itself, admitting to, even reliant on, where one color ends and the next begins – or even where the painting ends and the wall begins – while reminding us that colors can only be defined relative to one another and to the shapes (however neutral) containing them. In fact, Pastine wants to free us from preconceptions about the nature of color(s); as she writes, “given that there is no outside reference, the paintings exist in the moment of perception.” A picture exists independent of our seeing it, but can a color? A stoplight exists whether or not we see it, but do red and green? If you can describe a stoplight to someone blind from birth, can you describe its colors? If anything, Pastine’s paintings – her current series most of all – suggest in their luminous self-containment that, like rainbows, they might stop existing the moment we stop looking at them, or the moment the fugitive circumstances that brought them about change again. Even with pre-determined structures – neutral containers, really, for color “events” – and the orientation of her procedures towards fixed general goals, Pastine, in her own words, “strive[s] to remain in what Hegel called the ‘universality’ of the here-and-now… being in the present moment.” The conditions of any given moment dictate what and how Pastine paints subsequently – just as they dictate what and how we see when presented with such entirely self-referential paintings (their self-referentiality reinforced by their reliance on the traditional, un-spectacular, even self-effacing support formats afforded by the square and the rectangle). Pastine has emptied the pictorial context of the pictorial; all that remains is color. Jules Olitski fancied painting in air, allowing veils of color to hang in our midst free of support. But

this would make a spectacle of the color experience and, paradoxically, invest it with sculptural presence. Pastine wants to avoid such spectacularity and to allow color to behave extraordinarily by presenting it, framing it, ordinarily. Pastine does not work with inherently brilliant hues, but with subdued tones, nuanced and saturated, allowed to fill spaces and to abut one another until they reach their own levels of brilliance – surprisingly high levels, achieved by allowing the colors to expand not inside the painting but inside the retina. Particularly in these new paintings, the colors retain this “depth charge” quality because Pastine neutralizes their containers. The color areas subtly charge one another within and across boundaries and arrangements – square formats, symmetric dispositions – we barely notice. They refer to nothing; only the colors themselves, and the perceptual questions they raise, are present. In previous series Pastine complicated this presence by rendering the colors themselves elusive, hard not just to describe but to see. Now, those colors stand obdurately before us and work almost aggressively upon us, even as they still avoid being defined. The experiential difference between Pastine’s earlier and current work is much like that between mist and rain; you are now certain you are being impacted even as you struggle to define what is impacting you. Even as the condition of Pastine’s painting moves towards the concrete, the painting itself retains its transcendent ideal. We see this in the warm, persistent glow of the paintings and, equally but differently, in the ethereality and delicate granularity of the pastels. Without advancing the materiality of her surfaces as an integral aesthetic consideration, Pastine deftly exploits their facture, putting them at the service of the colors and the optical experience the colors provide. Those subtle textures allow her colors to command, rather than merely tease, our perception. Indeed, Pastine wants to redefine our perceptual field. Or, rather, she wants to trigger our own redefinition of that field. Her relational shifts, within each color area and between them, do not seek merely to bring us along with them, but to seem as if they are occurring in our eyes. In fact, they are. In Pastine’s paintings and pastels these colors and their shifts are vibrations, light reflected off surfaces. They don’t become “colors” until we see them – and it is the very certitude of this seeing that determines the rhetorical realm to which

Pastine addresses herself. Color means nothing (beyond its myriad functional associations) until it reaches and stimulates our optic nerves. At that point, as Pastine notes, “color is a vehicle for experience… [for] engag[ing] in the present moment of discovery… for the sublime…” The sublime, according to Kant, requires the presence of something terrifying and beautiful; Pastine has found that color itself, in its infinite beauty, can instill an ecstatic fear, a fear of the void at once focused and mitigated by the color that doesn’t simply fill, but constitutes, that void. Ruth Pastine’s is a rigorous method, both manually and mentally. She achieves a persuasive intensity in her paintings by approaching them with physical and intellectual fervor. The optical sublime with which her works confront us represents a philosophical sublime, an embodiment of the dialectical process – materiality and immateriality, presence and absence, visibility and invisibility, surface and depth, light and space, the timeless and the momentous – and the exquisite existential balance that manifests; but also of the risks involved in making any kind, and especially this kind, of painting. The work, after all, must seem to “happen” before the viewer’s eyes even as it must seem to have always existed. Pastine cannot depend on the daily theater of the atelier to provide access to such transcendence; nor can she depend on given theories of color, or even of beauty, to provide such timeless immediacy. And yet these factors, too, figure in Pastine’s discourse, necessary building blocks in the stairway to visual heaven. As immaterial as they are, her paintings are the realest things we can see.

Los Angeles July 2013

R U T H PA S T I N E

I N T E R P L AY

Blue Orange 2-S48 (Yellow Orange), Interplay Series, 2013, oil on canvas, 48 x 48 inches.

Blue Orange 2-S48 (Yellow Orange) + Blue Orange 1-S48 (Blue Deep), Interplay Series, 2013, oil on canvas, 48 x 48 inches each.

Blue Orange 1-S48 (Blue Deep), Interplay Series, 2013, oil on canvas, 48 x 48 inches.

Red Green 1-S48 (Red Magenta), Interplay Series, 2013, oil on canvas, 48 x 48 inches.

Red Green 1-S48 (Red Magenta) + Yellow Violet 1-S48 (Blue Violet), Interplay Series, 2013, oil on canvas, 48 x 48 inches each.

Above: Blue Orange 4-S60 (Violet Blue), Interplay Series, 2013, oil on canvas, 60 x 60 inches. Opposite page: Blue Orange 3-S60 (Blue Light) + Blue Orange 4-S60 (Violet Blue), Interplay Series, 2013, oil on canvas, 60 x 60 inches each.

Blue Orange 3-S60 (Blue Light), Interplay Series, 2013, oil on canvas, 60 x 60 inches.

Previous spread: Blue Yellow Green, 2012, Red Magenta Violet, 2012, Violet Blue Gray, 2012, Yellow Orange Ocre, 2012, pastel on paper, 30 x 22 inches each. Opposite page: Blue Orange 6-H4890 (Blue Deep), Interplay Series, 2013, oil on canvas, 48 x 90 inches.

Above: Red Green 3-V8445 (Magenta Violet), Interplay Series, 2013, oil on canvas, 84 x 45 inches. Opposite page: Red Green 3-V8445 (Magenta Violet), Detail.

Blue Orange 5-V6032 (Orange Ocre), Interplay Series, 2013, oil on canvas, 60 x 32 inches.

Blue Orange 3-S60 (Blue Light) + Red Green 2-S60 (Yellow Green), Interplay Series, 2013, oil on canvas, 60 x 60 inches each.

Red Green 2-S60 (Yellow Green), Interplay Series, 2013, oil on canvas, 60 x 60 inches.

RUTH PASTINE

Born in New York City Lives and works in Ojai, California EDUCATION 1993 1987

M.F.A., Hunter College of the City University of New York, NY; 1990-1993 The Rietveld Akademie, Independent Study Grant, Amsterdam, The Netherlands; 1987-1988 B.F.A., The Cooper Union for the Advancement of Science & Art, New York, NY; 1984-1987 State University of New York College at Purchase, NY; 1982-1984

SOLO EXHIBITIONS 2014 2013 2012 2011 2010 2009 2008 2007 2004 2003 2000 1999 1998 1996 Â 1993 1987 Â

Attraction, Paintings and Pastel Works on Paper 1993-2013, MOAH - Museum of Art & History, Lancaster, CA Interplay, Paintings and Pastel Works on Paper, Scott White Contemporary Art, La Jolla, CA Counterpoint, Pastel Works on Paper, Edward Cella Art + Architecture, Los Angeles, CA Imminence, Primary and Secondary Color Series Paintings, Quintenz Gallery, Aspen, CO Immaterial Matters, Primary Red Blue Series Paintings and Works on Paper, Brian Gross Fine Art, San Francisco, CA Conquer Surrender, Green Orange Violet Secondary Color Series Paintings, Peter Blake Gallery, Laguna Beach, CA Transcendent Boundaries, Paintings: 1997-2011, Edward Cella Art + Architecture, Santa Barbara, CA Present Fugitive, Red Green Series and Blue Orange Series Paintings, Gallery Sonja Roesch, Houston, TX Limitless, Red Green Series Paintings, Edward Cella Art + Architecture, Los Angeles, CA Phase and Shifting, Gray Series Paintings, Peter Blake Gallery, Laguna Beach, CA Convergence, Saturated Red Blue Series Paintings, Brian Gross Fine Art, San Francisco, CA Ever Present, Saturated Red Blue Series Paintings, Gallery Sonja Roesch, Houston, TX Black Light, Red Green, Blue Orange, and Yellow Violet Series Paintings, Nathan Larramendy Gallery, Ojai, CA Ruth Pastine: Focus on the Masters, Interview Series and Exhibition, Brooks Institute, Ventura, CA Luminesce Red Green, Equivalence Red Green Series & Sameness and Difference Series, Nathan Larramendy Gallery, Ojai, CA Expedition, Yellow Violet Series Paintings, Double Squares, Bentley Gallery, Scottsdale, AZ Yellow Magenta Violet Series Paintings, Bentley Gallery, Scottsdale, A Red Green Series and Yellow Magenta Series Paintings, Haines Gallery, San Francisco, CA Yellow Magenta Series Paintings, Margaret Thatcher Projects, New York, NY New Paintings, Quint Contemporary Art, La Jolla, CA Ray Paintings: Blue Orange Violet Series, Brian Gross Fine Art, San Francisco, CA Ray Paintings: Blue Yellow Violet Series, Deven Golden Fine Art, New York, NY Mergings, New Paintings, Brian Gross Fine Art, San Francisco, CA East Meets West, New Paintings, West Gallery, Claremont Graduate University, Claremont, CA Diffusion Paintings, Times Square Gallery, Hunter College, New York, NY Arc Paintings, Houghton Gallery, The Cooper Union, New York, NY 38

Above: Ruth Pastine. Photo by Eric Minh Swenson.

GROUP EXHIBITIONS 2013 2012

2011 2011 2010 2009 2008 2007 2006 2005

2004 2002

2001 2000

1999 1998

20th Anniversary Exhibition, Peter Blake Gallery, Laguna Beach, CA Spring Group Exhibition, Peter Blake Gallery, Laguna Beach, CA Collectors Show, Arkansas Arts Center, Little Rock, Arkansas Transcending Abstraction lll, Contemporary Perspectives in Reductive Art, Peter Blake Gallery, Laguna Beach, CA Cool Calm Collected, Danese, New York, NY Summer Group Exhibition, Brian Gross Fine Art, San Francisco, CA Selections, Edward Cella Art + Architecture, Santa Barbara, CA Summer Pop, Edward Cella Art + Architecture @ Ilan Dei Studio, Venice, CA Transcending Abstraction ll: Contemporary Perspectives in Reductive Art, Peter Blake Gallery, Laguna Beach, CA Accrochage 2012, Celebrating 21 Years, Gallery Sonja Roesch, Houston, TX Transcending Abstraction: Contemporary Perspectives in Reductive Art, Peter Blake Gallery, Laguna Beach, CA The Gleam in the Young Bastard’s Eye, William Turner Gallery, Santa Monica, CA California Contemporary, Scott White Contemporary Art, San Diego, CA Summer Group Show, Peter Blake Gallery, Laguna Beach, CA Art in Public Places, Peter Blake Gallery, Riviera Art Space, Newport Beach, CA Latitude 34-40, Los Angeles incontra Napoli, Art 1307, Villa di Donato, Naples, Italy Winter Group Show, Peter Blake Gallery, Laguna Beach, CA Sulle Tracce di Luca Giordano, Mostra Internazionale d’Arte Contemporanea, Naples, Italy Fresh Figures & Abstraction, Scott White Contemporary Art, San Diego, CA In House, Peter Blake Gallery, Laguna Beach, CA QUINT: Three Decades of Contemporary Art, California Center for the Arts, Escondido Museum, Escondido, CA Accrochage 2009, Group Show, Gallery Sonja Roesch, Houston, TX White, Ruth Bachofner Gallery, Santa Monica, CA The Non- Objective Object, Four Abstract Painters, California State University Channel Islands Gallery, Camarillo, CA Supermarket, Peter Blake Gallery, Laguna Beach, CA 15 Years 15 Artists, Peter Blake Gallery, Laguna Beach, CA History is Now, Portraits by Donna Granata, Thousand Oaks Civic Arts Plaza, Thousand Oaks, CA X Invitational, California State University Channel Islands, SCIART, Camarillo, CA Transformative, Nathan Larramendy Gallery, Ojai, CA Good Clean Fun, The Brewery Project, Los Angeles, CA Installations, Yellow Violet Paintings, Bentley Projects, Phoenix, AZ Pool Party, Nathan Larramendy Gallery, Ojai, CA Summer Sensation, White Paintings, Margaret Thatcher Projects, New York, NY Celebrating 23 Years, Elizabeth Leach Gallery, Portland, OR Grand Opening Exhibition, Scott White Contemporary Art, Telluride, CO Breathing Room: Fifth Anniversary Exhibition, Margaret Thatcher Projects, New York, NY Signals, Bentley Gallery, Scottsdale, AZ Terrain: Literal to Metaphysical, Scott White Contemporary Art, Telluride, CO Crossover, Kurashiki City Art Museum, Kurashiki, Japan Continuous Senses, Gallery Jurou, Kurashiki, Japan Abstraction and Immanence, Hunter College, Times Square Gallery, New York, NY Monochrome/Monochrome? Curated by Lilly Wei, Florence Lynch Gallery, New York, NY Three Painters, Margaret Thatcher Projects, New York, NY Abstraction: Form To Field, Elizabeth Leach Gallery, Portland, OR (In)tangible, Margaret Thatcher Projects, New York, NY Overcast, Allston Skirt Gallery, Allston, MA Live from New York, Haines Gallery, San Francisco, CA Core, Stark Gallery, New York, NY Sudden Incandescence, Bemis Center for Contemporary Arts, Omaha, NE 4th Annual Group Show, Ruth Bachofner Gallery, Santa Monica, CA Gallery Artists, Deven Golden Fine Art, New York, NY 39

1998 1997

1996 1994 1993 1991 1987 1986 1985 1984 1983 1982

Jewel Box Project, GAGA Gallery, New York, NY Self-Portrait, Gallery at Dieu Donne Papermill, New York, NY 10 Year Anniversary Group Show, Charlotte Jackson Fine Art, Santa Fe, NM What’s On The Wall, Margaret Thatcher Projects, New York, NY Abstraction Index, Condeso/Lawler Gallery, New York, NY Art Without Curves, Invitational, Phoenix, AZ Benefit Exhibition, Pat Hearn Gallery, New York, NY Drawing from Life, Stark Gallery, New York, NY On the Wall- Current Expressions in Contemporary Art, TIAA/CREF, New York, NY Presentational Painting II, Leubsdorf Art Gallery, Hunter College, New York, NY Pools of Light, Donahue/Sosinski Art, New York, NY A Large Show of Small Works, Houghton Gallery, The Cooper Union, New York, NY Formal Abstraction/New York, Ruth Bachofner Gallery, Santa Monica, CA Group Show, Ruth Bachofner Gallery, Santa Monica, CA Places of the Imagination, E.M. Donahue Gallery, New York, NY Summer 1996, E.M. Donahue Gallery, New York, NY Vulnerability, The Dahn Gallery, New York, NY Outreach Alumni 2, The Cooper Union, New York, NY MFA Selection, Wexler Library, Hunter College, New York, NY Voorhees Painting Exhibition, Times Square Gallery, Hunter College, New York, NY Annual Exhibition, Houghton Gallery, The Cooper Union, New York, NY Grumbacher Emerging Artists Exhibition, National Arts Club, New York, NY National Arts Club Annual Art Exhibition, National Arts Club, New York, NY Annual Exhibition, Houghton Gallery, The Cooper Union, New York, NY Group Show, Houghton Gallery, The Cooper Union, New York, NY Annual Exhibition, Houghton Gallery, The Cooper Union, New York, NY Annual Exhibition, State University of New York College at Purchase, NY Small Works Exhibition, State University of New York College at Purchase, NY Annual Exhibition, State University of New York College at Purchase, NY Honorary Group Exhibition, School Art League of New York City, NY Honorary Award Exhibition, The Metropolitan Museum of Art, New York, NY

BIBLIOGRAPHY 2014 2013

2012

2011

Kuspit, Donald. “Selfless Sensation: Ruth Pastine’s Paintings,” catalog essay published on occasion of the exhibition ‘Attraction,’ Paintings & Pastel Works on Paper 1993-2013, MOAH - Museum of Art & History, Lancaster, CA. Frank, Peter. “Ruth Pastine: The Optical Sublime,” catalog essay published on occasion of the exhibition ‘Interplay,’ Paintings and Pastel Works on Paper, Scott White Contemporary Art. White, Scott. “Let there be light – The Illuminated Experience by Ruth Pastine,” catalog introduction essay published on occasion of the exhibition ‘Interplay,’ Paintings and Pastel Works on Paper, Scott White Contemporary Art. Flood, Greg. Post-mortem on artMRKT 2013 (part 2) – San Francisco Contemporary Art, Examiner.com, June 25, 2013, <http://www.examiner.com/article/post-mortem-on-artmrkt-2013-part-2>. Frank, Peter. “Ruth Pastine: Counterpoint,” FABRIK magazine, October 2012, issue 18, 78-79, <http://issuu.com/fabrik/docs/fabrik18?mode=window&viewMode=doublePage>. Carasso, Roberta. “Ruth Pastine: Counterpoint,” ArtScene, October 2012, volume 32, no. 2, 28. Cella, Edward. “Counterpoint,” catalog published on occasion of the exhibition ‘Counterpoint,’ Pastel Works on Paper. Harrison, Suzie. “ARTiculation: Peter Blake exhibits Abstraction,” Stu News Laguna, March 20, 2012, volume 4, issue 23. Fitzpatrick, Kyle. “Los Angeles I’m Yours, Best of LA Art Show: Peter Blake Gallery,” January 26, 2012, <http://www.laimyours.com/?s=peter+blake+gallery>. Carasso, Roberta. “Ruth Pastine at Ernst & Young Plaza,” American Contemporary Art magazine, December 2011, 22-24, <http://acamagazine.com>. Kalisher, Richard. “Ruth Pastine: Immaterial Matters at Brian Gross Fine Art, San Francisco,” American Contemporary Art magazine, September 2011, 43. <http://acamagazine.com>. Lindell, Karen. “The Art of Coping: Chaos and Creation and Artistic Aftermath: Ruth Pastine,” Ventura County Star, Time Out magazine, Arts Weekly, September 9, 2012, cover and 20- 21. 40

2011

2010 2009

2008

2007

2006 2005 2004

2002 2001

2000

Garver, Gary. “Ruth Pastine ‘Limitless,’” June 24, 2011, <http://www.youtube.com/watch?v=Qs8gwi2eVnA>. Carasso, Roberta. “Ruth Pastine: Conquer Surrender: Secondary Color Series,” Coast magazine, Art Access, March 2011, 105. Carasso, Roberta. “Tony DeLap & Ruth Pastine at Peter Blake Gallery,” Visual Art Source, April 1, 2011. Frank, Peter. “Tony DeLap & Ruth Pastine,” Huffington Post, Haiku Reviews, April 8, 2011. Head, Anthony. “Pulse: Tracking the Beat of the 805, Art and Interiors,” 805 Living, March 2011, cover and 17-18. Porter, L.D., “Montecito Masterpiece,” Dining and Destinations, Spring/Summer 2011, 76- 83. Salvucci, Nancy. “Ruth Pastine: Transcendent Boundaries’ @ Edward Cella Art + Architecture in Santa Barbara,” May 17, 2011, <http://sbdigs.com/cabana-home-santa-barbara>. Salvucci, Nancy. “Cabana Home Designs a Montecito Masterpiece,” March 11, 2011, <http://sbdigs.com/cabana-home-designs-a-montecito-masterpiece-2>. Britt, Douglas. “Ruth Pastine’s Painting’s Astound,” Houston Chronicle, November 10, 2010, <http://www.29-95.com/node/462259>. Carasso, Roberta. “Ruth Pastine: Artist Profile,” Art Ltd. magazine, January/February 2010, 60- 61. Campognone, Andi. “Ruth Pastine and Gregg Renfrow,” The Magazine Los Angeles, March 2009. Carasso, Roberta. “2 Artists Showcase Heritage, Finesse in New Collections,” Orange County Register, Art News, Art Waves, January 27, 2009. Kuspit, Donald. “Ruth Pastine’s Paintings,” essay and brochure published on occasion of the exhibition ‘Limitless.’ Hurt, Maxine. “Focus on the Women,” Ventana Monthly magazine, November 2008, 41- 44. Britt, Douglas. “Ruth Pastine at Gallery Sonja Roesch,” Houston Chronicle, July 2, 2008. Klaasmeyer, Kelly. “Ruth Pastine: Ever Present.” Houston Press, Capsule Art Reviews, June 19- 26, 2008, 35. Granata, Donna. “History is Now, Focus on the Masters Portrait Series,” exhibition catalog, Thousand Oaks Civic Arts Plaza, Thousand Oaks, CA, September 21, 2008- January 12, 2009. Sherwin, Brian. “Ruth Pastine” Interview, October 5, 2007, <http://myartspace-blog.blogspot.com/search?q=ruth+pastine>. D’Amore, Nicole. “Artist wants people who look at her paintings to think,” Ventura County Star, April 27, 2007, B4. Granata, Donna. “Ruth Pastine: Focus on the Masters,” Live taped interview, Brooks Institute, Ventura, CA. Kinnear, Stephanie. “Ruth Pastine & Gary Lang Paint by Heart, A Passionate Affair With Paint,” Ventana Monthly Magazine, February 2007,10-11. Row, Ron. “’Black Light’ Paintings by Ruth Pastine at Nathan Larramendy Gallery,” Ojai & Ventura Voice, May 4, 2007, volume 20, #1,12. Herbert, Simon. “A New Buzz in Paradise,” Lifescapes, May 2006, 28- 29. Richmond, Holly. “Painterly Space,” Interview with Ruth Pastine and Gary Lang, Santa Barbara Magazine, August-September 2006, 110. Frank, Peter. “Neovernacular, Good Clean Fun,” LA Weekly, December 2- 8, 2005. Campbell, Rob. “A Year In Review,” Nathan Larramendy Gallery Newsletter, Ojai, CA, September 2004. Freedenberg, Molly. “Red Light, Green Light: Ruth Pastine explains the intent behind her solo show ‘Luminesce Red Green,’” Ventura County Reporter, September 30, 2004, 24. Lindell, Karen. “Minding the Store- Gallery owner Nathan Larramendy wants to sell customers on the brain-broadening power of art, ‘Luminesce Red Green,’ Nathan Larramendy Gallery, Ojai, CA, Ventura County Star, Time Out magazine, Arts Weekly, September 2, 2004, 10-11. Phelps, Jesse. “Larramendy Hosting Solo Pastine Show: ‘Luminesce- Red Green,’” Nathan Larramendy Gallery, Ojai Valley News, August 27, 2004, A-8. Matsuyama, Sadamichi. “Continuous Senses,” Gallery Jurou, Kurashiki, Japan, Sunyo News, November 6, 2002. Viebrock, Susan. “Terrain: Literal to Metaphysical,” at Scott White Contemporary Art, Telluride, CO, Telluride Weekly Planet, Pulse, May 31, 2002, 10-11. Johnson, Ken. “Abstraction and Immanence,” Hunter College/Times Square Gallery, The New YorkTimes, March 23, 2001. Longo, Vincent. “Abstraction and Immanence,” Hunter College/Times Square Gallery, exhibition catalog essay, February 22-April 7, 2001. MacAdam, Barbara A. “Monochrome/Monochrome?” Florence Lynch, ARTnews, May 2001,190. Phillips, Laura Sue. “Abstraction and Immanence,” Hunter College/Times Square Gallery, exhibition catalog essay, February 22- April 7, 2001. Pincus, Robert L. “Concentric fields, Artist paints with flowers on an table garden canvas, Gary Lang’s Circles and Cycles, a Chance Garden,” The San Diego Union Tribune, April 22, 2001, I-32. 41

2000

1999 1998 1998 1997 1996 1995

Baker, Kenneth. “Paintings Colored By Illusion: Ruth Pastine: Red Green and Yellow Magenta Paintings at Haines,” San Francisco Chronicle, Datebook, August 12, 2000, D-1. Baker, Kenneth. “Paintings Colored By Illusion: Ruth Pastine: Red Green and Yellow Magenta Paintings at Haines,” San Jose Mercury News, August 19- 26, 2000, D-1. Johnson, Ken. “Ruth Pastine,” The New York Times, Reviews, Weekend, October 6, 2000, E40. Morgan, Robert C. “Duchamp & The Postmodern Contemporary Artist,” May 2000, University of Buenos Aires Press, 117-118. Row, D.K. “The Pleasures of Abstraction, an Elizabeth Leach Gallery Group Show Depicts Two Faces of Conceptualism,” The Oregonian, Arts & Entertainment, June 30, 2000, 63. Zinsser, John. “Ruth Pastine’s Yellow- Magenta Paintings at Margaret Thatcher Projects.” artnet.com, Painter’s Journal, October 20, 2000, <http://www.artnet.com/magazine/reviews/zinsser/zinsser10-20-00.asp>. Pincus, Robert L. “Color Guard-Ruth Pastine Revels In The Art Of The Hue,” San Diego Union Tribune, April 1, 1999, 48. Schultz, Carol Ebert. “Artist Pastine envelops viewers in radiance,” La Jolla Village News, March 25, 1999, vol. 4, no. 19, cover & 4. Schultz, Carol Ebert. “Pastine’s radiant paintings envelop viewers,” Golden Triangle News, March 25, 1999, vol. 3, no. 19, cover & 4. Kuspit, Donald. “Ruth Pastine and Frederick Holland at Deven Golden Fine Art,” Artforum, May 1998, 150-151. Morgan, Robert C. “Ruth Pastine at Deven Golden Fine Art,” Review, February 15, 1998, 25. Newhall, Edith. “Ruth Pastine,” New York Magazine, February 16, 1998, 71. Koplos, Janet. “Drawing From Life at Stark,” Art in America, May 1997, 126. Lambert, Jesse. “Presentational Painting II: Ruth Pastine,” exhibition brochure essay. Smith, Roberta. “Drawing From Life,” The New York Times, February 7, 1997, C26. Roche, Harry. “Mergings: Ruth Pastine,” San Francisco Bay Guardian, September 18, 1996, 109. Karmel, Pepe. “Vulnerability: Ruth Pastine,” The New York Times, September 22, 1995, C31. Morgan, Robert C. “Tense Present- Tense: Ruth Pastine,” Cover Magazine, October 1995, 48.

PUBLIC COMMISSIONS 2009

Limitless, Red Green Series and Blue Orange Series, North & South Lobby Public Painting Installation, Ernst & Young Plaza, Los Angeles, CA

AWARDS/HONORS 2009 2000 1999 1993 1992 1990 1987 1984 1982

Limitless, North & South Lobby Public Painting Installation, Ernst & Young Plaza, Los Angeles, CA Elizabeth Foundation for the Arts Grant The Shifting Foundation Matching Grant Elizabeth Foundation for the Arts Grant Hunter College Graduate Study Award Hunter College Graduate Study Award Esther Fish Perry Scholarship Award, Hunter College Harriet Rutter Eagleson Scholarship Award, Hunter College Independent Study Grant, The Rietveld Akademie, Amsterdam, The Netherlands Cooper Union Independent Study Grant; The Rietveld Akademie, Amsterdam, The Netherlands Grumbacher Artist Award & National Traveling Exhibition Four Year Scholarship, The Cooper Union Alexander Medal, Excellence in Art, School Art League of New York City Metropolitan Museum of Art Honorary Award and Exhibition

LECTURES/TEACHING 2011 2010 2009

Limitless, Red Green Series and Blue Orange Series, Public Painting Installation, Artist Talk and Tour, Ernst & Young Plaza, Laguna Art Museum L.A. Extreme Tour: Public Art in Los Angeles, CA Transcendent Boundaries, Artist Talk, Edward Cella Art + Architecture, Santa Barbara, CA Limitless, Red Green Series and Blue Orange Series, Public Painting Installation, Artist Talk and Tour, Ernst & Young Plaza, Los Angeles, CA Limitless, Red Green Series, Exhibition Talk, Edward Cella Art + Architecture, Los Angeles, CA Ruth Pastine: Focus on the Masters Interview Series, Brooks Institute, Ventura, CA 42

2006 2004 2003 2002 1997 1996 1995 1993 1992 1986 1985

Painting’s Edge, Guest Artist Lecture, Idyllwild Arts, Idyllwild, CA Luminesce Red Green, Paintings, Artist Talk, Nathan Larramendy Gallery, Ojai, CA Pool Party: Group Exhibition Artist Talk, Nathan Larramendy Gallery, Ojai, CA Expedition, Yellow Violet Series Paintings, Double Squares, Artist Talk, Bentley Gallery, Scottsdale, AZ Painting’s Edge, Guest Artist Lecture, Idyllwild Arts, Idyllwild, CA Visiting Artist, Arizona State University, Tempe, AZ Presentational Painting II, Panel Discussion, Hunter College, New York, NY Guest Artist Lecture, U.C.L.A., Department of Art, Los Angeles, CA Atlantic Lecture Series, Guest Artist, Claremont Graduate School, Claremont, CA Guest Artist Lecture, Drew University, Department of Art, Madison, NJ Assistant Teacher for Beginning and Advanced Painting, Hunter College, New York, NY Assistant Teacher for Beginning and Advanced Painting, Hunter College, New York, NY Assistant Painting Teacher for Saturday Art Program, The Cooper Union, New York, NY Assistant Painting Teacher for Saturday Art Program, The Cooper Union, New York, NY

PUBLICATIONS 2014 2013 2012 2010 2009 2008 2007 2006 2005 2001 1997 1993

Attraction, Paintings and Works on Paper 1993-2013, exhibition catalog, MOAH - Museum of Art & History, Lancaster, CA Interplay, Paintings and Pastel Works on Paper, exhibition catalog, Scott White Contemporary Art, La Jolla, CA Counterpoint, Pastel Works on Paper, exhibition catalog, Edward Cella Art + Architecture, Los Angeles, CA Cool Calm Collected, exhibition catalog, Danese, New York, NY Fresh Figures & Abstraction, exhibition brochure, Scott White Contemporary Art, San Diego, CA Limitless, exhibition brochure, Edward Cella Art + Architecture, Los Angeles, CA History is Now, Portraits by Donna Granata, exhibition catalog, Thousand Oaks Civic Arts Plaza, CA SCIART Tenth, exhibition brochure, CSU Studio Channel Islands Art Center, Camarillo, CA New American Paintings, Open Studio Press, Boston, MA Bentley Gallery Publications, April/May 2005, Scottsdale, AZ Abstraction and Immanence, exhibition catalog, Hunter College of the City University of New York, NY Presentational Painting II, exhibition catalog, Hunter College of the City University of New York, NY XII Spring, exhibition catalog, Hunter College of the City University of New York, NY

ART FAIRS 2013

2012

2011

2010

Art Southampton, International Contemporary & Modern Art Fair, July 25-29, 2013, Scott White Contemporary Art artMRKT San Francisco, May 16-19, 2013, Brian Gross Fine Art and Edward Cella Art + Architecture Dallas Art Fair, April 12-14, 2013, Danese Palm Springs Fine Art Fair, February 14-17, 2013, Peter Blake Gallery Miami Project, December 4-9, 2012; Brian Gross Fine Art Art Miami, December 4-9, 2012; Scott White Contemporary Art Art Platform Los Angeles, Barker Hangar, September 27-30, 2012, Edward Cella Art + Architecture Art San Diego 2012, Contemporary Art Fair, September 6-9, 2012, Scott White Contemporary Art Art Southampton by Art Miami, July 26-30, 2012, Scott White Contemporary Art artMRKT, San Francisco, May 17-20, 2012, Brian Gross Fine Art and Peter Blake Gallery The Armory Show- Modern, Pier 92, New York City, March 8-11, 2012, Danese LA Art Show, L.A. Convention Center, January 18-22, 2012, Peter Blake Gallery Palm Springs Fine Art Fair, February 17-19, 2012, Peter Blake Gallery & Scott White Contemporary Art Art Miami, Art Miami Pavilion, November 29 - December 4, 2011, Scott White Contemporary Art ART Santa Fe, Santa Fe Convention Center, July 7-10, 2011, Gallery Sonja Roesch artMRKT San Francisco, Concourse Exhibition Center, May 19-22, 2011, Brian Gross Fine Art Los Angeles Art Show 2011, LA Convention Center, Jan. 19-23, 2011, Scott White Contemporary Art Art Miami, Art Miami Pavilion, December 1-5, 2010, Scott White Contemporary Art Art San Diego, Contemporary Art Fair, September 2-5, 2010, Scott White Contemporary Art San Francisco Fine Art Fair, Fort Mason Center, May 21-23, 2010, Scott White Contemporary Art 43

2010 2007 2007 2006 2005 1995

Art Chicago, The Merchandise Mart, April 30 - May 3, 2010, Gallery Sonja Roesch Pulse London Contemporary Art Fair, London, England, Nathan Larramendy Gallery Pulse Miami Contemporary Art Fair, Miami, FL, Nathan Larramendy Gallery Red Dot Art Fair, Miami Beach, FL, Brian Gross Fine Art Art LA, Contemporary Art Fair, Los Angeles, CA, Nathan Larramendy Gallery Pulse Contemporary Art Fair, Miami Beach, FL, Nathan Larramendy Gallery Gramercy International Contemporary Art Fair at Chateau Marmont, Los Angeles, CA, FriedmanGuinness Gallery, (Featuring work by: James Turrell, Gary Lang, Ruth Pastine, Herbert Hamak) Gramercy International Contemporary Art Fair at Gramercy Park Hotel, New York, NY, FriedmanGuinness Gallery, (Featuring work by: James Turrell, Gary Lang, Ruth Pastine, Herbert Hamak)

PUBLIC & CORPORATE COLLECTIONS Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, CA AXA Art, Cologne, Germany Brookfield Properties, Ernst & Young Plaza, Los Angeles, CA Citi Smith Barney Investments, New York, NY Community Hospital of the Monterey Peninsula, Monterey, CA Goodwill Industries International, San Francisco, CA Lakeshore Entertainment, Los Angeles, CA Lehman Brothers/Townsend Analytics, New York, NY Qualcomm, San Diego, CA UNICEF, New York, NY

ACKNOWLEDGEMENTS Scott White, Director Kathleen Crain, Associate Director Amanda Rober ts, Director’s Assistant Brian Lockhar t, Preparator Cameron Helvey, Assistant Preparator Published in conjunction with the exhibition INTERPLAY Scott White Contemporar y Ar t, La Jolla, California September 14 – November 2, 2013

ISBN 978-0-9817385-4-3

Scott White Contemporar y Ar t 7655 Girard Avenue #101 La Jolla, CA 92037 www.scottwhitear t.com 858-255-8574

Copyright ©2013 Ruth Pastine and Scott White Contemporar y Ar t Essay by Peter Frank Photography by Eric Minh Swenson and Doug Ellis Design and layout by Myopia Design + Photography Printed in the United States by L+L Printers, San Diego, California 44