1984 年生于加利福尼亚州洛杉矶，在匹泽学院就读本科时学习艺术和考古学，并在加利福尼亚大学洛杉矶分校名誉教授查尔斯·雷和凯瑟琳·奥皮的指导下获得艺术硕士学位。最近的机构个展包括德国汉堡汉堡艺术馆、英国沃尔索尔新艺术画廊、美国剑桥麻省理工学院李斯特视觉艺术中心和奥地利维也纳艺术史博物馆。她的作品被众多公共收藏机构收藏，包括美国洛杉矶洛杉矶郡艺术博物馆、美国明尼阿波利斯沃克艺术中心、美国洛杉矶汉默博物馆、美国本顿维尔水晶桥美国艺术博物馆、美国达拉斯纳什尔雕塑中心、荷兰利瑟 LAM 博物馆和美国达勒姆杜克大学纳什尔艺术博物馆。她现居住和工作在新泽西州。
凯瑟琳·瑞安的雕塑实践重新构想了美国生活的残骸。腐烂的水果变成了闪闪发光的石头纪念碑；工业零件和家用物品变成了植物和动物。回收的汽车用品、斑驳的宝石外墙和碎片的骨架相互连接和蔓延。瑞安将不同的物体以新颖的形式结合在一起，同样与她来源的物质文化和雕塑的古典考虑相适应。重力、形式活力和负空间是她词汇的一部分，就像大理石、水晶和老旧美国肌肉车的引擎盖一样。瑞安的雕塑简洁而无礼，将媚俗、模仿和双关语并列在一起，重新构建了美国标志性视觉拼贴的元素，揭示了其文化文物固有的美丽和荒谬。
Born in 1984 in Los Angeles, CA, she studied art and archaeology as an undergraduate at Pitzer College, and received her MFA from the University of California, Los Angeles under emeritus faculty Charles Ray and Catherine Opie. Recent institutional solo exhibitions include Hamburger Kunsthalle, Hamburg, Germany; New Art Gallery, Walsall, UK; MIT List Visual Arts Center, Cambridge, US; and the Kunsthistorisches Museum, Vienna, Austria. Her work is held in numerous public collections including the Los Angeles County Museum of Art, Los Angeles, US; Walker Art Center, Minneapolis, US; Hammer Museum, Los Angeles, US; Crystal Bridges a Museum of American Art, Bentonville, US; Nasher Sculpture Center, Dallas, US; LAM Museum, Lisse, Netherlands; and the Nasher Museum of Art at Duke University, Durham, US. She lives and works in New Jersey, NY.
Kathleen Ryan’s sculptural practice re-envisions the detritus of American life. Spoiled fruits become monuments in glistening stone; industrial parts and domestic ephemera are transformed into plants and animals. Reclaimed automobilia, mottled gemstone façades, and armatures of debris interlink and sprawl. Ryan marries disparate objects in novel formations, equally attuned to the material culture of her sources and to the classical considerations of sculpture. Gravity, formal dynamism, and negative space are as much a part of her vocabulary as marble, crystal, and the hoods of aging American muscle cars. With concision and irreverence, Ryan’s sculptures juxtapose kitsch, pastiche, and double entendre to reframe elements of Americana’s iconic visual bricolage, revealing both the beauty and the absurdity inherent in its cultural artifacts.
