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Artist Ginny Ruffner Reimagines Nature

A photograph of a person holding an ipad with an image of a flower on it.

Ginny Ruffner with Grant Kirkpatrick, Digitalis artherium (Double art flowers), 2017, sculpture (handblown glass with acrylic paint tree rings), island (plywood, low-density foam, fiberglass, epoxy, sand, pebbles, and acrylic paint), and holographic image. Sculpture: 9 x 13 x 11 1⁄2 in. Installation view at MadArt Studio, 2018. Courtesy MadArt. Photo by James Harnois.

Shanti Boyle is an intern with SAAM’s Office of External Affairs and Digital Strategies.

Internationally renowned artist Ginny Ruffner does not consider herself only a glass artist. “I am an artist… glass is just one of the media I use,” she said in an interview with Nora Atkinson, the Lloyd Herman Acting Curator-in-Charge at the Renwick Gallery. In her latest exhibition, Ginny Ruffner: Reforestation of the Imagination, opening June 28, 2019, at the Renwick Gallery, Ruffner combines glass, drawing and augmented reality (AR) technology to create a multidimensional landscape that calls into question our very notions of reality and fantasy, of concrete and abstract, and of desolation and hope.

Nature is the Boss: Anthony Benedetto’s Central Park

Untitled - 2005.16 - 65182

Anthony Benedetto, Central Park, 1998, oil on canvas, Smithsonian American Art Museum, © 2000, Benedetto/Bennett, Gift of the artist, 2005.16

Karen Canova is a dedicated Luce Foundation Center volunteer and art history enthusiast.

“I always paint nature. Nature is the boss,” says the artist Tony Benedetto (perhaps better known as singer/performer Tony Bennett). The brilliant scene ablaze with fall color depicted in the oil painting, Central Park, is the view from the artist’s window in Manhattan. The viewer can almost imagine him crooning one of his signature songs, Autumn Leaves, while painting it.

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