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fantasy and fairytales, where innocence can be, curiously, both lost and gained as nature absorbs her charactersʼ bodies in brutally whimsical ways. Suspended in a magical world without history and away from political discourse, Ruttenbergʼs works urge us to consider gender rhetoric and feminism in the context of corporeal consciousness and pure imagination. Simultaneously, her earthbound materials and fastidious sensitivity to texture and color interrupt this reverie to render her mise-en-scénes conspicuously tangible and real.
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natural world and our relationship to it underpin her work and feature broadly in her narratives. Of her process, Ruttenberg says, "I resolve my life's issues through expression in my work ... I think the cocktail of strong emotions and fantasy can take one's creativity to deep and unchartered territory. With the clay and the watercolour, the two mediums I am now most drawn to, I have found a very easy channel to express ... mythical story telling."
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Ruttenberg's work is both figurative and biographical, and makes use of symbols and story telling to convey meaning. Her work expresses a distinctly feminine perspective, with mostly women as main characters and masculine characters depicted in complex but usually secondary roles. Thematically, the
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The innocence of ceramic figurines disarms viewers and purges their preconceptions to intensify the effects of absurd, visceral visions of, for example, a woman giving birth to a pony whilst lying in her loverĘĽs frozen arms. The stylized woodland immediately transports her scenes to the realm of
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Ruttenberg has donated her designs, products, and artworks to benefit Green
Chimneys (a Brewster-based nonprofit that uses animals to help special-needs children), the Wildlife Conservation Society (WCS), the Lewa Wildlife Conservancy, the Lemur Conservation Foundation, and the Woodstock Land
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in 1981, majoring in animation and painting while also working with a variety of other mediums. In 1980, her hand-drawn animated film won an honorable mention in the Varna
International Film Festival. She continued her education with graduate courses from
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states, "On the grounds of
Ruttenberg's home are more than fifty rescued animals, from dogs and cats to turkeys and horses. It's a private zoo that functions as a source of artistic inspiration, as well as an animal haven."
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Her sculptures explore the human-animal boundary, possessing the stately elegance of Proust, as well as the winsome immeadiacy of an indie-pop song—simultaneously solid and slight, rooted down and taking
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Ruttenberg's innovative, imaginative, narrative feminist sculpture—materially as well as conceptually innovative—are perhaps the most creative, certainly unusual, ceramic art being made today.
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she stated, "The anthropomorphic side to my work comes from not just seeing them out in the woods, but having contact with animals every day, feeding them and taking care of them."
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To date, Ruttenberg has had more than thirty-five solo shows and her work has been included in more than a hundred group shows. Her sculptures have been acquired by the
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A force to contend with as a narrator and symbolist, a form maker and colorist. Coating sexual tensions with a storybook innocence, she works in a triangle bordered by
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Ruttenberg's residence and studio is also home to her animals. A feature in
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in Italy and School of Visual Arts in
Morocco. In 1992, she relocated to
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Her work has been featured in a variety of major publications including:
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413:"Something wild: Kathy Ruttenberg's Woodstock studio"
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292:"The Ruttenberg's Exquisite Rabbit Holes"
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449:. Wall Street International Magazine.
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310:May, Jennifer (December 15, 2016).
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460:Kuspit, Donald (April 19, 2012).
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343:Welch, Adam (December 2013).
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327:"Kathy Ruttenberg's Kingdom"
462:"In the Female Unconscious"
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235:References
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135:Viola Frey
464:. Artnet.
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