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had he adopted a
Caribbean palette." These works generally consisted of top-to-bottom bands of color ranging from orange flanked by purple, pink and fuchsia to aquas, blues and pinks, bounded by narrower bands of similar tints that shifted across the spectrum, sometimes subtly and sometimes boldly. The paintings courted optical banding at the color-shift areas—an effect Pastine discovered while confronting the limitations of working with pastels—that represented compressed versions of her earlier expanded color field transitions. Reviewers sometimes likened these color modulations to musical notes that sounded and were quickly subsumed into orchestral wholes. Shana Nys Dambrot wrote, "although the paintings are not actually electric or kinetic, in seeing them one has the distinct sensation of colors breathing, deepening, shifting, and vibrating, changing even as you look right at them, emanating activated auras." These later series also included larger works built around central diamond shapes that were surrounded by concentric bands of intense color (e.g.,
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386:, Lancaster Museum of Art and History, Museum of Contemporary Art San Diego, Museum of Fine Arts Houston, The Phillips Collection, and San Francisco Museum of Modern Art, among others. She has received grants from the Elizabeth Foundation for the Arts (1999) and Shifting Foundation (2000), and a residency from the Carolyn Glasoe Bailey Foundation (2018).
326:(rather than square) canvases, including the "Sameness & Difference," "Convergence," "Black Light" and "Limitless" works. The change in format shifted her work away from symmetry and toward compositions that were more architectural and less serene in terms of balance, rhythmic oscillation and emotion.
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With her "Yellow
Magenta Series" and "Red Green Series" (1998–2004), Pastine shifted her focus away from the appearance of external influences and natural associations to the experience of light discerned through the perception of color and the optical mixing of pigments on canvases purged of natural
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Pastine's art is rooted in the physical, retinal and perceptual phenomena of color and light. She works serially and systematically, methodically constructing oppositions within individual paintings and across bodies of work that challenge preconceptions about color. Her purely abstract oil paintings
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In the mid-1990s
Pastine began appearing in group shows in New York and the West Coast, and gained attention for solo exhibitions at Brian Gross Fine Art (1996, 1998) and Haines Gallery (2000) in San Francisco, Deven Golden Fine Art (New York, 1998), and Quint Contemporary Art (Los Angeles, 1999). In
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noted the new saturated hues in the former series—"stainy, monochrome pictures vary in color from candy purple to salmon orange to taxicab yellow"—which were mixed wet-into-wet to create an ambiguous sensation of "glowing from within." The "Red Green Series," meanwhile, often used subtler hues that
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Pastine diversified her color and light investigations in the 2000s to include new formats, geometric forms and color combinations exploring more intense and contradictory luminosities and temperatures. She began with several series between 2004 and 2009 that employed larger vertical and horizontal
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In later series, ("Mind’s Eye: Sense
Certainty," 2014; "The Inevitability of Truth," 2015; "Witness," 2017), Pastine mined new color possibilities by shifting from monochromatic, largely primary colors to supersaturated hues that David. M. Roth wrote, suggested "what Mark Rothko might have created
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Pastine's early paintings were small-scale, minimalist, nearly monochromatic works whose rigorous formal systems employed closely valued complementary colors that merged almost imperceptibly within the iconic square format favored by the
Russian Suprematists. She painted them meticulously from the
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In her later career, Pastine has had solo shows at Brian Gross (2008–20), Gallery Sonja Roesch (2008–23, Houston), and Edward Cella Art + Architecture (2009–19) and Ace
Gallery (2016–17) in Beverly Hills and Los Angeles, as well as survey exhibitions at MOAH ("Attraction: 1993-2013," 2014) and the
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In the latter three bodies of work, she used subtle, concentric or banded gradations of primary and complementary hues to create a wide range of nuanced color experiences—convergence, reconciliation, temporality and immateriality, suggestions of passion or control—that were furthered by changing
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in downtown Los
Angeles. It consists of two sets of four large vertical paintings (from her "Blue Orange Series" and "Red Green Series", respectively) arranged as four diptychs, which visually linked the building's two immense adjoining lobbies. The painting surfaces appear to dematerialize in
254:—the perception of influence between adjacent colors. Peter Frank described her approach as painterly and intuitive, an "on-site evolution" of color presences and relationships involving "optical induction, a stepwise edging of color fields towards and against but never away from one another."
142:, who probed the chromatic and tonal nuances of oil paint. Pastine's paintings typically consist of seamless gradating bands or fields of color built in layers with countless brushstrokes, which optically coalesce and appear to pulse, float, dissolve, or glow as if backlit.
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movement, while identifying key differences, such as its focus on metaphysical aspects of consciousness and its reliance on basic, traditional means (brush, paint, pastels) rather than synthetic-industrial materials. In these regards, writers trace her artistic lineage to
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271:, which Robert L. Pincus wrote, "resembled a sunset viewed through a thin veil of fog." Reviewers connected this work's engagement with both the optical and metaphysical implications of light and color to the formalist, transcendental affinities of artists such as
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center out with a small brush, producing soft forms that seemed to glow, pulse, float or dissolve in mist-like color fields evoking infinity. Critics suggested that her "Chance Rays" series (1994–8) responded to specific moments of sunlight—for example, the image
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light conditions. Donald Kuspit wrote of this work, "at its best, as in
Pastine's pure paintings, abstraction remains what it fundamentally is: a risky attempt to evoke numinous feeling, thus sustaining the sense of the sacred in a secular world." The
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context with one another, evoking a visceral, inherent tension; that quality is accentuated by custom-designed, deeply beveled stretchers that cause the paintings to appear to float or glow, an effect
Pastine would continue to use in her work.
258:, among others, has noted a "dialectical" engagement with various dichotomies in Pastine's work: presence and absence, materiality and immateriality, undifferentiated and differentiated, objective reality and subjective perception.
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installation, Blue Orange Series pictured, oil on canvas on beveled stretcher, 102" x 144" x 2.5" (each diptych installed); site-specific commission, adjoining north and south lobbies at Ernst & Young Plaza, Los
Angeles, CA,
109:(born 1964) is an American artist known for abstract minimalist paintings that explore the phenomenological experience of color, light and space. Critics relate her art to the Southern California
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has written that she "paints as purely optical a kind of painting as it is possible to paint … nothing but color and its presentation, with myriad, closely shifted color modulations."
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2001, she and her husband, artist Gary Lang, relocated to Southern California, where her work would become associated with the concerns of the Light and Space movement.
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In 2020, Pastine's exhibition, "Spectrum Depths" (Gallery Sonja Roesch), featured intimate, eye-popping works painted on paper in response to the early months of the
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achieve their optical effects by juxtaposing, layering and transitioning complementary, saturated or contrasting-valued hues, engaging phenomena such as
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and Sanford Wurmfeld. Her focus at Hunter centered on painting, critical studies and the color perception work of 19th-century French chemist
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San Francisco critic Kenneth Baker wrote, created "improbable, hypnotic sensations of color as both objective and dematerialized."
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Pastine has been commissioned to create public art projects for the Ernst & Young Plaza (
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in Manhattan determined she would become an artist. After graduating, she studied art at
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series included Pastine's first commissioned work—a permanent painting installation at
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D'Amore, Nicole. "Artist wants people who look at her paintings to think,"
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Pincus, Robert L. "Color Guard—Ruth Pastine Revels in The Art of The Hue,"
189:. She developed an early interest in art, and during her attendance at the
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956:"Paintings Colored by Illusion/Ruth Pastine's work on display at Haines,"
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Carnegie Art Museum ("Present Tense," 2015) in California, among others.
1148:"Ruth Pastine's Yellow-Magenta Paintings at Margaret Thatcher Projects,"
1067:"What is truth? One painter’s mesmerizing new show offers an answer,"
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Kuspit, Donald. "Selfless Sensations: Ruth Pastine’s Paintings," in
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in Residence – 2018], News. May 30, 2018. Retrieved March 14, 2023.
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1119:"Discovering the Sublime with Color Field Painter Ruth Pastine,"
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Painting, multi-panel installations, public art, works on paper
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Carasso, Roberta. "Ruth Pastine at Ernst & Young Plaza,"
1083:"Los Angeles Galleries Steal the Show at Expo Chicago 2018,"
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Pastine was born in New York City in 1964 and raised in the
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165:. Her work belongs to the public collections of SFMOMA, the
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Morgan, Robert C. "Ruth Pastine at Deven Golden Fine Art,"
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436:"Ruth Pastine/Frederick Holland at Deven Golden Fine Art,"
245:, "Red Green Series," oil on canvas, 48" x 48" x 2", 2004.
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Pastine's work belongs to the public collections of the
910:, September 22, 1995, p. C31. Retrieved March 13, 2023.
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Phelps, Jesse. "Larramendy Hosting Solo Pastine Show,"
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Morgan, Robert C. "Tense Present—Tense: Ruth Pastine,"
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Frank, Peter. "Ruth Pastine: The Optical Sublime," in
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Elizabeth Foundation for the Arts, Shifting Foundation
1346:"The Chicest Airline Lounges for Traveling in Style,"
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from the series Double Primary Red Blue, Ruth Pastine
1214:, Los Angeles: Edward Cella Art + Architecture, 2009.
927:, February 7, 1997, p. C26. Retrieved March 14, 2023.
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from the series Double Primary Red Blue, Ruth Pastine
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Britt, Douglas. "Ruth Pastine's Paintings Astound,"
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Pastine has exhibited at institutions including the
1049:, October 2012, p. 78–79. Retrieved March 13, 2023.
470:, January 2010, p. 60–61. Retrieved March 13, 2023.
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Inevitability of Truth 6 (Blue Orange) for Malevich
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722:, April 2015, p. 11–12. Retrieved March 13, 2023.
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1236:Britt, Douglas. "Ruth Pastine at Sonja Roesch,"
441:, May 1998, p. 150–51. Retrieved March 13, 2023.
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205:(MFA, 1993), working with Vincent Longo,
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550:Campognone, Andi (ed). "Introduction,"
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849:Lindell, Karen. "Chaos and Creation,"
643:, Kensington, MD: Pazo Fine Art, 2022.
1283:Lancaster Museum of Art and History.
1194:Lindell, Karen. "Minding the Store,"
806:Frederick R. Weisman Art Foundation.
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692:"ART 2014 Roundup lll, Ruth Pastine,"
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736:San Francisco Museum of Modern Art.
401:, 2015) in Los Angeles, and for the
155:Museum of Contemporary Art San Diego
659:Kalisher, Richard. "Ruth Pastine."
384:Frederick R. Weisman Art Foundation
321:Later exhibitions & commissions
159:Lancaster Museum of Art and History
1331:Carolyn Glasoe Bailey Foundation.
776:, Primary Red Series, Ruth Pastine
740:Artists. Retrieved March 13, 2023.
197:—earning a BFA in 1987—and at the
151:San Francisco Museum of Modern Art
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407:Los Angeles International Airport
1133:Newhall, Edith. "Ruth Pastine,"
1028:"Ruth Pastine: Spectrum Depths,"
1287:Inevitability of Truth 29-52424
717:" Ruth Pastine: Present Tense,"
201:in Amsterdam. She continued at
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191:High School of Music & Art
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1044:"Ruth Pastine: Counterpoint,"
940:, September 18, 1996, p. 109.
752:Museum of Fine Arts Houston.
576:"Ruth Pastine @ Brian Gross,"
506:"Ruth Pastine @ Brian Gross,"
1383:Ruth Pastine in Conversation
1377:Ruth Pastine: Sublime Terror
1164:"Abstraction And Immanence,"
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828:"Ruth Pastine: BroadBands,"
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233:Work and critical reception
167:Museum of Fine Arts Houston
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1414:American abstract painters
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938:San Francisco Bay Guardian
892:, August 27, 2004, p. A-8.
399:The Inevitability of Truth
1256:American Contemporary Art
771:The Phillips Collection.
661:American Contemporary Art
641:The Technological Sublime
269:Ray Painting #3 Milestone
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1100:Ruth Pastine: Attraction
906:"Review: Vulnerability,"
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624:Ruth Pastine: Attraction
553:Ruth Pastine: Attraction
199:Gerrit Rietveld Academie
65:Gerrit Rietveld Academie
1409:American women painters
1212:Ruth Pastine: Limitless
959:San Francisco Chronicle
490:, April 1, 1999, p. 48.
488:San Diego Union Tribune
357:Matter of Light 2-S4848
336:Ernst & Young Plaza
262:Early work (1990s–2004)
187:East Village, Manhattan
171:The Phillips Collection
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409:(2019), among others.
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1081:Dambrot, Shana Nys.
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922:"Drawing from Life,"
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275:, Malevich, Rothko,
243:Tribute, Equivalence
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1225:Ventura County Star
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163:Carnegie Art Museum
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256:Donald Kuspit
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45:New York City
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1371:Ruth Pastine
1365:Ruth Pastine
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1333:Ruth Pastine
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774:Fetish (Red)
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738:Ruth Pastine
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393:, 2009) and
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289:Agnes Martin
277:Robert Irwin
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219:Josef Albers
211:Robert Swain
195:Cooper Union
184:
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136:Ad Reinhardt
107:Ruth Pastine
106:
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99:Ruth Pastine
61:Cooper Union
23:Ruth Pastine
1434:1964 births
374:Recognition
301:Ken Johnson
144:Peter Frank
140:Mark Rothko
128:Color field
1393:Categories
413:References
285:Mary Corse
281:Dan Flavin
153:(SFMOMA),
1270:Gray Blue
1086:LA Weekly
1010:Houstonia
395:CIM Group
391:Limitless
370:, 2020).
359:, 2016).
332:Limitless
313:Limitless
157:(MCASD),
82:Gary Lang
53:Education
720:ArtScene
468:Art Ltd.
439:Artforum
368:Yellow 7
120:Malevich
756:Blue 12
299:critic
95:Website
1151:Artnet
1047:FABRIK
599:Review
173:, and
87:Awards
79:Spouse
1303:Ocula
1122:Artsy
316:2009.
116:Monet
287:and
138:and
126:and
118:and
41:1964
38:Born
1395::
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291:.
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221:.
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59:,
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