Matthew Ritchie: Evolution of Abstraction (02:50)Ībstraction from Ritchie's earlier work later evolved into figures resembling people. ![]() In betting, Richie posits that infinite freedom exists in the moment between placing a bet and receiving an outcome "all the possibilites are there." His work attempts to invert a feeling of awe, inspired by existence, to a "want to play" ambition. Matthew Ritchie: Infinite Freedom (02:20) In an effort to sustain the integrity of the drawing, Ritchie's structures maintain a flat aspect. ![]() Ritchie's work means to expand automated experiential senses to cause viewers to hear, see, feel more. Matthew Ritchie: From Drawing to Structure (03:31) Working with infinite resolution allows Ritchie to modify the size of the work without compromising it. Ritchie describes his work as having shared integrity between himself, the computer program, and the stranger executing the final product. Matthew Ritchie: Shared Integrity (04:08) Now we are all "authors" of superposed stories and what we hear is the intense murmur of the swarm.Introduction: Structures (01:14) FREE PREVIEWĪctor Sam Waterston hosts this video featuring four artists whose work is influenced by structure. According to the author: "To speak of this art disseminated in a globalization that cannot be articulated, we cannot think about it in a history with an orientation, in a state of transition of the society in which there is doubt between models of development". The problem before was that there was only one dominant account The current problem is that "no report organizes diversity", as argued by Néstor García Canclini in his book "Society without report" (2010). Hence the importance of the narrative support (descriptive and explanatory at the same time as Danto) in the construction of meaning in contemporary visual arts. The micro-stories and the non-centralized narratives are the new guarantors of the existence and legitimacy of the “post-art”. Paradojically, after the "end of history", all is history after the "great meta-stories", all is story and it also seems that "after the end of art", all is art. It was then that the nihilist perspective replaced the systematic model, allowing the entrance to the stage of voices and subjectivities that were then silenced. ![]() The postmodernity and its metamodern sequels harshly confronted the parameters imposed by the "master narratives" and the "unitary reports". They can be neighborhood stories, travel reviews, memories of experiments, unexpected encounters, family stories and, in general, specific events, some of them apparently tiny, where the work works as a review, outcome or moral of these ups and downs. In other words, it is no longer just a matter of delving into analysis and concepts, but of knowing the small narratives that surround artistic practices and behaviors. it is not possible to give a complete description of any event that does not have the use of the narrations". According to him, as he wrote in “Narration and Knowledge” (1985): "A narrations describes adn explains at the same time". Role of narratives in the construction of history, not only as a sequence of events as well as the incorporation of personal perspective. Danto, framed within the "institutional theory of art" and the thesis on "the end of the history of art", had warned about it. The subject is not at all frivolous if we consider that the American art critic and philosopher Arthur C. There are narratives that explore the intimate experience with greater intensity, while others place the emphasis on exogenous conditioning factors. Statement, curatorial texts, analytical essays make up an anecdotal horizon that offers details (previously superfluous) about the author's life events, his gender identity, his ethnic origin, his social environment, his migratory status, as well as any other circumstance or physical, mental or professional condition that places your work on a dramatic horizon. Overall, little by little the meaning of the works has been transferred to the narratives that sustain and wrap them like cases ready for consumption. Finally, stories of self-affirmation and autobiographical accounts emerged as creative foundations. It was followed by tautological arguments that identified the work with its concept. Later on, there were the manifestos, declarations and founding programs that established the purposes of the artists. Then came the anecdotes about the artists' routines and extravagances as a complementary by-product of the works. First there were the "translations" that established homologies between the visual and the verbal as if they were equivalent grammars.
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