Ritchie Matthew

Biografia

Matthew Ritchie nasce a Londra nel 1964. Nel 1982 è alla Boston University, Boston, Massachusets; dal 1983 al 1986 frequenta la Camberwell School of Art a Londra dove consegue il BFA. Comincia ad esporre le sue opere con altri artisti nel 1990. La sua prima personale è del 1995 alla Basilico Fine Arts di New York. Negli anni successivi espone nelle più importanti città americane ed anche nei musei di arte moderna americani a Dallas, Huston, San Francisco, Miami . In Europa sue mostre sono allestite in Inghilterra, Francia, Svezia, Svizzera, Spagna, Finlandia, Germania, Grecia ed Italia. Partecipa ad importanti manifestazioni in Brasile, Australia, Giappone . Nel 1997 partecipa alla Biennale di Whitney, nel 2002 alla Biennale di Sidney e nel 2004 alla Biennale di San Paolo. In Italia è presente in una collettiva nel 1996 alla Galleria d’Arte Moderna e Contemporanea e Pinacoteca Nazionale a Cesena dal titolo Adicere Animos ed al Castello di Rivoli nel 2001 è presente a Form follows fiction curata da J. Deitch che vuole dimostrare che l’evoluzione dell’ultimo decennio dell’arte determina che la forma segue la finzione, cioè che realtà e finzione, nell’arte contemporanea, si fondono in una commistione che vede nuovi e vecchi linguaggi, nuovi modelli e vecchie icone confluire in una definizione della realtà che è tanto immaginaria quanto reale. Matthew Ritchie vive e lavora a New York .

Poetica

Matthew Ritchie con le sue opere vuole rappresentare l’universo intero nonché le strutture del sapere e le convinzioni che si utilizzano per comprenderlo e visualizzarlo. Il progetto enciclopedico di Ritchie ( in continua evoluzione ed espansione come lo stesso universo) deriva dalla sua immaginazione che crea una mappa concettuale piena di allusioni alla mitologia, alla religione giudaico- cristiana, pratiche occulte, tradizioni gnostiche ed elementi e principi scientifici. Con i suoi dipinti, le installazioni ed ogni sua opera o scritto Ritchie delinea la formazione dell’universo ed i tentativi ed i limiti dell’umana conoscenza per poter comprendere la sua vastità e complessità . Anche l’informazione è oggetto del suo lavoro. Ritchie è artista poliedrico e crea opere su carta, lightbox, disegni, dipinti floor-to- wall, installazioni, sculture sospese, siti web, video e racconti che legano la molteplicità dei linguaggi in una struttura narrativa. Il disegno è sempre e comunque fondamentale nella sua opera. I disegni vengono poi scannerizzati in modo da poter poi ingrandire, togliere, rimpicciolire e rendere tridimensionale, riformulare, trasformare in giochi digitali. Coi suoi dipinti e disegni astratti l’artista esplora i temi della realtà virtuale, l’inconscio profondo. Lo stesso Ritchie afferma tutto ciò che ognuno cerca di fare è produrre idee nuove; egli cerca di raffigurare l’universo conosciuto e l’opera la cella universale è la materializzazione di un suo pensiero se l’universo è una prigione, questa è la tua cella…e la trascini con te ovunque tu vada. Ogni categoria ontologica e materiale stabile diventa scivolosa come il mercurio e ogni genere di dato sembra pronto per la trasformazione in un altro. Egli riflette su come gli esseri umani filtrino l’informazione per vivere le loro vite possiamo alzare il volume ancora un po’ di più? egli domanda .

Opere

The universal cell Sua opera emblematica in cui combina biologia, mitologia, alchimia, fisica e storia dell’arte per creare enormi tele stratificate che attraverso un turbinante movimento di forme lineari, sembrano delineare una visione dall’interno. I dipinti ( 4 in tutto) sono interconnessi tra di loro e con le mura stesse dove l’autore estende i dipinti con disegni murali che conferiscono energia allo spazio e avvolgono il visitatore in questo mondo inventato. Al centro di tutto questo si trova una forma scultorea nella quale si può entrare, cambiando così l’esperienza visiva e dando al complesso anche una capacità interattiva. The proposition player In questa opera crea una serie di giochi per esplorare il continuum del rischio, della possibilità e delle connessioni universali. Alla grande mostra di Houston, che porta questo titolo, il museo è trasformato in una strana divertente casa di graffiti in cui l’autore illustra l’idea di un universo in cui tutto avviene contemporaneamente in un continuum di spazio e di tempo. I visitatori ricevono una carta dal suo mazzo di 49 soggetti. Fra i soggetti: Belzebù, chiamato anche Bubba, è eviscerato dal suo compagno di gioco Lucifero, ovvero Lucky, che è a sua volta decapitato in una azione malvagia che esemplifica il deterioramento di tutto. Purson, il controllore del tempo, settimo giocatore d’azzardo, membro del club con Astoreth, l’ermafrodita amante di Stanley, baro monocolo chiamato anche Satan-El, riuniti al Brochton Holiday Inn appena fuori Boston un attimo prima del Big Bang , appare e trascina via la testa di Lucifero. Questa azione rappresenta l’integrazione di energia, luce, materia e tempo ( E=mc2 ) o, come sostiene Ritchie, le condizioni necessarie per la produzione artistica. The fine constant , The god impersonator, The proposition player rappresentano anche ipotetici dadi fatti con l’astragalo dell’alce preistorica, parte di una immaginifica macchina, rivestita di Sintra, che non va da nessuna parte e non fa niente Installazioni permanenti: games of chance and skill Albert and Barrie Zesiger Sports and Fitness Center, Massachusetts Institute off Technology, Cambridge, Massachusetts ; the deep six, Shiodome City Center, Tokyo Web projects: the new place San Francisco Museum of Modern Art, San Francisco ; the hard way Walker art Museum Minneapoli Minnesota ; games of chance and skill Massachusetts Institute of technology Cambridge. Curatorial projects : the father costume by Artspace books ; demonclownmonke y Artists Space New York; artists on artists lecture series Dia Center for the Arts New York ; the ruined map zing magazine Video : Proposition player game The universal cell Abstraction & figuration Drawing

==Scritti critici:== numerosi articoli su flash art , segno, hirsch foundation, fat magazine, pier arts centre, zingmagazine incomplete projects, mit, edition for parkett, edition for artists space.

Musei - Opere in pubbliche collezioni: Whitney Museum of american art, New York; Museum of modern art, New York; Solomon R. Guggenheim Museum, New York; JoslynMuseum of art ,Omaha, Dallas museum of art, Dallas

Bibliografia

==Monografie:== Matthew Ritchie: Proposition Player. Published by the Contemporary Arts Museum, Houston, and Hatje Cantz, 2003. Matthew Ritchie. Incomplete Projects 02. Published by Dallas Museum of Contemporary Art, 2001 Matthew Ritchie. The Big Story. Published by Cleveland Center for Contemporary Art, Ohio, 1999 Matthew Ritchie. Projects. Published by Basilico Fine Arts, NY, 1998 Matthew Ritchie The Hard Way. Published by Galerie Meteo, Basilico Fine Arts, c/o- Atle Gerhardsen, 1996 ==Cataloghi== Fabulism. Published by the Joslyn Museum of Art, Omaha, Nebraska, 2003. Drawing Now. Published by The Museum of Modern Art, New York, 2002 Was Malerei hute ist. Published by Opelvillen Russelsheim, Germany, pp. 20-23 Painting Pictures. Painting and Media in the Digital Age. Published by Kunstmuseum Wolfsburg, Germany, p. 223, 2003 Drawing Now: eight propositions. Published by The Museum of Modern Art, New York, pp. 86-87, 2002 Vitamin P. Published by Phaidon Press, New York & London, 2002 Exploring the Invisible: Art, Science, and the Spritual. Published by Princeton University Press, Princeton & Oxford, 2002 Reality Check: Painting in the Exploded Field. Published by The California College of Arts and Crafts, San Francisco, 2002 Parkett 61. Published by Parkett, Zurich, New York & Frankfurt, 2001 Futureland. Published by Stadtisches Museum Abteiberg Monchengladbach & Museum van Bommel van Dam Venlo, 2001 American Visionaries: Selections from the Whitney Museum of American Art. Published by Henry N. Abrams, Inc., New York, 2001 010101: Art in Technological Times. Published by The San Francisco Museum of Modern Art, San Francisco, 2001 The Fast Set. Incomplete Projects 01. Published by Museum of Contemporary Art, N.Miami, 2000 The Mystery of Painting. Published by Ingvild Goetz, Rainald Schumacher, Munich, 2000 Cream- contemporary art in culture. Published by Phaidon Press Limited, London, pp. 348-51, 1998 Art on Paper. Published by Weatherspoon Art Gallery, University of North Carolina at Greensboro, NC, 1997 1997 Whitney Biennial. Published by Whitney Museum of American Art, NY, 1997 Project Painting. Published by Basilico Fine Arts and Lehmann Maupin Gallery, NY, p.29, 1997 New Art. Published by Harry N. Abrams, Inc., NY, p.108, 1997 A Scattering Matrix. Published by Richard Heller Gallery, CA, 1996 Adicere Animos. Published by Mostra Mulimediale d’Arte Contemporanea e d’Avaguardia, Commune di Cesena, Italy, p. 147, 1996 Verruckt. Published by Kulturstiftung Schlob Agathenburg, pp. 41-44, 1995 Mobius Strip. Published by Basilico Fine Arts, NY, 1995 A Vital Matrix. Published by Domestic Setting, CA, p.22, 1995 Between the Acts. Published by Icebox, Athens, Greece, 1995 The Anatomy of Redemption, Published by Segno, pp. 52-55, January- February 1994 Vision Machine. Published by Musee des Beaux-Arts de Nantes, France, p. 109, 2000

Recensioni

2004 Wei, Lilly. Art News. “The Cosmos According to Matthew Ritchie‿. Summer 2004, pp.148-151 Ohlin, Alix. Art Papers. “Inexact Science, Matthew Ritchie’s Dream Universe‿, July/August 2004, pp.28-33 BT, “Mathew Ritchie‿, April 2004, pp. 176-177 Blumenthal, Ralph. The New York Times. “An Art Show From Before The Big Bang‿, January 20, 2004 , Section E, p.1, 5 Elle. “Eye Candy. Three Art Shows You Don’t Want to Miss‿, January 2004, p. 46 Gupta, Anjali. Tema Celeste. “Reviews: Contemporary Arts Museum‿, May/June 2004, p. 96 Kahn, Joseph P. The Boston Globe. “Mr. Universe‿, April 11 - 2004, N1 Seed. “Spring Listings. Matthew Ritchie: Proposition Player‿, Spring 2004, pp. 38-39

2003 Griffin, Tim. Artforum. “’80s Again‿, April 2003 p. 78 Pulfer, Reto/ Wiesner, Christophe. Neue Review – Art in Berlin, “Matthew Ritchie: After the Father Costume‿, Ausgabe 2, Juli 2003, p. 11 Richard, Frances. Artforum. “Matthew Ritchie: Andrea Rosen Gallery‿, January 2003, p. 136 Siegel, Katy. Artforum. “Preview: Matthew Ritchie Contemporary Arts Museum‿, September 2003, p. 81 Stange, Reimar. Der Tagesspiegel, “Augen wie Billardkugeln‿, Berlin, Sonnabend, 10. Mai 2003, p. 28 Wilson-Goldie, Kaelen. Art & Auction. “The New Abstractionists‿, July 2003, pp. 92 – 97 Yablonsky, Linda. ARTnews. Review of Drawing Now: Eight Propositions, p. 199, January 2003

2002 Dunham, Carrol/Rothkopf, Scott. Artforum. “Road Food‿ (project curated by Carrol Dunham for Artforum), November 2002, pp. 132-137 Kunitz, Daniel. The New York Sun. “Drawings That Provoke Exasperation and Admiration‿, November 7 2002 Schjeldahl, Peter. The New Yorker. “The Drawing Board‿, November 4 2002 Smith, Roberta. The New York Times. “Retreat From the Wild Shores of Abstraction‿, October 18 2002 Saltz, Jerry. The Village Voice. “Good on Paper‿, October 30 – November 5, 2002 Valdez, Sarah. Paper. “Art’s New Hope‿, November 2002, p. 12 (insert) Smith, Roberta. The New York Times. “Cracking the Same Mold With Different Results‿, November 14 - 2002, p. E38 Saltz, Jerry. The Village Voice. “Good on Paper‿, November 31 2002 Firstenberg, Lauri. Flash Art. “Painting Platform in NY‿, November-December, 2002, pp.70-75 Lloyd, Ann Wilson. The New York Times. “Art is a Necessity Among Techies, Too‿, December 15 - 2002, pp.50-51 Chambers, Christopher. D’Art. “Notes from the Dawn of Time‿, Vol. 5, No. 3, Fall 2002, p. 31 2001 Bomb. “Art Program 2001‿, Fall 2001, p. 13 Bomb. “Art Program 2001‿, Summer 2001, p. 13 Bourbon, Matthew. NYArts. “Gambling ‘Over Seven Pays Even’‿, March 2001 Buck, Louisa. The Newspaper International Edition. “Matthew Ritchie‿, October 2001, p. 74 Coomer, Martin. Time Out London. “Matthew Ritchie‿, November 20, 2001, p. 63 de Cruz, Gemma. Art Review, “Matthew Ritchie‿, London, October 2001, pp. 64-67 Galison, Peter and Caroline Jones. Parkett. “Theories and the Dead‿, No. 61, pp.148-153 Gilmore, Jonathan. Tema Celeste. “Matthew Ritchie: Andrea Rosen‿, January/February 2001, p. 94 Jones, Ronald. Frieze. “Matthew Ritchie‿, no. 58, pp. 101-102 Kutner, Janet. The Dallas Morning News. “Particle Poetics‿, March 7 -

2001, p. 5C Marcus, Ben. Parkett. “The Last You Need to Know About Radio‿, No. 61, pp.162-169 Nakamura, Marie-Pierre. art actuel. “Matthew Ritchie‿, pp. 70 – 73, January - February, 2001 Nugent, Benjamin. Time. “Innovators. Time 100: The New Wave‿. October 15 2001, p. 91 O’Connor, John. ArtistSpectrum. “Diagramming Preference‿. Volume 10, pp. 5-9 Princenthal, Nancy. Art in America. “The Laws of Pandemonium‿, May, pp. 144-149 Rabinowitz, Cay Sophie. Parkett. “Not Two, Not Three, Not Even Four Dimensions‿, No. 61, pp. 138-141 Schwabsky, Barry. Artforum. “Matthew Ritchie: Andrea Rosen Gallery‿, January, p. 137 Steward Heon, Laura and John Ackerman. “Unnatural Science‿, exhibition catalogue, Mass MoCA, Spring 2000-2001 Sugiura, Kunic. Bijutsu Techo. pp. 138-139 Tema Celeste. “News & Around: MASS MoCA‿, January-February, p. 119

2000 Cotter, Holland. The New York Times. “Matthew Ritchie‿, November 24, p. E36 Ellis, Patricia. Flash Art. “Matthew Ritchie: That Sweet Voodoo You Do‿, November-December, pp. 88-91 Glueck, Grace. The New York Times. “Creative Souls Who Keep the Faith or Challenge Its Influence‿. May Hunt, David. Time Out New York. “When Worlds Collide‿, November 16-23, p. 81 Kastner, Jeffrey. The New York Times. “An Adventurer’s Map to a World of Information‿, October 15, p. AR37 Kato, Emiko. Studio Voice, “Matthew Ritchie‿, vol. 297, Tokyo, Sep., p.33 Levin, Kim. The Villiage Voice. “Masters of the Universe‿. May 22, p. 125 Mack, Gerald. CASH. “Big Bang in Farbe‿. No. 21, May 26, p. 85 Moshkovitz, Boris. Flash Art. “Ritchie at MoCA‿, May-June, p. 55 Plagens, Peter. Newsweek. “A Lifetime Passion for Collecting‿, October 16, p. 72 Saltz, Jerry. The Village Voice. “Out There‿, November 28, p. 79 Sischy, Ingrid. Vanity Fair. “Gotta Paint!‿, February, pp. 140-147 Wilson-Goldie, Kaelen. Black Book. “Matthew Ritchie’s Matrix: An Artist Re-creates the World in Seven Steps‿, Summer, pp. 56-58

1999 Chambers, Kristen. Mythopoeia. February (brochure) Anton, Saul. Art/Text. “In-form‿, January/February, pp. 96-97 Brown, Cecily. Flash Art. “Painting Epiphany: Happy Days Are Where, Again?‿, May/June, Dobrzynski, Judith. The New York Times. “In Olympics of Art World, Anything for an Edge‿, June 17, pp. C1-C4 Gerster, Ulrich. Neue Zürcher Zeitung. “Rückzugsmodelle‿, October 29, p. 46 pp. 76-79 Fox, Catherine. The Atlanta Journal Constitution. “Mixing It Up in Style‿, August 21 Jones, Ronald. Frieze. “Continued Investigation of the Relevance of Abstraction‿, June/July/ August, pp. 102-103 Joo, Michael. Performing Arts Journal. “The Hard Way‿, September, pp. 77-79 Kastner, Jeffrey. Art/Text. “The Weather of Chance: Matthew Ritchie and the Butterfly Effect‿, May- July, pp. 54-59 Kane, Mitchell, Ritchie, Matthew, Lunenfeld, Peter, Grey, Michael Jaoquin. Tt (Double T): A Working Model to Develop a Hybrid Product, October (catalogue) Litt, Steven. The Plain Dealer. “Telling the Big Story‿, February 28, pp. 1H- 5H Levin, Kim. The Village Voice. “Matthew Ritchie‿, November 24, p. 76 Patterson, Tom. Winston-Salem Journal. “Off-beat: Exhibit Rewards Curiosity and Hard Work‿, Mader, Rachel. springerin. “mondo imaginario‿, April, pp. 72-3 McDonough, Tom. Art in America. “Matthew Ritchie at Basilico Fine Arts‿, May, p. 159 May 17, p. E4 Pinchbeck, Daniel. The Art Newspaper. “New York Artist Q & A: Matthew Ritchie‿, no. 86, Ritchie, Matthew. art/text. “The New City‿, May-July, No. 65, pp. 74-79 Ritchie, Matthew. The New York Times Magazine. “Mapping the Millennium‿, September 16, pp. 100-101 November, p. 71 Relyea, Lane. Artforum. “Virtually Formal‿, September, pp. 126-133 Sandberg, Lotte. Aftenposten. “Explosivt Ekspanderende Maleri‿, August 26, p. 28 Scott, Andrea. Time Out New York. “Conceptual Art as Neurobiological Praxis‿, April 23 Ritchie, Matthew. Flash Art. “Love, Sweat, and Tears‿, November-December, pp. 78-80 Saltz, Jerry. TimeOut New York. “Franz Ackerman‿, January 8-15, p. 50 Smith, Roberta. The New York Times. “Continued Investigation of the Relevance of Abstraction‿, February 12, p. E39 Simpson, Bennett. ArtByte. “The Law of Large Numbers: Chan Schatz and the Production of Production‿, October – November, pp.48-52 Zimmer, William. The New York Times. “7 Artists Integrate Color and Rudeness‿, January 10 Zimmermann, Mark. PAJ. “Colloquial Arabesques‿, May, Vol. XXI, No. 62, pp. 72-75 Smith, Roberta. The New York Times. “Matthew Ritchie‿, November 13, p. E40 Yablonsky, Linda. Time Out New York. “Matthew Ritchie, The Gamblers‿, November 26 – December 3, p. 63 Flash Art. “Parallel Worlds‿, May/June, p. 46 Folda de Sao Paulo. “Mostra questionam formas de percepção‿, March 3

1998 Jornal da Tarde. “Trabalhos que vão alem do estetico‿, March, p. 8C L’Uomo Vogue. “Matthew Ritchie‿, September, pp. 296-299 The New Yorker. “Matthew Ritchie‿, November 23, p. 18

1997 Adams, Brooks. Art in America. “Turtle Derby‿, June, pp. 34-40 Atamian, Christopher. Review. “Project Painting‿, October 1, pp. 19-20 Bankowsky, Jack. Artforum. “Whitney Watch‿, March, pp. 31-34 Bayliss, Sarah. On Paper. “Blake’s Progress‿, Vol. 1, No. 5, May – June, pp. 24-27 Bayliss, Sarah. World Art. “The Informers‿, No. 13, pp. 66-68 Berman Jennifer. Bomb. “Matthew Ritchie‿, Spring, pp. 60-65 Cullum, Jerry. The Atlanta Journal-Constitution. “Matthew Ritchie: Omniverse‿, November 28, pQ7 Danto, Arthur. The Nation. “The 1997 Whitney Biennal‿, pp. 30-34 Dorsey, John. Baltimore Sun. “Biennial Serves It’s Purpose‿, April 6, 1997 Drolet, Owen. Flash Art. January-February, pp. 98-99 Greene, David A. Frieze, “Project Painting‿, Dec., pp.90-91s Halle, Howard; Saltz, Jerry; Yablonsky, Linda. Time Out New York. “Sometime at the Whitney‿, April 3-10, pp. 39-40 Heartney, Eleanor. Art in America. April, p. 114 Jana, Reena. Flash Art. “New Work: Drawings Today, San Francisco Museum of Art‿, October, p.75 Joo, Michael. Performing Arts Journal. “The Wheel of Life‿, No. 57, September, pp. 77-79 Kastner, Jeffrey. Art/Text. “The Weather of Chance: Matthew Ritchie and the Butterfly Effect‿, May- July, p. 54 Kaufman, Jason Edward. The Arts Newspaper. “The 69th Whitney Biennial, New York‿, March Kimmelman, Michael. The New York Times. “Narratives Snagged on the Cutting Edge‿, March 21, Weekend Section Knight, Christopher. Los Angeles Times. “Show Time at Biennial: Send in the Big Crowds‿, 21-Mar Knode, Marilu. zing magazine. “A Scattering Matrix: Richard Heller Gallery, Santa Monica Museum of Modern Art, San Francisco‿, October, p. 75 MacRitchie, Lynn. London Financial Times. “Time and Space at the Whitney Rave‿, March 30 Mahoney, Robert. Time Out New York. January 16-23, p. 37 Marguerin, Mathieu. Blocnotes. “Matthew Ritchie: The Hard Way‿, January – February, pp. 120-121 McKenna, Kristine. Los Angeles Times. “It Happens Every Two Years‿, March 9, p. 3 Murdock, Robert M. Review. “Project Painting‿, October 1, pp. 20-21 Nahas, Dominique. Review. “In Focus: The 1997 Whitney Biennial‿, April 1, p. 6 Perrott, Jeff. Arts Media. “The Body of Painting‿, March, p. 31 Schaffner, Ingrid. Artforum. March, p. 93 Schjedahl, Peter. Village Voice. “Museumification 1997‿, April 1, pp. 80-81 Schjedahl, Peter. Village Voice. “Painting Rules‿, September 30, p. 97 Searle, Adrian. Frieze. “Nowhere to Run‿, Issue 34, May, pp. 42-47 Sichel, Berta. O Estado de S. Paulo. “Whitney realiza última bienal do século‿, March 29, p. D12 Silver, Joanne. Boston Sunday Herald. February 2, p. 44 Smith, Roberta. The New York Times. “Project Painting‿, September 26, p. E38 Smith, Roberta. The New York Times. “In-Form‿, July 4, p. C24 Solomon, Deborah. The Wall Street Journal. “The Gallery: The Whitney Biennial‿, March 25, p. A16 Vogel, Carol. The New York Times. “Inside Art: Buying Biennial Works‿, June 6, p. C21 Zeaman, John. The Record. “The World according to Whitney‿, March 28

1996 Bell, J. Bowyer. Review. “Architecture/Application/Complication‿, May, p. 27 Blom, Ina. Material. “Between The Acts, Gallery c/o Oslo‿, No. 29, Summer Blom, Ina. Aftenposten. December 30, p. 13 Cotter, Holland. The New York Times. “Matthew Ritchie ‘The Hard Way’‿, November 15, p. C21 Dikeou, Devon. Eyilon. “Destruction has it’s own Beauty‿, February 25 Drolet, Owen. Flash Art. “Matthew Ritchie at Basilico Fine Arts‿, Summer, p. 129 Galloway, Alex. galloway@halycon.com. “Review of ‘The Hard Way’‿, October 29 Levin, Kim. The Villiage Voice. “Voice Listings: Recommended‿, November 12 Melrod, George. Art & Antiques. November, p. 28 Moody, Tom. Art Papers. “AbFab‿, November/December, p. 56 Perdich, Maria. Downtown. “Devon Dikeou: ‘The Little Ghost of the Act’‿, January/February Petrhnou, Cristina. The Art Magazine. “Between The Acts‿, March – April, No. 22, p. 66 Princenthal. Nancy. On Paper. “Artist’s Book Beat‿, Vol. 1, No. 1, September – October Rubbini, Alice. Juliet Art Magazine. No. 80, December ’96 – January ’97, p. 58 Saltz, Jerry. Time Out New York. “The Hard Way‿, November 7 – 14, p. 40 Schaffner, Ingrid. Artforum. “Matthew Ritchie‿, March, p. 93 Servetar, Staurt. Artnet. “Masters and Notable Seconds‿, October Tsingou, Emily & Dikeou, Devon. The Art Magazine. “Do the Right Thing‿, Issue 24, p. 78 Adicere Animos, Mostra Multimediale d’Arte Contemporanea e d’Avaguardia. Comune di Cesena, Italy, p. 147 Konst Världen, Stockholm, No. 2, May – June, p. 70

1995 Brockmann, Adolph. Hamburger Abendblatt. “Videos vom Stillen Örtchen‿, September 25, p. 31 Danek, Sabine. Szene Hamburg. “Gegen die Geschlechtertrennung‿, November, pp. 108-109 Drolet, Owen. Flash Art. “Matthew Ritchie at Basilico Fine Arts‿, Summer, p. 129 Kalina. Richard. Art in America. “Matthew Ritchie at Basilico Fine Arts‿, July, p. 85 Kock, Mechthild. Stader Tageblatt. “’Verrückt’: Aggrissiv bis leichtfüssig‿, September 25 Levin, Kim. The Village Voice. “Voice Listings: ‘Möbius Strip’‿, January 24, p. 8 Levin, Kim. The Village Voice. “Voice Listings: Recommended: Matthew Ritchie‿, March 7, p. 8 Schiff, Hajo. Taz Hamburg. “New York im Schloss‿, September 27, p. 23 Servetar, Stuart. NY PRESS. “Matthew Ritchie at Basilico Fine Arts‿, March 1, p. 49 Smith, Roberta. The New York Times. “Matthew Ritchie at Basilico Fine Arts‿, March 10, p. C20 A Vital Matrix. Domestic Setting, CA, p. 22 Between the Acts. Icebox, Athens, Greece

1994 Drolet Owen. Flash Art. “Group Show at Mitchell Algus, New York‿, October, p. 53 Han, M.T. Flash Art. “Matthew Ritchie at Leonora Vega‿, Summer, p. 139 Lezama, Manuel. The San Juan Star. “Matthew Ritchie, Nestor Otero‿, April 27 Rouette-Gomez, Enid. The San Juan Star. “Matthew Ritchie Continues Quest for Perfection‿, 17-Apr Smith, Roberta. The New York Times. “For the New Galleries of the 90’s Small (and Cheap) is Beautiful‿, April 22 p. C22 Stapen, Nancy. The Boston Globe. “The Circumscribed Imagination on the Ruins of Tradition‿, 6-Oct

Webliografia

www.pbs.org/art21/artist/ritchie

www.andrearosengallery.com

www.thetearsofthings.net/archives/000103.html

www.youth2youth.org/talking/ritchie

www.aletedizioni.it/autoridetail

www.findarticles.com/p/articles

www.artandjobmagazine.com

www.theartnewspaper.com

art in America new direction.htm

www.sfmoma.org/01010

adaweb.walkerart.org/influx/hardway

web.mit.edu/matthew-ritchie

urban desires.com

fabrik workshop

www.artnet.com