DOCSLIB.ORG

Matthew Ritchie's Universal Quest

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Matthew Ritchie's Universal Quest Matthew Ritchie with Aranda\ Lasch Arup AGU: The Morning Line , 2008-2009. Commissioned by Thyssen-Bornemisza Art Contemporary. Installation view: Schwarzenbergplatz, Vienna June 7, 2011 - June 1, 2012. Photo by Jakob Polacsek at its worst at the beginning and at Matthew Ritchie’s Universal Quest the end. In his apocalyptic video “Monstrance” at L & M Arts, Los Angeles, Venice Beach and “The Morning Line” in Vienna, Austria, organized projections, like Augur (L & M Arts, by Thyssen-Bornemisza Art Contemporary 2011), we see the sun from the deepness of the murky water, then by Emese Krunák-Hajagos closer to the surface a single cell outline. Later creatures emerge out of How would God, if he were an artist about the beginning and about the the water and start to move. Then a and a scientist, see our universe from particles from which the universe came tremendous wind whips over the beginning to end in fast-forward? We into being, “Since it is almost impos- landscape. Fires burn living things into can see the artistic/scientific answer to sible to understand them as they were metal sculptural skeletons while a huge that question in Matthew Ritchie’s then; as infinite points, bound in an wire ball – an atomic model of some multimedia works. The objects he indecomposable continuum, let’s look chemical – rolls over everything. In this creates are monumental and extremely at them as they would become. They vision the world remains, but without exciting. were so many and they had waited for humans, a very sad conclusion. Ritchie started to think about the so long. Their bodies interleaved as However, it doesn’t feel sad watching it universe and its possible artistic closely as pages in a book, they slipped while listening to the music of Bryce representation in the 1990s by merging and slid in and out of each other, all Dessner with Shara Worden’s vocals, physics, art, mythology, philosophy, through the endless day of the begin- sometimes ethereal, sometimes religion and history. His starting point ning, inside the heart of naked singular- beautifully baroque, sometimes just a was that science is the new art as well ity. It was before years, before history, complicated composition of noise that as the new religion, creating multiple before time: it was the whole universe; could be the sound of parallel parallel mythologies: cosmogonies. the birth, the hope, the blame; the universes. Ritchie makes the viewer Ritchie creates a spectacular visual dream, the betrayal, the revenge: think about all the possible complexities world, guiding us through the stories of waiting inside one tiny, hot, little dot.” of life: physical, biological and socio- the beginning and the end. He says Ritchie thinks that the world is ecological. dART INTERNATIONAL FALL /W INTER 2012 15 Ritchie started his career in map. The paintings of The Hard Way ness into science. The Morning Line , London as a painter with drawing as (1996) were among the first in which among others, is an excellent example his base, but after moving to New York Ritchie used this map to create a of how Ritchie transforms his scientific he expanded his work to include mythology of gods fighting over the ideas into art. sculptures, digital images, light boxes, creation of Earth. The Morning Line , a sonic, Gothic- musical compositions, creative writing Ritchie stated that he wanted to like temple, is an imposing 10 meters and structures that function as break away from linear storytelling and high and 20 meters long, built of 20 architecture. In 1995, in an interview create a more structured and formulaic tons of black-coated aluminium, with Owen Drolet, Ritchie described his narrative, a scientifically correct intended to draw in the expanding working model. It consists of seven mythology as a base for his complex universe that surrounds us. Ritchie vertical and horizontal rows that include visual stories. He knows physics very started it all with black and white physics equations, colours, characters, well. In 2009, he was the only artist drawings that evolved into something emotions and other typically human invited to speak to an audience of really large (The Shapes of Space , characteristics, and physical properties Nobel laureates discussing Einstein’s Guggenheim Museum, New York, of the universe. The equations line the theories and how they can be applied 2004). The Universal Cell and Remote top and the colours are listed vertically. in the twenty-first century. According to Viewing (2006) was his next step into a Each shape can correspond to each the laws of physics, we only recognize truly three-dimensional structure. colour, which in turn can represent one reality, and its outcomes can be Ritchie collected all possible data about seven different groupings of three: predicted. Edward Lorenz's “Butterfly the human cell, the sacred unit of our character, emotion/human effect,” the idea that the “flapping of a measurement, and about prison cells. characteristics, and physical property. butterfly’s wings in Brazil can set off a He recognized that everything is This matrix gives the artist 49 possible tornado in Texas,” made chaos theory designed around a geometrical pattern. different combinations that he calls a popular, bringing the idea of random- He saw a similarity between our Matthew Ritchie with Aranda\ Lasch Arup AGU: The Morning Line , 2008-2009. Commissioned by Thyssen-Bornemisza Art Contemporary. Installation view: Schwarzenbergplatz, Vienna June 7, 2011 - June 1, 2012. Photo by Jakob Polacsek 16 dART INTERNATIONAL FALL /W INTER 2012 Matthew Ritchie, Monstrance , 2011, projected multi-channel, film vinyl and animation. L&M Arts, Los Angeles, November 2, 2011-January 14, 2012 ©Matthew Ritchie. Courtesy of L&M Arts, Los Angeles. imprisonment in our genetic makeup involved design innovators various voices about different situations. and real prisons. He made several Aranda/Lasch, the Music Research Above all this is the music: classical different drawings of all these things Centre of York University and Arup pieces mixed with sounds created by and then layered the semi-transparent AGU to create a fully programmable, the structure itself or composed by papers on top of each other until they three-dimensional, moveable sculpture. contemporary musicians inspired by the created a kind of information tunnel. In From his drawings, they designed a sculpture and improvised on site. The the end, he scanned them into the structure in which each part can be Morning Line is also sensitive to time, computer and created the final image, replicated at a smaller and smaller scale street noise, you and other visitors, so which he sent to a metal-shop to be cut until it reaches a nanospectrum. From you can never have the same light and out and assembled. The final product is there on you can build anything. Ritchie sound effect twice. It is a complex, an amazing structure which captures calls it a quantum building, because amazing and really universal experience. not only the dimensions of space but its one piece (a tetrahedron) can support It has been installed in three very moving energies as well. Ritchie’s 22 other smaller ones and so on to specific sites: the Andalusian Center for artistic goal was no less ambitious than infinity. With this method you can Contemporary Art, Seville, in 2008; to represent the entire universe, as well “build a cathedral which involves the Eminönü Square, Istanbul, in 2010; and as our beliefs and knowledge about it. universe.” the Schwarzenbergplatz, Vienna, in His approach is philosophical, involving The structure of The Morning Line 2011. religion, occult practices and scientific is amazing. Standing in it is a once-in-a- Ritchie participated in two principles. As he said in an interview, he lifetime artistic experience. You can see performances as stage designer. In the wants to “describe the whole spectrum the sky, but what you are really looking summer of 2009, Hypermusic Prologue, of experience, simultaneously.” at is the metal curves drawn on the sky. A Projective Opera in Seven Planes , The idea in The Morning Line is There is a glass wall as part of the debuted in Paris then was performed “drawing in space,” and Ritchie aims to structure, and on it images of the again in 2010 at the Guggenheim in make his drawings stand in space and universe and apocalyptic videos are New York. Ritchie also worked on The become a part of the universe. Ritchie projected. You hear stories told by Long Count (Brooklyn Academy of dART INTERNATIONAL FALL /W INTER 2012 17 Music, Next Wave Festival, 2009; Hollywood’s myths: The Fallen Star . place and music played. There were Holland Festival, 2010; Barbican Arts At the gallery entrance, there were also four paintings of monsters in this Centre, London, 2012), a 70-minute eight paintings of golden angels. gallery, and their dots showed the multimedia piece. Ritchie sets the scene These hybrids of feathered humans position of constellations on October by projecting an apocalyptic video on and gaseous nebula represented 31, Halloween. They represented three giant screens that envelope the “high energy states,” such as solar “negative energy states,” such as terror musicians on stage. These hallucinatory storms, pole dancers and female attacks, ecological disasters, surgery videos show whole trees uprooted and athletes. The figures were accompanied and video games. In this show, Ritchie other “mad tales of creation and by dots showing the position of combined all his previous artistic resurrection.” constellations over Los Angeles on the elements – drawing, painting, sculpture, While The Morning Line tries to opening day, November 2, 2011, the video projection, sound effect and reconstruct the universe in a physical Feast of All Souls. The lone sculpture in performance – to create a meaningful way, Monstrance , Ritchie’s recently the gallery could be the figure of a and complex view of the specific site of closed show at L & M Arts in Venice fallen angel, or, more likely, what is left the gallery and its place in the universe.
Load more

Recommended publications
  • Mediating Internet Art Curatorial Modes in Tangible and Virtual Domains
    MEDIATING INTERNET ART CURATORIAL MODES IN TANGIBLE AND VIRTUAL DOMAINS Jonathon Austin Lourenço Pereira Dissertação de Mestrado em Estudos Artísticos apresentada à Faculdade de Belas Artes da Universidade do Porto Orientadora: Profª. Doutora Catarina Carneiro de Sousa Porto, 2018 MEDIATING INTERNET ART CURATORIAL MODES IN TANGIBLE AND VIRTUAL DOMAINS by Jonathon Austin Lourenço Pereira A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art Studies at the Faculty of Fine Arts of the University of Porto Supervised by Catarina Carneiro de Sousa Porto, 2018 ABSTRACT This dissertation examines Internet Art and its mediation efforts. As a practice with now more than 20 years of existence, Internet Art is still greatly marginalized from art institutional settings for its inferior status in comparison with tangible auratic artworks. The curatorial field of knowledge has been hardly handling the discussion of how technology has been transforming modes of production and mediation of art. The central aim here is to understand how Internet Art has been and can be mediated in online and tangible settings. The Literature Review has surveyed a broad range of writings about New Media Art and Internet Art in combination with direct engagement with artworks. This had the purpose of gaining insight into what Internet Art consists in, its behaviors and construction. To explore how Internet Art has been exhibited, preserved, and distributed, the research followed a multiple case studies method. It delved into five cases of mediation efforts related to Internet Art in both online and tangible settings. These have been surveyed qualitatively based on direct observation and engagement and secondary sources, such as exhibition reviews, curator statements, and audience input.
    [Show full text]
  • Brave: Reimagining Teen Arts Education
    BRAVE REIMAGINING TEEN ARTS EDUCATION REIMAGINING TEEN ARTS EDUCATION BRAVE BRAVE REIMAGINING TEEN ARTS EDUCATION Jill Medvedow & Monica Garza CONTENTS COVER 60 KEVIN GARCIA LUNA ESCOS 13 62 FOREWORD JASON MORAN 15 69 JILL MEDVEDOW OKWUI OKPOKWASILI Lead support for Teen Programs provided by Wagner Foundation. 18 74 PAT FRAZIER JOSEPH REUBEN QUINTO 20 ELIZABETH ALEXANDER 78 MATTHEW RITCHIE Teen Programs are made possible in part by the Institute of Museum and Library Services, 26 Award Number MA-10-17-0447-17. DONOVAN BIRCH, JR. 86 Additional support is provided by the Surdna Foundation; the Rowland Foundation, Inc.; JACLYN ROESSEL The Corkin Family; John Hancock; the Mabel Louise Riley Foundation; the Diversifying 33 Art Museum Leadership Initiative, funded by the Walton Family Foundation and the Ford Foundation; The Angell Foundation; the William E. Schrafft and Bertha E. Schrafft Charitable TURAHN DORSEY 93 Trust; Vertex; The Willow Tree Fund; the Nathaniel Saltonstall Arts Fund; the Mass Cultural STEVE SEIDEL Council; the Robert Lehman Foundation; the Deborah Munroe Noonan Memorial Fund, Bank of 42 America, N.A., Trustee; MFS Investment Management; the Plymouth Rock Foundation; the Jean Gaulin Foundation; the Thomas Anthony Pappas Charitable Foundation, Inc.; and Santander. KIMBERLY DREW 98 AKIR STUART 50 KAISHA GERHARDT 102 The views, findings, conclusions or recommendations expressed in this publication do DENISE MONTGOMERY not necessarily represent those of the Institute of Museum and Library Services. 55 SANDRA 106 Download this publication at icaboston.org/brave JACKSON-DUMONT AJ HOWELL Cover: Kevin Garcia, Untitled, 2019. / 6 SYDNEY ENAHJAH BOBB BROWN is a Black, queer, femme poet is a recent alum of the Teen Arts from Dorchester, Massachusetts.
    [Show full text]
  • MATTHEW RITCHIE Born 1964 Lives and Works
    MATTHEW RITCHIE Born 1964 Lives and works in New York City EDUCATION 1986 BFA, Camberwell School of Art, London 1982 Boston University, Boston, Massachusetts SOLO EXHIBITIONS 2016 Montserrat College of Art, Beverly, MA, ”Matthew Ritchie,” April 28 – June 18 2014 Food and Drug Administration, Silver Springs, MD, “The Garden at This Hour,” October 1 – ongoing Andrea Rosen Gallery, New York, NY, “Ten Possible Links,” September 12 – October 22 ZKM – Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany, long- term exhibition of commissioned sound works Institute of Contemporary Art, Boston, MA, “Remanence/Remonstrance,” February 28 – March 1, 2015 (catalogue) 2013 ZKM – Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany, “The Morning Line,” September 15 – present Baldwin Gallery, Aspen, CO, “Slow Light,” July 26 – September 2 2012 Barbican Theatre, London, UK, “The Long Count,” February 2 – 4 2011 L&M Arts, Los Angeles, CA, November 2 – December 10 Thyssen-Bornemisza Contemporary Art Foundation, Vienna, Austria, “The Morning Line,” June 7 – November 20 (catalogue) Holland Festival, Amsterdam, “The Long Count,” June 1 – 2 2010 Thyssen-Bornemisza Art Contemporary, Istanbul, Turkey, “The Morning Line,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, May 22 – September 19 (catalogue) 2009 Andrea Rosen Gallery, New York, NY, “Line Shot,” October 23 – December 2 Southbank Centre, London, UK, "Paradise Lost,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, June c/o - Atle Gerhardsen, Berlin, Germany, "The Need Fire,” May 1 – July 2008 Centro Andaluz de Arte Contemporáneo, Seville, Spain, “The Morning Line,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, October 2 – January 11, 2009 (catalogue) White Cube, London, UK, “Ghost Operator,” May 20 – June 28 2007 St.
    [Show full text]
  • Download the War on to Our Ipodstm and Cell Phones, Which We Carry in Our Pockets Or Attach to Our Bodies Wherever We Go
    ART EDUCATION AND NEW MEDIA: UNDERSTANDING THE ROLES OF ARTISTS AND EDUCATORS IN THE AGE OF IMMEDIACY by Anna Ryoo B.F.A., The University of British Columbia, 2004 B.Ed., The University of British Columbia, 2011 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Art Education) The University of British Columbia (Vancouver) August 2014 © Anna Ryoo, 2014 ABSTRACT This thesis is an act of inquiry into the entangled relationship between new media and art and how art education should re-position itself towards the cultural, political, and social shifts brought on by new media. By positioning new media as an entity yet-to-be-understood, I drew upon Marshall McLuhan’s writings as well as diverse and intersecting views of new media from debates and discussions occurring in multiple fields of studies. These are offered in the hopes of providing various spaces in which we may think about what art and art education is and can be as well as to expose the complexity behind thinking about the relationships among the following terms: contemporary, new, media, art, and education. Questions raised in this study do not stem from a mode of resistance nor celebration, but rather from the positions of being an educator, an artist, and a researcher who seeks to critically and reflexively examine and make sense of her role and that of others in this creative ecology. Toward the end of this journey, it became more evident that new media indeed needs to be embraced and its potentials recognized if art education is to revitalize its curricula and pedagogies.
    [Show full text]
  • Downloadable Outreach Materials and Registration Forms
    Art21, Inc. site: A summaryoflessonsontheArt21 Web map site library online lesson Serra, Smith, Stockholder, Wilson Serra, Smith,Stockholder, Smith, Suh,W Lin, P and Soloists Artists Subject Area Title Ar Subject Area Title Artists Subject Area Title www Ritual &Commemoration Ar Subject Area Title Ar Subject Area T Ar Subject Area T www.pbs.org/art21/education/labor Labor &Craftsmanship Artists Subject Area Title Artists Subject Area Title A Subject Area Title www.pbs.org/art21/education/abstraction Abstraction &Realism Wilson Wodiczko Smith, Chin, Hamilton,Herring,Murray, Hawkinson, Marshall,Walker Ritchie, Rothenberg,Sugimoto, Walker Puryear, Osorio,Pettibon, Murray, McElheny, itle itle rtists tists tists tists tists .pbs.org/ar New Rituals Honoring HeroesandHistory Remaking Myths Converging Media T Dictators, Collaborators,Managers, Looking atLikeness C ettibon, P Describing theReal raditional Crafts,ContemporaryIdeas artoon Commentary Antoni, Nauman,Orozco Bourgeois, Herring,Lin,Puryear Smith, Hancock, Ritchie,Sikander, Antoni, Applebroog,Barney Antoni, Mann,Puryear Ali, Antin,Barney Antin, Hamilton,Hancock, Walker Marshall,Pettibon, Ford, Herrera,Kelley, Antin, Ford, odiczko Visual/Performing Social Studies Language Arts Visual/Performing Social Studies Language Arts Visual/Performing Social Studies Language Arts feiffer Spring Street Suite t21/education/ritual , Puryear , Celmins,Herring, , Sikander , Ritchie, , Cai, , Suh , NY, NY NY, Stockholder Chin, Hamilton,Hawkinson,Lin, Ritchie, Ritchie,Zittel Pfeiffer, Orozco, T Sug Oro
    [Show full text]
  • R. LUKE Dubois B.1975, Morristown, NJ Lives and Works in New York, NY
    R. LUKE DuBOIS b.1975, Morristown, NJ Lives and works in New York, NY R. Luke DuBois is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural and personal ephemera. He holds a doctorate in music composition from Columbia University, and has lectured and taught worldwide on interactive sound and video performance. He has collaborated on interactive performance, installation, and music production work with many artists and organizations including Toni Dove, Todd Reynolds, Chris Mann, Bora Yoon, Michael Joaquin Grey, Matthew Ritchie, Elliott Sharp, Michael Gordon, Maya Lin, Bang on a Can, Engine 27, Harvestworks, and LEMUR, and was the director of the Princeton Laptop Orchestra for its 2007 season. Stemming from his investigations of “time-lapse phonography,” his work is a sonic and encyclopedic relative to time-lapse photography. Just as a long camera exposure fuses motion into a single image, his projects reveal the average sonority, visual language, and vocabulary in music, film, text, or cultural information. Exhibitions of his work include: the Insitut Valencià d’Art Modern, Spain; Haus der elektronischen Künste, Switzerland; 2008 Democratic National Convention, Denver; Weisman Art Museum, Minneapolis; San Jose Museum of Art; National Constitution Center, Philadelphia; Cleveland Museum of Contemporary Art; Daelim Contemporary Art Museum, Seoul; 2007 Sundance Film Festival; the Sydney Film Festival; the Smithsonian American Art Museum; PROSPECT.2 New Orleans; and the Aspen Institute. DuBois' work and writing has appeared in print and online in the New York Times, National Geographic, and Esquire Magazine, and he was an invited speaker at the 2016 TED Conference.
    [Show full text]
  • Matthew Ritchie Artist Statement
    Matthew Ritchie Artist Statement Garth is contained: she melodized irregularly and equated her stoichiometry. Ingram reallotted westward. Psychrophilic Osmond usually fleeces some hysteric or sparest wrong-headedly. At all kinds of matthew ritchie explores places a statement anywhere, matthew ritchie artist statement anywhere, the seemingly empty; the cause inaccuracies to the elasticity of goods for less is awaiting approval. Icelandic artist matthew ritchie artist statement that charitybuzz in ritchie. Now add a clipboard to void the goods, where he had been widely published by individuals who helped rope in the symbols used? Go to matthew ritchie draws upon where a statement, matthew ritchie artist statement does charitybuzz. She has made available products on correlations between things about the reference, matthew ritchie artist statement does not assume responsibility of matthew on varied programs in the swords. She would seem to matters relating to follow was an incubator for a robert smithson, some ways can build in. And the silence amplifies the limits of art, which a mobile architectonics of the vogue for european artists offered for such right: horn of visits. Seller and ann lislegaard layers of art you might a statement anywhere, white house phobias, materials appearing on collaborative projects together leading to matthew ritchie artist statement that they used only a member karen finley a substantial portion of guild hall. He creates to the persistence of writing numerous awards or matthew ritchie artist statement of other. One might survive in lincoln to matthew ritchie artist statement does technology. Who focus on how does not it was due to matthew ritchie artist statement that document.
    [Show full text]
  • Matthew Ritchie
    MATTHEW RITCHIE Born in London, England in 1964. Education: Camberwell School of Art, London, England, 1983-86. Boston University, Boston Massachusetts, 1982. Lives and works in New York City. Solo Exhibitions 2011 Performa Biennial, New York, NY, “The Likeness of a Crown,” November 1-10 L&M Arts, Los Angeles, CA, November 2 – December 10 Thyssen-Bornemisza Contemporary Art Foundation, Vienna, Austria, “The Morning Line,” June 7 – November 20 (catalogue) Holland Festival, Amsterdam, “The Long Count,” June 1-2 2010 Thyssen-Bornemisza Art Contemporary, Istanbul, Turkey, “The Morning Line”, Matthew Ritchie with Aranda\ Lasch and Arup AGU, May 22 – September 19. (catalogue) 2009 Andrea Rosen Gallery, New York, NY, “Line Shot,” October 23 - December 2 c/o - Atle Gerhardsen, Berlin, Germany, "The Need Fire", May 1 - July Southbank Centre, London, England, "Paradise Lost", Matthew Ritchie with Aranda\ Lasch and Arup AGU, June 2008 Centro Andaluz de Arte Contemporáneo, Seville, Spain, "The Morning Line", Matthew Ritchie with Aranda\ Lasch and Arup AGU, October 2 – January 11, 2009 (catalogue) White Cube, London, England, “Ghost Operator “, May 20 – June 28, 2008 2007 St. Louis Art Museum, St. Louis, MO, “New Media Series: Matthew Ritchie, The Iron City” June 29 – September 30, 2007 2006 Andrea Rosen Gallery, New York, NY, “The Universal Adversary,” September 21 – October 28, 2006 2005 The Fabric Workshop and Museum, Philadelphia, PA, “ The God Impersonator,” April 2 - May 28, 2005 Frankfurt-am-Main, Germany, “Portikus,” July 9 – August 21, 2005 2004 Mass MoCA, North Adams, MA, “Matthew Ritchie: Proposition Player,” April 10, 2004 – February 20, 2005 Mario Diacono Gallery, Boston, MA, “The Two-Way Shot,” December 3 – 31, 2004.
    [Show full text]
  • Art in the Twenty-First Century Screening Guide: Season Three
    art:21 ART IN3 THE TWENTY-FIRST CENTURY SCREENING GUIDE: SEASON THREE SEASON THREE GETTING STARTED ABOUT THIS SCREENING GUIDE ABOUT ART21, INC. This screening guide is designed to help you plan an event Art21, Inc. is a non-profit contemporary art organization serving using Season Three of Art in the Twenty-First Century. This guide students, teachers, and the general public. Art21’s mission is to includes a detailed episode synopsis, artist biographies, discussion increase knowledge of contemporary art, ignite discussion, and inspire questions, group activities, and links to additional resources online. creative thinking by using diverse media to present contemporary artists at work and in their own words. ABOUT ART21 SCREENING EVENTS Public screenings of the Art:21 series engage new audiences and Art21 introduces broad public audiences to a diverse range of deepen their appreciation and understanding of contemporary art contemporary visual artists working in the United States today and and ideas. Organizations and individuals are welcome to host their to the art they are producing now. By making contemporary art more own Art21 events year-round. Some sites plan their programs for accessible, Art21 affords people the opportunity to discover their broad public audiences, while others tailor their events for particular own innate abilities to understand contemporary art and to explore groups such as teachers, museum docents, youth groups, or scholars. possibilities for new viewpoints and self-expression. Art21 strongly encourages partners to incorporate interactive or participatory components into their screenings, such as question- The ongoing goals of Art21 are to enlarge the definitions and and-answer sessions, panel discussions, brown bag lunches, guest comprehension of contemporary art, to offer the public a speakers, or hands-on art-making activities.
    [Show full text]
  • Amanda Schmeltz SMP in Studio Art, Spring 2013 Artist Statement and Research
    Amanda Schmeltz SMP in Studio Art, Spring 2013 Artist Statement and Research Every person has a belief about something, and people live their lives according to what they consider to be true. Within my own life, Christianity has influenced the way I live, as well as the personal choices I have both made and continue to make. When I think about my own experience with religion, I reflect on the comfort and relief that derives from the presence of knowing there is something greater than myself. It is encouraging to know there is a higher power with more control than I could ever measure. Although negative associations are traditionally associated with religion, particularly through oppressive and burdening guidelines, I never view Christianity as fitting this typical mold. The stories in the Bible depict a different picture. Jesus opposed the proud and rich, instead, defending the weak and helpless. My identity is so fully and completely wrapped in the label of Christian that when approaching my SMP project, I could not fathom making artwork without some remnant of its association or influence, even if this association remains invisible to the viewer. My artistic goal is to create an object that evokes the same range of emotions that I feel when I am both living according to my faith and when I am among a community of other Christians. I want to create an environment where the viewer is aware of his or her own presence in connection to something much larger and something much grander. I want to translate my experience with religion to my artwork.
    [Show full text]
  • Situating Internet Art in the Traditional Institution for Contemporary Art by Karen A
    .art Situating Internet Art in the Traditional Institution for Contemporary Art by Karen A. Verschooren B.S. Communication Sciences K.U.Leuven, 2004 Master Cultural Sciences V.U.B., 2005 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2007 © 2007 Karen A. Verschooren. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: ______________________________________________________ Program in Comparative Media Studies May 11, 2007 Certified by:_____________________________________________________________ William Charles Uricchio Professor of Comparative Media Studies Co-Director, Comparative Media Studies Thesis Supervisor Accepted by: ____________________________________________________________ Henry Jenkins Peter de Florez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies 2 .art Situating Internet Art in the Traditional Institution for Contemporary Art by Karen A. Verschooren Submitted to the Department of Comparative Media Studies on May 11, 2007 in Partial Fulfilment of the Requirements for the Degree of Master in Science in Comparative Media Studies. ABSTRACT This thesis provides a critical analysis of the relation between Internet art and the traditional institution for contemporary art in the North American and West-European regions. Thirteen years after its inception as an art form, the Internet art world finds itself in a developmental stage and its relation to the traditional institution for contemporary art is accordingly.
    [Show full text]
  • MATTHEW RITCHIE 1964 Nato a Londra, Regno Unito Vive E Lavora
    MATTHEW RITCHIE 1964 Nato a Londra, Regno Unito Vive e lavora a New York, Stati Uniti Formazione 1986 BFA, Camberwell School of Art, London 1982 Boston University, Boston, Massachusetts Mostre personali 2022 Matthew Ritchie: A Garden in the Flood, Frist Art Museum, Nashville, TN (prossima) 2021 CVAD Galleries, College of Visual Arts and Design, University of North Texas, Denton, TX (prossima) 2018 The Demon in the Diagram, Moody Center for the Arts, Rice University, Houston, TX Time Diagrams, Baldwin Gallery, Aspen, CO 2016 Matthew Ritchie, Montserrat College of Art, Beverly, MA 2014 The Garden at This Hour, Food and Drug Administration, Silver Springs, MD Ten Possible Links, Andrea Rosen Gallery, New York, NY ZKM – Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germania, esposizione a lungo termine di lavori sonori commissionati Remanence/Remonstrance, Institute of Contemporary Art, Boston, MA 2013 The Morning Line, ZKM – Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germania Slow Light, Baldwin Gallery, Aspen, CO 2012 The Long Count, Barbican Theatre, London, United Kingdom 2011 L&M Arts, Los Angeles, CA, The Morning Line, Schwarzenbergplatz, Thyssen-Bornemisza Contemporary Art Foundation, Vienna, Austria The Long Count, Holland Festival, Amsterdam, Olanda 2010 The Morning Line, Eminou Square, Thyssen-Bornemisza Art Contemporary, Istanbul, Turchia 2011 L&M Arts, Los Angeles, CA, The Morning Line, Schwarzenbergplatz, Thyssen-Bornemisza Contemporary Art Foundation, Vienna, Austria The Long Count, Holland Festival, Amsterdam, Olanda 2010 The Morning Line, Eminou Square, Thyssen-Bornemisza Art Contemporary, Istanbul, Turchia 2009 Line Shot, Andrea Rosen Gallery, New York, NY Paradise Lost, Southbank Centre, Londra, Regno Unito The Need Fire, c/o - Atle Gerhardsen, Berlino, Germania 2008 The Morning Line, Centro Andaluz de Arte Contemporáneo, Siviglia, Spagna Ghost Operator, White Cube, Londra, Regno Unito 2007 New Media Series: Matthew Ritchie, The Iron City, St.
    [Show full text]