
MATTHEW RITCHIE
Occidental King (S)
2018
Mobile screen with UV printing on acrylic
85 x 55 1/4 x 37 in
215.9 x 140.3 x 94 cm
Unique screen from Edition 1/1 + 1 AP
JCG10259
MATTHEW RITCHIE
Boundless Informant (S)
2018
Mobile screen with UV printing on acrylic
85 x 55 1/4 x 37 in
215.9 x 140.3 x 94 cm
Unique screen from Edition 1/1 + 1 AP
JCG10263
MATTHEW RITCHIE
The Temptation of the Diagram
2012-2017
Printed phototext
Long-term installation at the Getty Research Institute
MATTHEW RITCHIE
The Temptation of the Diagram, 2012-2017
Long-term installation at the Getty Research Institute
MATTHEW RITCHIE
The Black Arrow
2014-2017
Oil, ink, and wax on canvas
58 x 78 in.
147.3 x 198.1 cm
JCG9740
MATTHEW RITCHIE
Everything that Rises Must Converge
2017
Resin, glass, and ink
Installation view: Cornell Tech, Roosevelt Island, New York, NY
MATTHEW RITCHIE
The Temptation of the Diagram
2014-2015
Printed phototex
Dimensions variable
MATTHEW RITCHIE
The Temptation of the Diagram
2014-2015
Printed phototex
Dimensions variable
MATTHEW RITCHIE
Intelligent Designer
2017
Oil, ink, and wax on canvas
50 x 54 in.
127 x 137.2 cm
JCG9731
MATTHEW RITCHIE
Last Sorcerer
2017
Oil, ink, and wax on canvas
50 x 54 in.
127 x 137.2 cm
JCG9733
MATTHEW RITCHIE
Hermaneutic Blanket
2017
Oil, ink, and wax on canvas
50 x 54 in.
127 x 137.2 cm
JCG9732
MATTHEW RITCHIE
Remanence: Remonstrance
2014
Acrylic paint, Phototex, vinyl, Max/Msp and Jitter, computer, speakers, cameras,
and digital media accessed via wireless mobile device
27 x 95 feet
Installation view: Institute of Contemporary Art, Boston, MA, 2014
MATTHEW RITCHE
Remanence: Salt and Light (Part II)
2014
Rose Kennedy Greenway, Boston, MA
MATTHEW RITCHIE
This Garden at This Hour
2014
Aluminum, steel, polyester, composite stone and plants
Food and Drug Administration, White Oak, MD
MATTHEW RITCHIE
Monstrance
2014
Single-channel video installation
Duration: 20 mins.
Dimensions variable with installation
Edition of 3
MATTHEW RITCHIE
A bridge, a gate, an ocean
2014
Oil and ink on canvas
94 x 120 x 2 1/12 in.
238.8 x 304.8 x 6.4 cm
MATTHEW RITCHIE
The red and the red
2014
Oil and ink on canvas
82 x 120 x 2 1/2 in.
MATTHEW RITCHIE
with AARON and BRYCE DESSNER
The Long Count
Barbican Centre
London, UK
February 2-4, 2012
Perormer: Kelley Deal
MATTHEW RITCHIE
with BRYCE DESSNER and SHARA WORDEN
Monstrance: A Performance in Two Parts
Venice Beach, CA. November 2, 2011
Pesented in conjunction with the exhibition
MONSTRANCE, L&M Arts, Los Angeles, CA
Photo: Joshua White
MATTHEW RITCHIE
The Dawn Line
2008-2013
Commissioned by Thyssen-Bornemisza Art Contemporary
Installation view: Architectural Environments for Tomorrow, Museum of Contemporary Art Tokyo, Japan, 2011
MATTHEW RITCHIE
with LISA RANDALL and HÈCTOR PARRA
Hypermusic: Ascension
Solomon R. Guggenheim Museum
New York, NY
March 11, 2010
Performance presented in conjunction
with the exhibition:
Contemplating the Void: Interventions
in the Guggenheim Museum
February 12-April 28, 2010
MATTHEW RITCHIE
with LISA RANDALL and HÈCTOR PARRA
Hypermusic: Ascension
Solomon R. Guggenheim Museum
New York, NY
March 11, 2010
Performance presented in conjunction
with the exhibition:
Contemplating the Void: Interventions
in the Guggenheim Museum
February 12-April 28, 2010
MATTHEW RITCHIE
Remonstrance
2009
Animation
Female Narrator: Joanna Adler
Male Narrator: Frank Wood
Animation: Nick Roth
Editing: James Case
Music: 'Propolis, (part II)' by Bryce Dessner & Evan Ziporyn
MATTHEW RITCHIE
with AARON and BRYCE DESSNER
The Long Count
Brooklyn Academy of Music
Brooklyn, NY
October 28 - 31, 2009
Performer: Shara Worden
MATTHEW RITCHIE
with AARON and BRYCE DESSNER
The Long Count
Brooklyn Academy of Music
Brooklyn, NY
October 28 - 31, 2009||
Performer: Shara Worden
MATTHEW RITCHIE
The Morning Line
2008-2013
Commissioned by Thyssen-Bornemisza Art Contemporary
Installation view: Istanbul, Turkey, 2009
MATTHEW RITCHIE
Augur
2008
Patinated Bronze
19 1/2 x 19 1/2 x 20 3/4 in.
49.5 x 49.5 x 52.7 cm
Image: Andy Keate
MATTHEW RITCHIE
The Hierarchy Problem
2003
Acrylic wall drawing, rubber and Tyvek carpet, photographic light box, and oil and marker painting
Installation View: Guggenheim Museum, New York, NY, 2007
MATTHEW RITCHIE
Iron City
2007
Animation
Duration: 16:00
Narrator: Frank Wood
Animation & editing: Nick Roth
Music: Piesni Zalobne by Miasto Nie Spalo
Installation view: St. Louis Art Museum, MO, 2007
Installation view: Matthew Ritchie: Proposition Player, MASS MoCA, North Adams, MA, 2004-2005
MATTHEW RITCHIE
Games of Chance and Skill
2002
Zesiger Sports and Fitness Center
Massachusetts Institute of Technology, Boston, MA
MATTHEW RITCHIE
M Theory
2000
Oil and marker on canvas
81 3/4 x 109 3/4 in.
207.6 x 278.8 cm
Since the early 1990s, Matthew Ritchie has developed an installation and painting practice drawing from the vocabularies of science, sociology, anthropology, mythology and the history of art. In his paintings, installations, wall drawings, light boxes, sculptures, projections, artists books and performances, Ritchie describes the generation of systems, ideas, and their subsequent interpretations in a kind of cerebral web, concretizing ephemeral and intangible theories of information and time in a unique and recognizable gestural form that emphasizes the human trace.
In 1997, Ritchie began a series of paintings and installations titled The Main Sequence, which aimed to represent visually a theory of everything through a fragmented narrative. Each painting in the series developed as part of an interactive game that attempted to summarize an entire field of knowledge, such as physics and biology, into a multi-layered and immersive story. The central question of The Main Sequence, whether any one person can see and represent the entire universe, evolved into projects and collaborations in film, theater, music, and architecture, working closely with physicists, musicians, architects, engineers, and theorists to explore the possibility of shared systems and aggregations in contexts as diverse as opera, contemporary music, architecture, horticulture, urban design, theology, and science, as well as frequently bridging the analog and digital worlds with interactive projects at ada-web, Eyebeam, SFMoMA and Rhizome.
Ritchie is also committed to ambitious public art projects that can project complex ideas into shared spaces. In Games of Chance and Skill (2002) a permanent installation commissioned by the Massachusetts Institute of Technology, Ritchie's works sprawl across three different surfaces habitually employed by the artist: opaque wall, translucent light panel, and transparent windows. A similar combination of media can be found in his most recent permanent work Everything That Rises Must Converge (2017) at Cornell Tech, which rises in a column of information over four floors. His multi-part installation The Hierarchy Problem (2003) incorporates a black latticework structure, a drawing in space, suspended above a colorful floor piece and flanked by light boxes, paintings and a large wall drawing. The Morning Line (2008) extends this concept of drawing in space to a vast series of tetrahedral architectural elements, which contain a collaborative interactive music and film database, while This Garden At This Hour (2014) integrates environmentally-scaled sculptures and over 10,000 plants to create a taxonomical and molecular garden.
Over the last several years, Ritchie also embarked on a project to chart a comprehensive visual history of the notational mark, or diagram. Divided into three parts, The Temptation of the Diagram, Surrender to the Diagram and The Demon in the Diagram, the ongoing project has thus far manifested in a series of paintings, performances, installations, and a publication that examines the influence on notational language on the systems and production of knowledge. Ritchie's newest body of work, Time Diagrams, an ambitious one-hundred part sequence of paintings, floor, wall and performance works, seeks to examine the structure and informational language of history, in the same way The Main Sequence examined the informational language and structure of space.
Matthew Ritchie (b. 1964) has exhibited internationally over the past two decades, including solo presentations at the Moody Center for the Arts at Rice University, Houston, TX (2018); Institute of Contemporary Art, Boston, MA (2014); ZKM Karlsruhe (2012), Barbican Theatre, London, UK (2012); Brooklyn Academy of Music (2009), NY, St. Louis Art Museum, MO (2007); MASS MoCA, North Adams, MA (2004), Contemporary Art Museum, Houston, TX (2003); and Dallas Museum of Art, TX (2001). He is currently the 2018-19 Dasha Zhukova Distinguished Visiting Artist at MIT Center for Art, Science & Technology. Ritchie’s work was included in the 1997 Whitney Biennial, the 2002 Sydney Biennale, the 2004 Bienal de Sao Paulo, the 2008 Seville Bienal, the Havana Bienal, and the 11th International Architecture Biennial, Venice, Italy (2008) as well as major exhibitions at the Solomon R. Guggenheim Museum, New York, NY; Museum of Modern Art, New York, NY and the San Francisco Museum of Modern Art, CA. His work is in the permanent collections of the Museum of Modern Art, New York, NY; Solomon R. Guggenheim Museum, New York, NY; Whitney Museum of American Art, New York, NY; San Francisco Museum of Modern Art, CA; and the MIT List Visual Arts Center, Boston, MA among others. Ritchie lives and works in New York.