Isaac Julien has received the Goslar Kaiserring Award 2022 for his breaking down the barriers between different artistic disciplines by drawing from film, dance, photography, music, theatre, painting and sculpture and uniting them in a highly sensual visual narrative.
Ruby City is pleased to announce the acquisition of Rick Lowe’s abstract painting, Untitled (2021). This large-scale painting, whose imagery is an abstracted derivation of domino game patterns, alludes to both personal and socio-political concerns.
Ruby City is pleased to announce thirteen donations of works of art by Arturo Herrera. Generously gifted by the artist, this impressive grouping represents the longstanding, multifaceted practice of Herrera and is the result of the enduring relationship between the artist and the Linda Pace Foundation. Many of these works will be featured in a solo exhibition of the artist’s work from the collection in Spring 2022 at Ruby City.
Long-time friend Henry Estrada writes, “Alejandro [Diaz] has prioritized the inclusion and representation of lesser known or rarely validated cultural expressions, while aspiring to present such work in the appropriate context, scale, and tenor with which to best explore the human condition with all its flaws and complexity. His artwork is often tinged with humor, sometimes making self-deprecating jokes about the “seriousness” of artmaking, other times delivering biting socio-political commentary under the guise of light-hearted wit.”
In September 2006, Marfa Book Company’s gallery exhibited a survey of Pace’s dream drawings and one dream-inspired sculpture. Experience it for yourself here!
As we continue to celebrate her birthday month, we are happy to announce yet another gift of her work to the Linda Pace Foundation Collection at Ruby City: STAY (2006) gifted by JJ. Travis Capps Jr. and Lee Anthony.
Linda Pace is known for her contributions to contemporary art and artists. She not only built a significant collection and founded renowned residency program Artpace, she also established Ruby City an art center that fosters the presentation and understanding of innovative expression through contemporary art. Behind all these endeavors—and perhaps the reason she was so terrific at connecting with, and understanding how to best support artists—was her personal passion for making art. Recent gifts to the Linda Pace Foundation Collection at Ruby City, highlighted in this and the next bi-weekly newsletters, allow for a deeper understanding of her work and an appreciation for the depth of her commitment to aesthetic and internal contemplation.
Although academically trained as an artist, Pace’s artistic practice was not fully realized until later in life when she began to study the philosophy of Swiss psychiatrist and psychoanalyst Carl Jung (b. 1875-1961) and his explorations of spirituality, the unconscious and dreams. Rosina Lee Yue and Bert Lies’ gift of Jung/Jesus (n.d.), a lithograph, demonstrates the artist’s interest in Jung. In this print Pace places the cover of Laurens van der Post’s 1975 biography of Jung next to a May 6, 2002 cover of Newsweek that provocatively asks “What would Jesus do?” The question was posed in response to allegations of sexual misconduct by American Roman Catholic priests. In pairing the two figures Pace seems to suggest that Jung, a spiritual man critical of organized religion, and his philosophy may be just the answer.
As a Jungian, Pace placed great emphasis on her dreams, and her interpretation of them, which she used as subject matter for her works. Her process involved writing down her dreams in a journal and drawing imagery from them that stood out as symbolic or meaningful. As fascinated as she was by her dreams, she was equally keen to hear viewers’ own interpretations of the images she crafted. This emphasis on dreams and their exploration gave her the confidence to speak about and share with others the work she was making.
A gift of 47 of Pace’s drawings (2003-2006), also by Yue and Lies, more fully represent the artist’s dream explorations, depicting such commonplace and extraordinary items as glasses and blue dogs. Several others, however, feature architectural elements like Yellow House Tower, currently on view at Ruby City, and Dripping Green Stairs. One of the more obvious examples of architecture and its importance for Pace is CAMPstreet, a representation of the similarly named residential building Pace developed. CAMPstreet Residences became part of her larger architectural vision that would later include Chris Park and Ruby City. By allowing her dreams to speak to her, to reveal hidden, exciting or even painful truths, Pace was able to achieve many personally fulfilling and community-oriented goals.
We are delighted to announce the acquisition of Recollection #1 (2020) by Milagros de la Torre. This unique work is comprised of seven security mirrors etched with constellations signifying important dates to the artist. Prompting viewers to see themselves among the etched patterns, Recollection #1 effectively provokes issues related to identity, power and control.
de la Torre grew up surrounded by the political turmoil of Peru in the 1970s and 80s, which opened her eyes to the violence around her as well as its residual affects. Her work is realized through personal experience as well as extensive research into systems of politics and authority, including practices such as surveillance and racial profiling. In Recollection #1 the artist employs convex surveillance mirrors, normally used to monitor people and property, etched with constellations from key dates relating to her artistic development. One references the birthdate of Linda Pace, the founder and patron of Artpace—where the work was made and exhibited during de la Torre’s Spring 2020 Residency. Installed at varying heights, audience members are nonetheless able to see their own faces represented among the etched constellations.
In bringing these two visual elements together—faces and constellations—de la Torre references past, present, and often racist practices used to define and control segments of the population by “industries, social media and the State as a whole,” as the artists declares. The act of overlaying faces with lines recalls the 19th c. pseudo-science of measuring heads (known as phrenology) and facial features to justify supposed white racial superiority. These same lines, as well as the surveillance mirrors themselves, call to mind present-day facial recognition software and other technological advances that are frequently encoded with the biases of the people who use and program them.
Recollection #1 will join other works in Ruby City’s collection that explore socio-political issues like those by Andrea Bowers, Alejandro Diaz, Glenn Ligon, Thomas Hirshhorn and Isaac Julien as well as symbolism and meaning in nature, such as work by Teresita Fernandez, Jim Hodges, Rivane Neuenschwander and Dario Robleto. The addition of her artwork to the Linda Pace Foundation permanent collection deepens the collection’s BIPOC and Latin American perspective, which was fostered by Pace in her lifetime. By welcoming this work into the collection, the Foundation continues to manifest Pace’s vision to represent the communities it serves with contemporary art that aims to inform and illuminate the world in which we live today.
Tune in to watch a conversation between Isaac Julien, Ruby City Director Elyse A. Gonzales and Cantor Arts Center, Assistant Curator of Photography and New Media Maggie Dethloff. Both institutions have Julien’s related work, “Western Union: Small Boats” currently installed and are eager to share insights from this internationally-acclaimed artist with their audiences.
Ruby City is pleased to announce the acquisition of Austin-based artist Deborah Roberts’ mixed media collage on canvas, “Cock-a-doodle-doo” (2020). From an early age, Roberts, an African-American woman, recognized that there were few depictions of people who looked like her in art history and popular media. As a consequence, her artistic practice is built upon rectifying that situation. Roberts became known for her unique and celebratory depictions of young African-American girls and more recently, Black boys–like “Cock-a-doodle-doo.” Working largely in collage and paint, and at times in video sculpture, she depicts these figures in order to reveal the complex circumstances of Black identity today. ⠀
Although it has a playful title, “Cock-a-doodle-doo” has disturbing undertones. Roberts’ painting depicts a young boy attempting to appear older and physically larger. He stands with clenched fists, defiantly confronting the viewer with his confident–perhaps cocky–posture. With a scowl and cold pout, the boy seems to exude confidence and strength, typically celebrated “masculine” attributes. However, Roberts’ work highlights, as she states, the “double standard” faced by young Black men. Many are expected to grow up sooner than their White counterparts, yet their seeming maturity only feeds racist stereotypes of their perceived dangerous, inherently criminal nature. More specifically, Roberts’ inspiration for this work was the incident of 12-year-old Tamir Rice, an African-American boy who played with a toy gun. He “was shot within eight seconds of police arriving, not realizing he was a little boy because he pumped himself up.” ⠀
This work is currently on view in Roberts’ solo exhibition, “I’m,” at the Contemporary Austin through August 15th. In September, the show will travel to MCA Denver. If you can, check out these exhibitions and make sure to take a picture of yourself with Ruby City’s latest addition to the collection! Tag us @RubyCity so we can repost your picture to our feeds. ⠀
Deborah Roberts, Cock-a-doodle-doo, 2020. Mixed media collage on canvas. © Deborah Roberts.
As part of its one-year anniversary celebration, Ruby City challenges you to participate in a scavenger hunt, exploring San Antonio through the experiences of its visionary founder Linda Pace. On Saturday, October 17 at noon Ruby City will release scavenger hunt photo locations. Always proud of and deeply invested in her hometown, Pace’s direct and familial connections to numerous sites in the city and the history of San Antonio are significant. This program will give participants an opportunity to get out and safely explore the contemporary cultural scene of San Antonio—with the chance to win prizes from small local businesses!
The Carver Community Center and Ruby City will present Taller Talk an ongoing program in conversation with artists in their home or studio. This virtual program was created in an effort to continue connecting with artists in our community and beyond during this time of social distancing. To kick off this new program we will sit down with Carver Community Cultural supervisor, Ernie Ramirez and local visual artist and digital media coordinator for Ruby City, Barbara Miñarro.
Barbara Miñarro was born in Monterrey, Mexico and currently lives and works in San Antonio, Texas. As an artist influenced and making a life between two cultures, Miñarro’s work explores ideas of the body in migration. Her soft sculptures, installations and paintings utilize the tactile memory of clothing, the earth and the physical body to express the emotional journey of immigration.
Miñarro has exhibited at various galleries including at Sweet Briar College, South Texas College, Blue Star Contemporary and Artpace. She has recently launched Breakfast Friends, a small-batch hand-painted purse business out of her home studio in San Antonio, TX.
Artists have always had a unique lens on the world, coupled with an ability to deftly portray their lived experiences. Guided by our founder’s conviction that contemporary art is essential to a dynamic society, Ruby City is a platform where artists of all ethnicities and races can share those experiences, and where audiences can better understand the realities other communities face. We honor the protestors who are working to resist the unjust realities faced by people of color across the nation. We laud your efforts to make positive change and support your voices demanding equality. Black Lives Matter. Say his name, say her name: George Floyd, Ahmaud Arbery, Breonna Taylor, Tony McDade.
A recent acquisition of the Linda Pace Foundation, Lessons of the Hour by Isaac Julien, places the contemporary Black American struggle against police brutality in historical context of the abolitionist movement. The multi-channel film is built around a series of vignettes related to three of Frederick Douglass’ speeches and interspersed among them are clips from the 2015 Baltimore protests following Freddie Gray’s death. In bringing past and present together Julien’s film serves as a potent reminder of how much the United States is still contending with the legacy of inequality born out of a history of slavery. Douglass, a former slave was one of the most well-known abolitionists of the nineteenth century, and traveled throughout the United States and United Kingdom delivering powerful speeches challenging audiences to question how their values and beliefs contributed to the systemic oppression of Black people. The film also reveals that Douglass was a great admirer of photography. The most photographed man of his day, he understood the medium’s power and saw its potential to depict the human condition of Black people as opposed to derogatory stereotypes. By controlling and disseminating his image widely, Douglass knew he could present a more factual, nuanced account of the Black lived experience.
Douglass’ lesson about images’ power to transform the world continues to resonate today, particularly when we consider how video and digital photography have been skillfully used by those seeking to expose injustice as well as those attempting to perpetuate it. Museums and art centers like Ruby City have important work to do, not only in collecting and showing work by artists of color whose work challenges the norms of systemic racism, but also in helping our audiences to understand and analyze images, their histories and the futures they propose. Ruby City was founded by Linda Pace, a woman who supported, collected, and exhibited the work of many artists of color. We remain committed to giving voice and a platform to communities of color in order to help shape the future. With this work and in this moment, we are determined to continue to support the work of Black artists, ensuring the representation of Black life.
Elyse A. Gonzales, Director
While this year’s Fiesta has been postponed until November, that doesn’t mean you can’t celebrate at home. Let’s kick things off by unveiling the 2020 Fiesta medal, designed by Yogurt Lump aka Jen Frost Smith!
We want to thank Feliz Modern for making our Fiesta medal available for purchase online. All proceeds from the medal benefit Contemporary Art Month, a local non-profit that supports San Antonio based artists.
About the medal:
Following grad school in Baltimore, artist Jen Frost Smith developed the artistic persona of Yogurt Lump as a way to express what she loved, without focus on conceptuality or critique. Enter Dolly Parton. Parton has always been important in Jen’s life. As a child, she dreamed that Parton was her mother, singing and caring for her. Parton presented a creative and joyful lens through which Smith could re-imagine the world. As an adult, Smith continues to admire all that Parton embodies — humility, feminism, creativity and kindness — and Parton was a natural choice for her Fiesta medal commission. The words “Role Model” inscribed on the portrait remind us that we can find beauty wherever we choose, love our flaws and express our individuality, while not giving a damn what others think.
We have decided to close Ruby City to the public starting Saturday, March 14th until further notice.
“…if you really want to be an artist, keep making work no matter what. The passion for making will often times be the only thing that sustains and fulfills you.”Elyse A. Gonzales, Ruby City Director
“With more than 20 years of experience in the art world, Elyse is a proven leader who will bring a strong vision to this new chapter in Ruby City’s history,”– Kathryn Kanjo, Linda Pace Foundation President
“I looked a lot at car culture and the different sub-genres within that culture. I made things as if I was pretending to be someone who was really into each of those genres, for example Malibu style, glittery lowriders, etc.”–Katie Pell
“I can say without reservation or exaggeration – this is an historic moment for San Antonio.”–Mayor Ron Nirenberg
“His integrity ran deep, as did his affection for the Linda Pace Foundation and the values it represents. His balanced leadership helped guide the Foundation since its inception and his impact will endure.”Kathryn Kanjo, Trustee
“I seem to keep playing the same Mahler songs over and over – for the las four years or so. It’s moody, has a lot of quiet spaces, and is dark and introspective.”Alejandro Diaz for Ruby City
Isaac Julien, "Baltimore (After Buren)," 2003
Isaac Julien, "Lina Bo Bardi - A Marvellous Entanglement," 2019
Isaac Julien, "Dreaming in Red," 2009
Isaac Julien, "Ten Thousand Waves," 2010
Isaac Julien, "Playtime," 2014
Isaac Julien, "Stones Against Diamonds," 2015
Isaac Julien, "Love," 2003
Isaac Julien, "Hate," 2003
“I think my work has a dream like quality to it; a stillness and a sense that something is just about to happen. My dreams are sometimes like that.”Ana Fernandez for Ruby City
“We are thrilled to have this amazing work so purposefully placed by the artist herself in our sculpture garden…There is such a dynamic connection between Rubins’s gestural sculpture and Ruby City’s faceted design.”Kelly O’Connor, Sculpture Magazine