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DAVID RUTH
Glass Sculpture Studio
1122 57th Avenue, Oakland, CA 94621
tel. (510) 533-8528 fax (510) 533-8526
druth@glass.com www.davidruth.com
Selected Resumé
Education
M.F.A. California College of Arts and Crafts, 1987
B.A. American History, Porter College, UC Santa Cruz, 1973
Recent Award
National Science Foundation, Antarctica Travel Grant for Artist and Writers 2006
Selected Exhibitions
“Antarctica: Collected Works from the Bottom of the World.” Maryland Science Center, Baltimore 2009
“Sticks and Stones” Traver Gallery Seattle 2008
Glass Alliance of New Mexico, Henningsen Fine Arts, Taos, New Mexico 2008
“Light Markers” Oakland Museum at City Center, Gallery 555, 2006
“Internal Life” William Traver Gallery, Seattle WA, solo show 2005
“Introspective,” Alysia Duckler Gallery, Portland OR, solo show 2004
“Liquid Connections” Joyce Gordon Gallery, Oakland, CA, solo show 2004
Thai-American Art Exchange Project, Silpakorn University, Bangkok, Thailand 2002
“Being There: 45 Oakland Artists,” Oakland Museum, CA 2002
“Hot & Cool: Contemporary Glass Works”. Touring show: J.Wayne Stark University Center Gallery, College Station Texas, 1999; Tyler Museum of Art, Tyler, Texas, 1999-2000; Zanesville Art Center, Zanesville Ohio, 2000; Arts and Science Center for Southeast Arkansas, Pine Bluff, Arkansas, 2000; Arts Midland Gallery, Midland, Michigan, 2001; Metropolitan State College, Denver, Colorado, 2001
“The Quality of Glass: Heat and Light,” Museum of Art and History, Santa Cruz, CA 1999
Galerie Brulée, Strasbourg, France 1997
“L'Chaim!” The Jewish Museum San Francisco, CA 1997
“The Art Of Light and Glass”, Dean Lesher Regional Center for the Arts, Walnut Creek, CA 1996
“Four Sculptors in Glass”, Oakland Museum Sculpture Court, Oakland, CA 1994
“Form Content Matter”, California Polytechnic University Art Gallery, San Luis Obispo, CA 1994
“Contemporary Cast Glass”, San Francisco Craft and Folk Art Museum, CA 1994
Solo Exhibition, Silica Gallery, Beverly Hills, CA 1993
“International Exhibition of Glass” Kanazawa, Japan 1992
“Verre, Grandeur, Nature”, Parc Fleury, sponsored by Ville de Paris, France 1989
Solo Exhibition, Galerie D.M. Sarver, Paris, France 1989
Publications
David Ruth, The Mood of Nature, Art of Glass magazine, Glass Art Committee, China Craft Council, 2007
David Ruth, Suspended in Glass, Nathan Grover, World Art Glass Quarterly, Fall 2006
Internal Life David Ruth Cast Glass Sculpture, 44 pages, 2005
This Side Up: Internal Brush Strokes, by David Wagner, No22, Summer 2003
U.S.Glass Magazine, “Beyond the Imagination”, May, 1999
Le Monde: “Eloge de la Transparence”, May 5, 1988 Paris
L'Atelier des Metiers d'Art “Nebulas”, No. 129, June 1988; “Le Marcheur de Feu”, No. 116, March 1987
Techniques of Kiln-Formed Glass by Keith Cummings, 1997
David Ruth, 2006 Revised Resume –Page 2
Public Collections
National Science Foundation, Palmer Station, Antarctica
Porter College, University of California at Santa Cruz
Musée du Verre, Sars Poteries, France
Glasmuseum, Ebeltoft, Denmark
Corning Museum of Glass, Corning, New York
Oakland Museum, California
Noto Jima Glass Museum, Japan
City of Oakland, California
City of Walnut Creek, California
City of San Jose, California
Private Collections
George and Dorothy Saxe, San Francisco, CA
Ping and Jen Sung, San Francisco, CA
Bob and Jan Bisno, Beverly Hills, CA
Jerry and Judy Rose, Atherton, CA
Yves and Marie Feunteun, Paris, France
Alexandre and Marine Asseraf, France
Kristin Newton, Tokyo, Japan
Wolfgang Puck and Barbara Lazaroff, Malibu, CA
John and Connie Newnes, Wollengong, Australia
Dean and Gerda Koontz, Newport Coast, CA
Foster Goldstrom, Oakland, CA
Suze Orman
Walt Disney Imagineering
Ann and Gordon Getty
Buttercup Foundation, Clayton, CA
Public Art Commissions
“Tanana” Fairbanks International Airport, Alaska 2009
“Wind in the Willows” Willow Glen Branch Public Library, San Jose, CA 2008
“Cloud Dreaming” Oregon Health Sciences University, Patient Care Facility 2008
Emergency Operation Center, , Oakland, CA. Entranceway Glass Panels, 1999
Private Commissions
Intercontinental Hotel, Dubai, 2 Sculptures, 2009
Levuka Fountain, City Place, Santa An, CA 2008
Takaroa Fountain, Green Hill Tower, San Francisco, CA 2004
Tokyo DisneySea, Japan, Tongatapu Glass Mural, 2000
Eliza’s Restaurant, San Francisco, CA., Countertop, Homage à Matisse, Waves 1999
Sunset Magazine Idea House, Cupertino, CA., Glass shelf, 1999
Benaroya Symphony Hall, Seattle, WA, Cast glass urns and lighting, 1998
Private Sculpture Garden, Atherton, CA, Kiribati, cast Pyrex glass sculpture, 1998
Gallery Representatives
Galerie DM Sarver, Paris
William Traver Gallery, Seattle
Micaela Gallery, San Francisco
Joyce Gordon Gallery, Oakland
Revised January 2009
These latest sculptures represent an advance in my thinking about how glass can interact with the environment. I had long been an observer of the interior of the glass body. A few years ago I discovered how to use the tough-to work Pyrex material as a medium. This allowed me to put the pieces outside for the first time with the confidence that they would stand up to the extremes of the weather, hot and cold.
The way the sunlight can play on the pieces can overwhelm all the other aspects of the sculpture, the form, color, texture and internal space, which had been my preoccupation before. The sculpture becomes a reference to the day, the sun and the time. You can actually watch the sun move across the piece; the motion is that noticeable.
Earlier pieces have a reference to interior space. This is not negative space, but rather an alternative space where painting can occur in three dimensions and the law of gravity does not apply: The color stays where I originally put it. Every thing about those pieces brings your eye inwards. The bubbles, the color and the light all serve to direct your gaze inside to the interior space of the glass. I like to think it is an interior view into my mind.
All these sculptures are made from little bits of glass that I either find, buy or make hot in a furnace. A lot of what I do is actually painting with hot glass. I trail out the colors on the table and bury the pieces in a pile of clear glass chunks. The blocks are then fused together in the heat and polished so you can see in. Quite literally, the interior is built up from scraps of glass until it contains a reference to the whole universe.
