Warm pictures from the SupportJeffrey tent:

özden, me and the dog:)

ayça with the photos

voss's version of cave allegory, by inalcan:)

it is a crowded day in tent;)

outside? it is not different

our work...
For the rest of it:
http://supportjeffrey.blogspot.com

Heart Made of Sound/ a stop motion video

Heart Made of Sound
Video sent by Cay

The Softlightes - Heart Made of Sound

A nice stop motion short movie by Kris Moye

i am realizing that there is a stop motion society growing between intermediatics. so i hope you will enjoy this video guys./ stop motion gücü adına!

Happening shots - part 3

Meral and Deniz- after all of the projects were done succesfully.

cocktail foods and drinks.

close-up from my project. love exists.

Ozge

The poster of Meral's project

the film-set of Burak's stop-motion. Nightmare Before Kurban Bayrami :)

Alp's project

Happening shots - part 2

my piece of art.

Deniz's.
Again Deniz's art.

a lovely moment from happening

hehe. it is me with my geek glasses:)

Deniz and Jeffrey's son- he went and asked for a permission from his father for taking his photo.

Here is Pelin - the great cocktail drink maker.

Deniz in the kitchen, before the "happ"ening we were talking "happ"ily

Jeffrey and his family- the other son is missing in this picture.

Happening shots - part 1

the team mates of Ozge.

trying to prepare the cocktail table

our teacher- Jeffrey

Burak and his girlfriend

Meral with her project poster

Meral and Burak

Meral, Ozge and Jeffrey

again the moments before event

Ozge and her team mate.

Post-happening

Entr'acte

"An absolute dada movie. Somebody gets killed, his coffin gets out of control and after a chase it stops. The person gets out of it and let everybody who followed the coffin dissapear." A must see avant-garde film. Directed by René Clair in 1924, you can see the modernists Francis Picabia, Marcel Duchamp, Man Ray, Erik Satie, Darius Milhaud and others in the film.

a poster by Burak Kurt

a poster by Alp Alkaş- second version

a poster by Alp Alkaş

CONTEMPORARY ISTANBUL FAIR @ LUTFI KIRDAR EXHIBITION CENTER, 21-24 ARALIK 2006

I thought it'd be very nice to visit this fair which will be held just 2 days before our happening.
For the interested, its site is


http://www.contemporaryistanbul.com/HTML/ENG/

IT IS REALLY HAPPENING!!!

Everyone is cordially invited to our Intermedia Happening- 2006, fall. In this special occasion Jeffrey Rollins' intermedia students will have the chance to exhibit their separate projects, including short films, stop motion animations, performances, installations and more...

December 26, Tuesday
Boğaziçi University, Albert Long Hall cocktail saloon
4-7 pm

Marina Abramovic - A Yugoslavian performance artist.

Biography that is a blend of realism and the imaginary to retell the life of a Yugoslav performer, Marina Abramovic. With rituals, based on the use of her own body, she explores the bounds of her physical and psychological resistance. This is not, however, mere reproduction of Abramovic's presentations, but rather of building a new reality: the performances are translated into cinema images and built into the fictional context of the film. Marina Abramovic plays herself, and assumes different forms that repeatedly distort or obscure her real identity. Memories blend with fantasy, dreams, artistic rituals, and day-to-day life - as if she were trying to look both ways at the same time, like a head with two faces, one turned towards the past and the other towards the future. This is an endeavor to discover herself and also to lend form to the creative process, with a narrative that frees itself from chronology and follows along with only image and sound. (source ubuweb)



EXPANSION IN SPACE




RELATION IN TIME

Richard Chartier - an ultra-minimalist sound artist

Digital minimal composer, sound installation artist and graphic designer Richard Chartier has made a career of exploring the relationships between the spatial nature of sound, silence, focus, and the act of listening. As an artist, Chartier has been responsible for critically acclaimed releases on 12k/LINE (USA), Trente Oiseaux (Germany), Spekk (Japan), Mutek_rec (Canada), and Fallt (Ireland), including collaborations with artists Taylor Deupree, William Basinski, COH and *0, and has appeared on numerous international compilations.
Jumping into the scene in 1998 with the lauded debut "direct.incidental.consequential," Chartier followed with a series of releases culminating in the release of "Series," the premiere release on his LINE label that was awarded digital music honorable mention by the prestigious Prix Ars Electronica in 2001. Since then, he has released a string of acclaimed solo releases and collaborative works. He’s performed his works internationally at MUTEK (Montreal, Canada), GRM/Maison de Radio France (Paris, France), Observatori (Valencia, Spain), DEAF (Dublin, Ireland), Transmediale (Berlin, Germany), Lovebytes (Sheffield, UK), The Leeds International Film Festival (Leeds, UK), The Rotterdam International Film Festival (Netherlands), Garage (Stralsund, Germany), La Batie (Geneva, switzerland), and other noted digital art/music festivals and at exhibits such as Frequenzen [Hz] at the Schirn Kunsthalle (Frankfurt) and "A Minimal Future? Art as Object 1958-1968" and "Visual Music: Syneasthesia in Art and Music Since 1900" at the Museum of Contemporary Art (Los Angeles).

His music is near-silent. He comments on his own art on his website --> http://www.3particles.com

A significant element of my work over the past several years has been the use of digitally rendered sounds that necessitate a focused engagement on the part of the auditor. Soft and hushed--almost imperceptible--fragments, high frequencies, bursts, static and quiet, low, shifting tones create a complex textural field. Idealized as an asymtotic process of composition which approaches an unattainable paradigm of formalism, the evidence left of the work's creation speaks to an incremental and meticulous process of reduction. Sonic moments placed under a microscope for consideration and eventual emaciation; a cutting away or a deepening within and into an isolated microsecond. Compositional focus often occurs in the space between the sounds....

IN PERFORMANCE
My live performance differs perhaps most significantly from my recorded work by virtue of an increased audibility and activity. The sounds used are selected from a collection of predesigned sounds, culled from past compositions and unreleased work but chosen with attention to the space and situation in which they will be presented as part of a new performative composition.......

(I cut them short, there are the remaining parts in his website)

In one of his interview he told his inspirations:

i have noticed that the things that influence my sound compositions the most have been visual. i think of sound in visual terms which stems from my education as a painter/designer. (and vice versa.. i often describe visual works with sound terms)
harry bertoia has interested me for a long time... his monoprints, his sound sculptures, his recordings, his design. i have collected mid century furniture since 1990 so thats where his work first entered my life.
marcel duchamp... because of the complete interrelationship between his works and his life, and the different mediums he explored.
other visual artists: gyorgy kepes, william baziotes, agnes martin, donald judd... off the top of my head.

For one of his installations with Taylor Deupree click ----> http://www.gfineartdc.com/chartier/chartier.htm

-a comment on his art by Bret McCabe ---> http://www.citypaper.com/special/story.asp?id=5997

and I Promise it will be my last link,

/(^_^)\

downloadable clickie---->

http://rapidshare.com/files/5639597/richard_chartier_-_direct__incidental__consequental_-_01.digisc.mp3

istanbul-venedik

Regina José Galindo(Who can erase the traces?)



http://www.istanbulmodern.org/tr/f_index.html

it feels like you are getting out of the town .
the exhibition is open until 28th of January.
the entrance to the museum is free on thursdays.
the weather is quite cloudy these days.

Some babblings about Sound Art.

I have been planning to write a post about sound art and it is a perfect time to write it. Thanks to Ozge, she put the nice events of Galata Perform.
So let's see.


I have been digging the late electronic music pieces since last year and lately i have found myself trying to learn how it evolved from the very first beginning to today. I felt very surprised when i noticed that every electronic musician that I love to listen are also sound artists when i clicked their personal sites. They say their music has the inspirations of the avant-garde backgrounds of music and they have been doing installations.


So what is sound art?

Over the past century, an artform has emerged between the realms of visual art and music. Created by both composers and sculptors, 'sound art' challenges fundamental divisions between these two sister arts and may be found in museums, festivals, or public sites. Works of sound art play on the fringes of our often-unconscious aural experience of a world dominated by the visual. This work addresses our ears in surprising ways: it is not strictly music, or noise, or speech, or any sound found in nature, but often includes, combines, and transforms elements of all of these. Sound art sculpts sound in space and time, reacts to environments and reshapes them, and frames ambient "found" sound, altering our concepts of space, time, music, and noise.Sound art’s redefinition of artistic space and time -- focusing our attention and changing our perception of particular moments through sound -- is often accomplished through the incorporation of new technologies. Technological advances at the turn of the 20th century provided both the fundamental tools of sound art (such as the radio and phonograph) and the modern concept of noise, which arose in tandem with the machine age. Indeed, the roots of sound art can be traced to that time, when new sounds and mechanical devices radically expanded possibilities in the visual arts and music.(Mass MoCA)


I have downloaded some composers that may be tagged as early electronic musicians, experimentalists, avantgardeners, minimalists, and concrete music is another tag for their genre.




Karlheinz Stockhausen (b.1928)

http://www.furious.com/PERFECT/stockhauseninterview.html

I won't write musical background of Karlheinz Stockhausen since it can be found anywhere, I want to share music of him.

http://rapidshare.com/files/5501164/01.etude__1952_.mp3



Iannis Xenakis,
who said
"with the aid of electronic computers, the composer becomes a sort of pilot: pressing buttons, introducing coordinates, and supervising the controls of a cosmic vessel sailing in the space of sound, across sonic constellations and galaxies that could formerly be glimpsed only in a distant dream"
http://rapidshare.com/files/5507192/iannis_xenakis_-_chamber_music__1955-1990__disc1_-_01_tetras.mp3



There are more than the above two for sure but I have seen their names many times when i searched so decided to introduce them. For the interested people,

http://www.ubu.com/sound/ has a great source of sound artists(not only sound but all intermedia disciplines.)

And lastly, last year I had a chance to watch a film called MODULATIONS (http://www.imdb.com/title/tt0139468/), which tries to introduce the root of electronic music. Full of interviews, impressive visual support and music for sure, if you ever have a chance to see it, you will be more satisfied.

So have a good weekend.

ART-IST EVENT: Yeno Ceno Music Program @ GalataPerform

La Jetee

photo-romans of Chris Marker La Jetee 1962

A graffiti artist - Blek Le Rat

Since it is the first contribution from someone apart from Ozge, i hope this bloggie to become more informative and up-to-date, so let's try to be much more intermediatic :)

From the time i set up my mind to do my project in a graffiti art form, I have been searching for well-known graffiti artists, I have come up with good results and wanted to share one of them with you.

Blek Le Rat is a graffiti artist who started to paint the streets in 1981. His first graffitis were rats, when he was asked why he chose rats, he replies


"I began to spray some small rats in the streets of Paris because rats are the only wild living animals in cities and only rats will survive when the human race will have disappeared and died out"

I'm gonna put some of his words on stencilry and his art, also an interview with Blek le rat. For more information just click this link http://bleklerat.free.fr


1983 the fisrt large figure in the life size I have make in the street. This is an old Irish man yelling against English soldiers in Belfast in the seventie's.The man is very brave because the soldiers are very nervous trying to shoot with their guns some guys from the IRA.The photo was incredible strong.I always been fascinated by the people at the risk of one's life do not hesitate to say what they think. I still use this image in this time and it is the image I have done the most in a lot of different countries.The man took many differebt aspect to the people sometimes he is an old man , sometimes people think he is Buster Keaton or Chaplin or a tramp or an anarchist.I like when my images take different aspect by the place where they are pasted

1991 Joseph Beuys in Paris and Koln in Germany

*sorry for the huuuge sizes of the images, i have just formatted my pc and I haven't got any image editting program.

For more works you can visit his site that is mentioned above.

Interview with Blek Le Rat :

In executing your paintings inside the frame of daily life, you somehow force you art onto by passers. Do you think its necessary to get outside the frame of conventional art to make people think ? Or did you choosed this media in order to reach peoples who usually access the places were art is exhibited ?
Yes, urban art is really a new way for an artist to express himself, as for example when I leave an image in the street I know that the next morning thousands of people will have seen this image. I don’t know if people think more but they are confronted to a form of artistic expression they are not used to. Its changing their way to approach « artistic » images they usually see in galleries or museums. In the case of urban art, it’s the image itself which goes straight to them, and I think that it’s also erasing a bit of the concept of the myth of sacred art! And this is a good thing.
How do you choose the right context for each of your pieces ?
I noticed during those years of work in the streets that the same image, for example the sheep, can take complete different dimensions, depending on the place I will put it. If I place it under the street sign of the Rue Saint Exupery, there will instantly be a Little Prince connotation, if I place it in front of a restaurant the connotation of the sheep can be linked with food for exemple. I mean the great strength of urban art is that it is not static, its changing all the time depending on the place where its made and of the image which is left on the wall. I’m keen on playing with my images and the place were I leave the image.
Also, people who see my image on the wall have the possibility to create their own story of the image they see. For exemple, the old guy shouting in the streets I was doing during the 80’, for some people, was Buster Keaton, for some others he was a homeless, and for others he was an old anarchist shouting against society. I like to leave the possibility to the spectators to use their own imagination while watching my images.
Do you consider to « embellish » the places where you execute your pieces ?
To embellish, I don’t know, anyway we can as much say that the city in general is awfully ugly or wonderfully beautiful. It all depends of your point of view to say so. I don’t have the feeling to embellish the city, I just have the feeling to make the city live, to belong to the city and to leave my trace there.
Can we see a political dimension in your art ?
Social dimension, yes, political I don’t think so as I don’t believe in politics anymore
Do you perceive graffiti as part of a counter culture ?
Yes, certainly at this time but I don’t know if this counterculture will stay one for long as the society love to absorb all counter-culture soon or late. We will be a counter-culture as long as we wont be in the museums, the day we will, we will belong to the culture with a big C.
Finally, which artists inspire you, in graphic arts but also in music or in art in general ?
Today I enjoy rap a lot, I used to like rock a lot. I listen to a lot of rap that my son Alex give me, while I work. I always loved English cinema, I also like a lot English painting of the XXth century, the American and English pop art, and the Greek and Roman antiquity

And finally I wanna share a quotation about graffiti that was appeared on the famous alternative culture magazine, Dazed and Confused magazine --->http://www.dazeddigital.com/

“When you do something for society,even illegal things, people will support you as long as they understand why you’re doing it. When you are negative or attack things , this support disappears.”

see you <3>

PUBLIC LECTURE: Jérôme Game

Department of Western Languages & Literatures cordially invites you to a lecture by Dr. Jérôme Game of American University of Paris. This public lecture examines the recent developments, in the last twenty years, of poetic experimentation in French culture : How do contemporary writers negotiate the legacy of one hundred years of avant-gardist literary practice ? How to they introduce new procedures and media, such as sound and video recording, in their work ? What is the esthetic status of multi-media performances given today ? What is the role played by the voice and the body in poetic readings ? All these questions, and others, will be addressed from a theoretical and critical point of view so as to present a wide panorama of the profuse and very rich poetic production taking place in France today. Excerpts of various recordings and videos will be heard and shown. Jérôme Game will also give a reading of his work.
Friday, November 24, 16:00
Rektörlük Konferans Salonu

Class on Nov. 14: Artifacts & Buckminster Fuller

An artifact is an object that can produce a social change.


Buckminster Fuller was probably one of the first futurists and global thinkers. He is the one who coined the term "Spaceship Earth", "artist-scientist", "desing science"and "synergetics" and his work has inspired and paved the way for many who came after him.

Throughout his life, Fuller was concerned with the question "Does humanity have a chance to survive lastingly and successfully on planet Earth, and if so, how?"

Buckminster Fuller strove to inspire humanity to take a comprehensive view of the finite world we live in and the infinite possibilities for an ever-increasing standard of living within it. Deploring waste, he advocated a principle that he termed "ephemeralization" — which in essence Fuller coined to mean "doing more with less." Wealth can be increased by recycling resources into newer, higher value products whose more technically sophisticated design requires less material. In practice, it has often meant miniaturization, for example, as when table-model calculating machines were succeeded over time by smaller ones, until the calculator of today fits in one's hand. Fuller also introduced synergetics which explores holistic engineering structures in nature.

Fuller was one of the first to propagate a systematic worldview and explored principles of energy and material efficiency in the fields of architecture, engineering and design.
He dedicated himself to advancing the success and fulfillment of humanity and lived by a set of self disciplines; he was deeply concerned about sustainability and about human survival under the existing socio-economic system, yet was profoundly optimistic about humanity's prospects. Defining wealth in terms of knowledge, as the "technological ability to protect, nurture, support, and accommodate all growth needs of life", his analysis of the condition of "Spaceship Earth" led him to conclude that at a certain point in the 1970s humanity had crossed an unprecedented watershed.

What might otherwise sound like an article of faith in some spiritual or philosophical system had for Fuller become an objective fact — that the accumulation of relevant knowledge, combined with the quantities of key recyclable resources that had already been extracted from the earth, had reached a critical level, such that competition for necessities was no longer necessary. Cooperation had became the optimum survival strategy. "Selfishness", he declared, "is unnecessary and...unrationalizable...War is obsolete..."

By considering historical comparisons like the fact that even relatively poor people today are able to travel at speeds and with a degree of comfort which were unobtainable at any price in earlier times, and that illnesses that were fatal even to kings in the past can now be cured with affordable drugs, he concluded that everyone alive today can potentially live like a "billionaire." Hence he described the human race as "four billion billionaires."

Besides important comprehensiveness of thought and his philosophical concepts, Fuller's most lasting insights may be geometric. He claimed that the natural analytical geometry of the universe was based on arrays of tethedra. He developed this in several ways, from the close-packing of spheres and the number of compressive or tensile members required to stabilize an object in space. Some deep confirming results were that the strongest possible homogeneous truss is cyclically tetrahedral.

for more information:

Buckminster Fuller Institution
Buckminster Fuller on PBS

Art-Ist Place: GalataPerform

I want to introduce this intermediatic place, in a second floor apartment, in the historical district of Galata. It has been the production space and main stage of Ve Diğer Şeyler Theatre Company, founded by the playwright and theatre director Yeşim Özsoy Gülan, and has been open to artists and audiences of different disiplines.

The program has contemporary theatre, performance art, dance, video, internet art and new music, as its main ax. It provides an alternative venue for artists where audiences meet marginal and experimental art productions, with a mission is to create a platform for the production of free, authentic, contemporary thoughts and actions, debating prejudices to activate a peaceful project of the future.

The space of GalataPerform, composed of an informal cafe and a performing studio, is not a white cube gallery, neither a hi-tec concert hall. In this respect, it is a space of intensified living or possibilities to spring out among the art work, the venue and the participant. In this space, the performances and the presented images are open to the incidental impact of the venue and of the visitor; in this chaotic order, the art works can't impose themselves, as they can't turn into object-products. The work of art is an energy which serves to create signs, forms, acts or objects, sometimes, in daily ambiences. Consequently, the borders between art and daily life, and the borders between different disciplines disappear. In GalataPerform, the process that the artists and participants live and create all together, becomes a collective work; an organism that keeps on evolving. The elements that form the organism focused on process and not on object, are individual and common thoughts, relations and acts that arise through the presentation or absence of the artistic processes, objects and acts. In this space, nothing remains of the fetish conventional art forms. Artistic processes beyond time and category are perceived.

(taken from their web-site)


There are two events taking place until the end of November.

16 November, Thursday 7.00 pm- Theatre: In the context of "New Text New Theatre" Project there is a talk with Sibel Arslan Yeşilay who is a faculty member of Haliç University Conservatory Theatre Department.
For more information on the Project: www.newtextnewtheatre.org

25 November, Saturday 9.30 pm- Electronic Music: Islak Köpek, free emprovization of five musicians of five different approach.
fee: 10YTL; student: 7.5 YTL

Class on Nov. 7: Intermedia Painting

Stan Brakhage (1933 - 2003) is regarded as one of the most important American filmmakers of the 20th century.

Brakhage was born as Robert Sanders in an orphanage in Kansas City, Missouri. Three weeks after his birth, he was adopted by Ludwig and Clara Brakhage, and he was given the name James Stanley Brakhage.

As a child, he appeared on radio as a boy soprano before going to high school and then dropping out of Dartmouth College after several months to make films. He was influenced by the writings of Sergei Eisenstein and the films of Jean Cocteau as well as the Italian neorealism movement.

In 1953, Brakhage moved to San Francisco where he associated with poets such as Robert Duncan and Kenneth Rexroth. In late 1954, he moved to New York City where he associated with a number of contemporary artists, such as abstract expressionist painters and beat generation poets, among them Maya Deren, Marie Menken, Joseph Cornell and John Cage.

In a time, 1950s, when film id rooted in Hollywood cinema and large productions Stanley Brakhage made his films by himself and one camera. Brakhage's films are usually silent and lack a traditional story, being more analogous to visual poetry than to prose story-telling. He often referred to them as "visual music." His films range in length from just a few seconds to several hours, but most last between two or three minutes and one hour. For him the film itself was also a material. Most of his work was done in 8 mm or 16 mm film, and he frequently hand-painted the film or scratched the image directly into the film emulsion, baked the film in the owen and sometimes used collage techniques. For Monthlight(1963), for example, he stuck moth wings, twigs, and leaves onto tape and made prints from it. He called his style as "closed eye vision" in which painting and cinema work in a totally different way.

Brakhage's work covers a variety of subjects and techniques. Window Water Baby Moving (1959) is a record of the birth of his first child, while 23rd Psalm Branch (1966-67) is a meditation on war that intercuts footage of Colorado, where he lived, with shots of World War II. Dog Star Man (1961-64), perhaps his most famous work, features a man climbing a mountain, shots of stellar objects and more footage of his wife giving birth. It is usually read as addressing the unity of creation. Works from his later periods include the four-part "Faust Series" (1987-89), the four-part "Visions in Meditation" (1989-90), "Passage Through: A Ritual" (1991), and "The Vancouver Island Quartet" (1991-2002). He also completed several more collaborations with musicians, including two more works with music by James Tenney, "Christ Mass Sex Dance" (1991), and "Ellipses #5" (1998). For Marilyn, which was made in 1992 was about his wife and her embodying his concept of God.

Brakhage wrote a number of books, including Metaphors on Vision (1963) and the posthumously published "Telling Time: Essays of a Visionary Filmmaker" (2003). He often gave lectures at universities, museums, galleries, film festivals and so on.

It is believed that the coal-tar dyes he used to paint his films contributed to the cancer.

His work has had some small impact on contemporary art, music videos, mainstream cinema. The credits of the film Seven, with their scratched emulsion, rapid cutaways and bursts of light are very much in Brakhage's style.

Stanley Brakhage: a short information by Fred Camper

Barry McGee
A lauded and much-respected cult figure in a bi-coastal subculture that comprises skaters, graffiti artists, and West Coast surfers, Barry McGee was born in 1966 in California, where he continues to live and work. In 1991 he receiv ed a BFA in painting and printmaking from the San Francisco Art Institute. His drawings, paintings, and mixed-media installations take their inspiration from contemporary urban culture, incorporating elements such as empty liquor bottles and spray-paint cans, tagged signs, wrenches, and scrap wood or metal. McGee is also a graffiti artist, working on the streets of America’s cities since the 1980s, where he is known by the tag name “Twist.” He views graffiti as a vital method of communication, one that keeps him in touch with a larger, more diverse audience than can be reached through the traditional spaces of a gallery or museum. His trademark icon, a caricatured male figure with sagging eyes and a bemused expression, recalls the homeless people and transients who call the streets their home. “Compelling art to me is a name carved into a tree,” says McGee. His work has been shown at the Walker Art Center in Minneapolis, the San Francisco Museum of Modern Art, the UCLA/Armand Hammer Museum in Los Angeles, and on streets and trains all over the United States. He and his daughter, Asha, live in San Francisco.

Matthew Ritchie was born in London, England in 1964, and lives and works in New York. He received a BFA from Camberwell School of Art, London, and attended Boston University. His artistic mission has been no less ambitious than an attempt to represent the entire universe and the structures of knowledge and belief that we use to understand and visualize it. Ritchie’s encyclopedic project (continually expanding and evolving like the universe itself) stems from his imagination, and is catalogued in a conceptual chart replete with allusions drawn from Judaeo-Christian religion, occult pract

ices, Gnostic traditions, and scientific elements and principles. Ritchie’s paintings, installations, and narrative threads delineate the universe’s formation as well as the attempts and limits of human consciousness to comprehend its vastness. Ritchie’s work deals explicitly with the idea of information being ‘on the surface’, and information is also the subject of his work. Although often described as a painter, Ritchie creates works on paper, prints, light-box drawings, floor-to-wall installations, freestanding sculpture, web sites, and short stories which tie his sprawling works together into a narrative structure. Drawing is central to his work, he doesn't think that there are boundries between drawing, sculpture and computer games, though. He perceives it as information. He scans his drawings into the computer so that images can be blown up, taken apart, made smaller or three-dimensional, re-shaped, transformed into digital games, or given to someone else to execute. One ongoing work that Ritchie calls an endless drawing contains everything he has drawn before. Ritchie’s work has been shown in one-person exhibitions at the Dallas Museum of Art; Contemporary Arts Museum, Houston; MASS MoCA; SFMoMA; and the Museum of Contemporary Art, Miami, among others. His work was also exhibited at the Whitney Biennial (1997), Sydney Biennale (2002), and São Paulo Bienale (2004).

An interview by Owen Drolet