Introduction: Structures (01:14)

FREE PREVIEW

Actor Sam Waterston hosts this video featuring four artists whose work is influenced by structure.

Matthew Ritchie: Shared Integrity (04:08)

Ritchie describes his work as having shared integrity between himself, the computer program, and the stranger executing the final product. Working with infinite resolution allows Ritchie to modify the size of the work without compromising it.

Matthew Ritchie: From Drawing to Structure (03:31)

Ritchie's work means to expand automated experiential senses; to cause viewers to hear, see, feel more. In an effort to sustain the integrity of the drawing, Ritchie's structures maintain a flat aspect.

Matthew Ritchie: Infinite Freedom (02:20)

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: Evolution of Abstraction (02:50)

Abstraction from Ritchie's earlier work later evolved into figures resembling people.. He argues "it is dangerous" to separate narrative and structure when reading visual art.

Fred Wilson: Speaking through Structures (04:43)

"Everything I want to sat, I say by putting things together" - Wilson suggests when you believe in what you're doing, you do your best work. Ease arises not from simplicity when he works, but because it flows from him.

Fred Wilson: Drip and Spot Printmaking (02:49)

Wilson's fascination with drips and drops leads to a unique printmaking technique. He explores his identity, seeped in deep sadness, through the drip, drop, and spot pieces.

Fred Wilson: Meta-Narrative (03:59)

Wilson creates a meta-narrative of museum display. He enters the museum as a sponge, familiarizes himself with his surroundings, then creates a piece. The museum is his palate.

Fred Wilson: Questions for Picasso (01:16)

Wilson suggests modernism destroyed traditional African culture. He asks of Picasso and modernism, "if your modern art is our traditional art, does that make our contemporary art your cliche?"

Richard Tuttle: Possibility of the Invisible (02:54)

"Art is life" - Tuttle, an expressionist, explores art and its opposite condition. Visual art exhibits what it is and what it is not; commenting on the invisible.

Richard Tuttle: Weaving Architecture and Art (01:42)

Tuttle refines his sense of limitation and looks in the in-between. He weaves his art with the architecture of his home and uses color to create a capacity for connection and fluidity.

Richard Tuttle: City-like Exhibition (03:17)

Tuttle sees his exhibition as a city; visitors piecemeal experiences based on interest. His work comments on the "old division" between realism and idealism, leaving art as truth.

Richard Tuttle: Drawing Blue (02:48)

"Make a drawing of blue." - Tuttle is fascinated by the parts the viewer can't see. He attempts to bridge the polarity of being a part of society while creating a part of society through the paint brush.

Roni Horn: Meaning of Water (02:12)

Horn's ambitions lie in the dialogue with her surroundings. Her affinity with water allows for continual rediscovery of its meaning. Humanities relationship to water greatly impacts the construction of its meaning.

Roni Horn: People and Water (01:27)

Horn attempts to bring nature to the interior by showcasing her work at a university in Reykjavik, Iceland. Students flow with the water.

Roni Horn: Mining Iceland (03:12)

Horn experienced a psychological clearing and connection as she lived in an Icelandic lighthouse. She attempts to elicit a landscape effect from the portrait form.

Roni Horn: Portrait of a Girl (04:05)

Horn explores the stages of transformation in a young girl's life through portraits of her niece. She enjoys works depicting disparate motifs coming together in close quarters; view-able from every angle.

Roni Horn: Cabinet Vault (02:11)

A cabinet inside a cabinet in the basement of a formal bank is re-imagined with Horn's psychologically altering portraits of clown faces. Her relationship to her work is "extremely verbal."

Credits: Structures (03:38)

Credits: Structures