SELECTED SOLO EXHIBITIONS
2015 The White Room Gallery, Bridgehampton, NY
2010 Richard J. Demato Gallery, Sag Harbor, NY
1998 Heckscher Museum at Bryant Library, Roslyn, NY
1995 Guild Hall Museum, East Hampton, NY
1994 Tiffany & Company, New York, NY
1993 Benton Gallery, Southampton, NY
1992 Tiffany & Company, New York, NY
1992 Benton Gallery, Southampton, NY
1991 Benton Gallery, Southampton, NY
1988 Jack Voorhees Gallery, Sarasota, FL
1987 Joan Hodgell Gallery, Sarasota, FL
1986 Allan Stone Gallery, New York, NY
1986 East End Arts Council, Riverhead, NY
1986 Vered Gallery, East Hampton, NY
1984 Tiffany & Company, New York, NY
1982 Elaine Benson Gallery, Bridgehampton, NY
1980 Elaine Benson Gallery, Bridgehampton, NY
1979 Elaine Benson Gallery, Bridgehampton, NY
1975 Tiffany & Company, New York, NY
SELECTED GROUP EXHIBITIONS
2017 Guild Hall Members Show, East Hampton, NY Winner, Best Sculpture
2016 The White Room Gallery, Bridgehampton, NY
2015 Springs Invitational, East Hampton, NY
2015 The White Room Gallery, Bridgehampton
2015 Ashawagh Hall, East Hampton, NY, Under the Influence
2015 Romany Kramoris Gallery, Sag Harbor, NY
2015 Guild Hall Members Show, East Hampton, NY
2014 Springs Invitational, East Hampton, NY
2014 Guild Hall Members Show, East Hampton, NY
2010 Richard J. Demato Gallery, Sag Harbor,, NY
2009 Romany Kramoris Gallery, Sag Harbor, NY
2009 Hampton Road Gallery, Southampton, NY, juried exhibition
2009 Ashawagh Hall, Party of Eight, East Hampton, NY
2008 Ashawagh Hall, Vito Sisti Presents the Women, East Hampton, NY
2007 Southampton Cultural Center, Levitas Gallery, Southampton, NY
2007 Ashawagh Hall, Vito Sisti Presents Painting & Sculpture
2005 Water Mill Museum, Water Mill, NY
2004 Avram Gallery, Long Island University, Southampton, NY
2004 Goat Alley Gallery, Sag Harbor, NY
2001 Avram Gallery, Long Island University, Southampton, NY
2000 Alpen Gallery, Roslyn, NY
1998 Parrish Museum of Art, Southampton, NY
1996 Guild Hall Museum, East Hampton, NY, "Recent Acquisitions Exhibit"
Ruby Jackson has been known to describe herself as a one-time juvenile delinquent saved by art. She grew up in Queens where she would cut school, smoke cigarettes, and steal late-night deliveries to the bagel store. After barely graduating high school she headed to New York City to be an artist. Having no formal training, she developed original techniques in many media--a process which continues to this day. After moving to the East End of Long Island, Ruby earned a degree in Art Education, survived breast cancer, discovered snorkeling, and took up the flying trapeze. She also was Assistant to the Director of the Pollock Krasner House for more than a decade. She is passionate about teaching art to children and has conducted workshops in the public schools, as well as for the Nature Conservancy, the South Fork Natural History Museum, and the Children's Museum of the East End.
During this period, Ruby created a large and distinctive body of work in wood, ceramic, pen and ink, polymer clay, oil, acrylic, and gouache. Her imagery typically takes inspiration from natural forms, which she abstracts and explores using original techniques. Her work has been exhibited in galleries in New York, Long Island, and Sarasota, Florida.
Ruby Jackson at The White Room Gallery
Ms. Jackson alone is a tour de force of creativity and finding new ways to approach materials. From her diminutive tablescapes and dollhouse-sized artist studio supplies to her folded-paper “paintings” and her other two-dimensional work, she demonstrates a mind constantly engaged with the creative process and how to turn traditional approaches on their heads.
Although it may appear that she’s playing, she makes her mini-tables, chairs, and even prosciutto slices serious fun. Her glass fishbowls and bell jars that encapsulate miniature worlds are new to me and just as captivating. She has taken the glass container’s water-like properties and used that as inspiration for the varicolored forms she has placed within, all curvy with suggested undulation, as if eying an underwater oasis frozen in time. On the wall, her digital prints suggest fabric art or sand-painting.
The folded paper abstractions are tiny, postcard-sized riots of color and motion. Although she plays with black-andwhite tonality in one, it is clear she is more enamored of the relationships and interplay of hue on hue in these works.
Jennifer Landes, East Hampton Star, November 12, 2016
"The Sag Harbor sculptor Ruby Jackson established her credentials many years ago with engaging pieces that combined whimsy and a bit of philosophical humor. More recently, inspired by coral reefs and a variety of vegetation, she has been creating a wide range of inventive, semi-abstract, organic forms in fired clay. Many rely on rhythmic repeats of serrated surfaces, tonal changes or scarifications. Some look like scaled-down ritualistic towers.
The most compelling group presents evocative arrangements of rolled, thin clay fragments. These pieces take their edge from a subtle blend of recognition, pattern and some disquieting elements like burn marks. "Trunks," a stack of five fragile forms with the appearance of miniature elephant trunks, is especially successful."
Phyllis Braff, The New York Times, Sunday, February 8, 1998
Ruby Jackson creates personal fantasy realms that are both delightful and a bit bizarre. Miss Jackson makes little room settings of brightly colored plastic dough and seals them in acrylic boxes. They look like miniature three-dimensional versions of David Hockney's California obsessions - gaudy, hermetic and yet seductively attractive.
The material itself, molded and sculptured with infinite patience to a pristine finish, is at once appealing and disquieting, almost repulsive. It is for us to imagine what sort of strange tiny people might inhabit these cute but claustrophobic spaces.
Helen Harrison, The New York Times, February 14, 1982
Ruby Jackson's new work, inspired by snorkeling trips in Jamaica and Belize, touches some dramatically different chords as she strives to represent a real world that is nevertheless totally abstract and foreign to human beings. Using brilliant and vibrant coloration and textures to capture the movement and exotic
lights of the undersea world of coral reefs, the works are simultaneously totally real and absolutely interpretational.
Eric Ernst, The Southampton Press, Feb. 12, 2004
Ms. Jackson makes drawings in ink, what looks like glitter, and the occasional flower petal. She also makes little vitrines filled with interwoven, multicolored tendrils and corkscrews of material that resembles melted plastic.
The worlds she has created are like glimpses through a diver's mask at coral reefs and the ocean floor, but with the colors intensified nearly to the point of fluorescence and the already exotic forms further stylized.
The splashy drawings, lightly crusted with glitter, are reminiscent of tacky greeting cards but their otherworldly imagery is absorbing. In the construction "Caribbean Triptych," three glass boxes like little aquariums hold intricate marine shapes that seem to float.
Robert Long, The East Hampton Star, February 26, 2004
While Ms. Jackson's abstract multimedia style is familiar to many viewers, her current series possesses and unusual dimension, literally. The artist goes beneath the water to give us a subjective view of the sea world; by so doing, she also expands our notion of life and death. And all those experiences in between.
Ms. Jackson's life-affirming encounter with the underwater world is vibrant, colorful and glittering.
Conversely, the artist's pieces evoke a near-death experience as well. This ambiguity is one of
Ms. Jackson's strongest traits, her technique reinforcing the idea with its contradictory preciseness and spontaneity.
Marion Wolberg Weiss, Dan's Papers, March 5, 2004
If pop painter Roy Lichtenstein, famed for his funny-papers rendering of a single brushstroke, interpreted the underlying form in "Satellite," an abstract sculpture by Ruby Jackson in Voorhees Gallery, it would look like a malformed bone.
The sculpture, bleached white and bent out of one shape into another in a continuous dynamic network, makes one think of a column of vertebrae gone haywire. The tangled, twisted osseous-like matter, made of Hydrocal, even appears to writhe as it takes its over-all form, which looks like eons-old debris from outer space. Or the encalcified remains of an early human.
The biomorphic mass conveys the invincibility of bones, as well as the fragility. Its resemblance to an ossified organism expresses death and durability at the same time.
"Satellite" also brings to mind biomorphic sculpture by other artists, like Henry Moore's '50's work "Internal and External Forms." Indeed, although the ins and outs of the Moore example are less linear than those of Satellite," his title suits it perfectly.
A second Jackson abstract on display, "White Castle," another intricat play of biomorphic shapes and shadows dissolves and solidifies before one's eyes. But unlike "Satellite," it looks more like flesh than bone. The overall shape resembles a mass of fleshy figures that 19th century figurative sculptor August Rodin might have carved out of stone.
But though Jackson's work conjures up masterworks of the past, it bears a look of its own. Unexampled, evocative, "Satellite" and "White Castle" make a visit to Voorhees Galleries worthwhile.
Joan Altabe, Sarasota Herald Tribune, Sunday, August 27, 1989
Nice Cubes - Fantasy rooms from sculptor Ruby Jackson
Ruby Jackson thinks of bedrooms as "intimate, private places, whee fantasy exists," To give you an idea what she means, one of her designs (titled "Sex and Violets') features a bed headboard carved to resemble male and female torsos. But before you call her up to design your fantasy bedroom, be forewarned: she's a sculptor whose rooms are seven-inch cubes encased in glass.
Jackson, who moved to Sarasota several months ago from New York, is a self-trained artist. Her most recent and most successful pieces are the small environments she creates using a special kind of children's modeling clay. She first became interested in these carefully crafted cubes while living in a small New York City apartment ("I was struck by so many different kinds of people living in cubes") and started out with dining room and kitchen settings. But a client's request for a "love nest" whetted her interest in bedrooms, and now she uses clay, silicone, glass, and a variety of unique shapes and ideas to suggest fantasy bedroom environments.
Take "Jungle," for example, a piece where the bed is shaped like a wild mushroom. Or "Good Easter," a food fantasy consisting of a Kaiser roll bed, tomato pillows, a lettuce blanket, and green pasta curtains curling down the walls. Another piece,"Magician" features a deck of cards as the bed and stacks of coins forming a night table, while the curtains are squares reminiscent of a magician's scarves.
Jackson says the small, highly detailed pieces take months to finish, and adds that the "lush greenery and magnificent light" of Sarasota have already influenced her greatly. While she also works in other types of sculpture, she says the miniature rooms "get a positive response from all ages, all walks of life." They sell for about $800 apiece at the Joan Hodgell Gallery.
Kay Kipling, Sarasota Magazine, October, 1987