![Sterling Ruby: The Frenetic Beat](https://gagosian.com/media/images/quarterly/essay-sterling-ruby-the-frenetic-beat/FW5i5x79Tk5p_300x300.jpg)
Sterling Ruby: The Frenetic Beat
Ester Coen meditates on the dynamism of Sterling Ruby’s recent projects, tracing parallels between these works and the histories of Futurism, Constructivism, and the avant-garde.
Extended through February 19, 2022
Visiting the Roman Forum in late spring several years ago remains one of the most important cultural moments I’ve ever experienced. Red poppies in full bloom scattered the area, life pulling through ruins. We are in a state of constant destruction and becoming, cycling and ever reinventing the past as present.
—Sterling Ruby
Gagosian is pleased to announce FUTURE PRESENT, an exhibition of new sculptures and collages by Sterling Ruby that reflect on the perils of environmental deterioration. While this is his first exhibition at the gallery in Rome, Ruby has exhibited in the city before at venues including MACRO–Museo d’Arte Contemporanea Roma and Fondazione Memmo (both in 2013).
In an oeuvre encompassing sculpture, ceramics, painting, drawing, collage, video, and textiles, Ruby engages art history, institutional power, and his autobiography. By contrasting clean lines and recognizable objects with rough-hewn and uncanny forms, he disrupts aesthetic convention and deconstructs contemporary social structures. Ruby’s sculptural practice draws on the craft traditions of sewing and woodworking as well as the domestic interiors and hot rod culture that he was exposed to while growing up on a farm in southeastern Pennsylvania. Living and working in Los Angeles, he pulls from the physical and conceptual landscapes of the city, exploring the capacity for acts of defacement, such as graffiti, to generate a new painterly sublime.
Ester Coen meditates on the dynamism of Sterling Ruby’s recent projects, tracing parallels between these works and the histories of Futurism, Constructivism, and the avant-garde.
Join Sterling Ruby in his Los Angeles studio as he works on new abstract paintings ahead of his exhibition TURBINES at Gagosian in New York.
As spring approaches in the Northern Hemisphere, Sydney Stutterheim reflects on the iconography and symbolism of the season in art both past and present.
Alessandro Rabottini investigates the theoretical and formal underpinnings of Sterling Ruby’s career through the lens of the artist’s series ACTS.
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
An exhibition at Gagosian, Paris, is raising funds to aid in the reconstruction of the Cathédrale Notre-Dame de Paris following the devastating fire of April 2019. Gagosian directors Serena Cattaneo Adorno and Jean-Olivier Després spoke to Jennifer Knox White about the generous response of artists and others, and what the restoration of this iconic structure means across the world.
Ceramics expert Garth Clark explores Sterling Ruby’s practice in the medium, addressing the work’s allegiances and divergences from tradition.
The Winter 2018 issue of Gagosian Quarterly is now available. Our cover this issue comes from High Times, a new body of work by Richard Prince.
Mario Codognato, curator of the exhibition, discusses Sterling Ruby’s first-ever European survey, at the Belvedere’s Winterpalais galleries.