Sterling Ruby height - How tall is Sterling Ruby?

Ruby has long explored the architecture of prisons, and in 2019 he exhibited STATE, a single-channel video projection of aerial views of the 35 adult state prisons of the California Department of Corrections and Rehabilitation (CDCR). In the video, we see prisons dotted across the landscape of California; rolling hills, deserts, forests, farmland and rural areas open up onto sites that resemble cities. The artists draws a connection to the ways in which war zones and conflict areas are shown in the media, via distanced surveillance footage or drone reconnaissance. A repetitive, structural rhythm is created as the video cuts back and forth between the landscapes and the sites of the prison grounds. Ruby composed and performed the accompanying sound track.

In Spring 2019, Ruby announced the launch of a ready-to-wear collection S.R.STUDIO.LA.CA. [16] The collection has evolved from ten years of experimentation and development in Ruby’s work in soft sculpture, quilts, backdrops and garments. Ruby described the collection, saying “I’ve always been interested in the behavioral power that comes with clothing. For years I have been privately exploring garments as a medium, as something that impacts the way one can think, feel, and move.”

Sterling Ruby’s designs were very unique as they incorporated much of his past contemporary art skills and works. In addition, he added artwork, specifically photographs, from his wife Melanie Schiff. These images were of candles and weeds, and he printed them on silk dresses. Onto his denim pieces, he added U.S flag decals which reflected particular sculptures he created in the past. He also added a print of another one of his past sculptures onto some garments; this pattern was of animal skulls in different types of wigs. When Ruby described the difference between the production of fashion and art, he said he doesn’t see any difference in the making. But he did say he finds the creation of fashion more rewarding as you see people walking around in the world wearing art you have created.

S.R.STUDIO.LA.CA. debuted in June 2019 at Pitti Immagine Uomo 96 in Florence, Italy. Ruby was the featured Special Guest designer on June 13.

In 2017, after Simons moved over to Calvin Klein, Ruby was enlisted to redesign the interior of their New York showroom, as well as the brand's Paris headquarters. Ruby also designed two runways for Calvin Klein, Calvin Klein RTW Fall 2017 in February 2017, and RTW Spring 2018 runway in September 2017. Ruby was also reimagined the interior of Calvin Klein’s Madison Avenue flagship store, painting the walls safety yellow, constructing matching yellow floor-to-ceiling scaffolding and filling the space with geometric plinths and large-scale soft sculpture candles.

A second series of four large scale stoves were exhibited as part of the 2015 Gwangju Biennial in Gwangju Korea. The stoves which stood about 17 feet high were installed at the entrance to the exhibition. A fire was maintained in the Stove during the run of the biennial.

In the fall of 2015, a set of four large black stoves was installed in the courtyard of the Musée de la Chasse et de la Nature in Paris, France.

A catalog to accompany this exhibition was published by Buchhandlung Walther König. The works from the SOFT WORK exhibition were acquired by the Museum of Contemporary Art, Los Angeles as a complete set in 2015.

The artist also created a large fabric backdrop for the set of Basilica Soundscape 2014, a two-day music festival held in Hudson, NY.

On January 15, 2014, Ruby and Simons collaborated on Raf Simons/Sterling Ruby Fall/Winter 2014 menswear collection presented during Paris Fashion Week.

Ruby has exhibited at institutions including the Ullens Center for Contemporary Art, Beijing; Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; Institute of Contemporary Art, Philadelphia; Walker Art Center, Minneapolis; Garage Centre for Contemporary Culture, Moscow; Saatchi Gallery, London; MACRO, Rome; Baibokov Projects, Moscow. His work was included in the 2014 Whitney Biennial, the 2014 Taipei Biennial, and the 2014 Gwangju Biennial, and Made in L.A. 2016: a, the, though, only at The Hammer Museum.

In 2013, the artist installed the 17-foot tall STOVE in a public square in Basel, Switzerland as part of Parcours, Art Basel. The stove was lit at the beginning of the fair, and a fire was maintained in the stove during the run of the fair.

In 2012, a series of fully functional stoves of the artist's own design were produced. These stoves, executed in bronze, cast iron or steel, were based on the kind of cast iron pot-belly stoves found in farm houses. There is an autobiographical element to these works, as the artist grew up on a farm in rural Pennsylvania, that for a time was heated only by a wood-burning stove. The Stoves highlight Ruby's interest in themes of functionality and utilitarianism.

In 2012, Simons created satin fabrics with images of four of Sterling Ruby's recent paintings. Raf Simons created three dresses and a coat from these fabrics. They were presented as part of Raf Simons' debut haute couture collection for Dior. In 2013, these dresses were exhibited as part of the Esprit Dior exhibition at the Museum of Contemporary Art in Shanghai.

In 2012-2013 the artist presented the exhibition titled SOFT WORK at the Geneva Contemporary Art Center, FRAC Champagne-Ardenne, Bonniers Konsthall in Stockholm, and MACRO in Rome. This traveling exhibition consisted of soft sculptures in various forms.

In 2011, the artist presented a set of large free standing sculptures in a public square in Lisbon, Portugal. One of the pieces presented was a large painted metal structure made up of individually stacked monoliths. This piece was later exhibited in a sculpture garden in the Netherlands. As part of this exhibition the artist encouraged visitors to deface the sculpture with their own graffiti.

In 2009, Simons used denim bleached by the artist to create a collection of denim wear jeans and jackets.

In 2008, Sterling Ruby designed the interior for clothing designer Raf Simons' Tokyo store, using images of bleached fabric to create a splattered wallpaper that covered its walls and ceilings.

For "SUPERMAX 2008," a solo exhibition curated by Philipp Kaiser at the Museum of Contemporary Art, Los Angeles, Pacific Design Center, Ruby correlated the architecture of the museum with the architecture of the California prison system.

"SUPERMAX" is a reference to the special units of American maximum security prisons where prisoners in solitary confinement can be on lockdown for up to 23 hours a day. The dense installation of "SUPERMAX 2008" included poured urethane sculptures, aerosol paintings, geometric sculptures made of formica or brass, and soft sculptures in the form of blood drops and collages. The expressive exhibition distanced the artist's work from the ideology of Minimal art and integrated the seemingly disparate artworks included in Ruby's art practice.

In addition to his solo exhibition at the Museum of Contemporary Art, Los Angeles ("SUPERMAX 2008"), Ruby has been the subject of solo exhibitions at the Drawing Center, New York; La Galleria d'Arte Moderna e Contemporanea, Bergamo, Italy, and the Winterpalais in Vienna. The traveling exhibition SOFT WORK was exhibited at FRAC Champagne-Ardenne, Riems, France and the Centre d'Art Contemporain, Geneva, Switzerland; ; and Bonniers Konsthall, Stockholm, Sweden and Museo d'Arte Contemporanea, Rome, Italy.

Walter Robinson described the artist's video Transient Trilogy this way: "Transient Trilogy (2005)… comes the closest to being a real film, with an actor, a setting and something of a narrative scheme. Ruby himself plays a bum, who transits a marginal landscape, neither nature nor manmade, where he occupies himself crafting what can only be called artworks from string, cast-offs and other bits of trash. In one scene, he makes a minor splatter painting on a rock with red fingernail polish."

Ruby attended The Pennsylvania School of Art and Design, (now the Pennsylvania College of Art and Design, PCA&D). In 2001, he received a BFA from the School of the Art Institute of Chicago. While attending the Art Institute he worked for the Video Data Bank, then under the direction of Kate Horsfield. In 2003, he moved to Los Angeles to attend the MFA program at Art Center College of Design in Pasadena, California. While at Art Center he studied with artists Diana Thater and Richard Hawkins, and theorists Sylvère Lotringer and Laurence Rickels. While attending graduate school at Art Center he was the teaching assistant for artist Mike Kelley.

Sterling Ruby (born January 21, 1972) is an American artist who works in a large variety of media including ceramics, painting, drawing, collage, sculpture, video, and textiles. Often, his work is presented in large and densely packed installations. The artist has cited a diverse range of sources and influences including aberrant psychologies (particularly schizophrenia and paranoia), urban gangs and graffiti, hip-hop culture, craft, punk, masculinity, violence, public art, prisons, globalization, American domination and decline, waste and consumption. In opposition to the minimalist artistic tradition and influenced by the ubiquity of urban graffiti, the artist's works often appear scratched, defaced, camouflaged, dirty, or splattered. Proclaimed as one of the most interesting artists to emerge this century by New York Times art critic Roberta Smith, Ruby's work examines the psychological space where individual expression confronts social constraint. Sterling Ruby currently lives and works in Los Angeles. His studio is located in Vernon, south of downtown Los Angeles.

A prominent component of his oeuvre, Sterling Ruby's ceramic work is informed by the California craft movement and German "hot lava" vessels from the 1970s as well as by the amateurish biomorphic shapes made in an art therapy class. His ceramic works feature thick, vivid glazes and charred and gouged surfaces on rudimentary forms resembling baskets, vessels, or body parts. In his Basin Theology series, basin-like vessels are filled with recycled fragments of earlier destroyed or damaged works. These works reference archaeological excavation sites. The fragmented pieces meld together with the application of glazes and repeated firing in the kiln.