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\"title\": \"Roamie View: History Enhancement\",
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\"short_desc\": \"<i>Roamie View: History Enhancement<\/i> reveals JJ as a husk of his former self, overwhelmed by too many experimental personalities and reverted to factory presets. He hires Roamie Hood's (Alison Powell) company to roam backwards through time to research an opportunity for an edit that could alter his future-present.\",
\"long_desc\": \"<i>Roamie View: History Enhancement<\/i> reveals JJ as a husk of his former self, overwhelmed by too many experimental personalities and reverted to factory presets. He hires Roamie Hood's (Alison Powell) company to roam backwards through time to research an opportunity for an edit that could alter his future-present. With Backseat Grace (Rachel Lord) and Liberty Lance (Liz Rywelski), Roamie careens into the suburban lair of three average teenaged boys, and from there into an animated environment strewn with stock footage videos of female assistants, some stomping by cubicles with corporate zeal, others despondent, or off-hours, shopping and twirling bags on the street. But despite all the buoyant exuberance, Roamie and her team fail to make a new JJ moment. Sleek, highrise interiors are thrust forward as the next setting, where Liberty Lance joins JJ in a chrome-cold hotel room, and then Able dons another, residual version of herself to meet a similarly muted woman called Average Katie (Liz Rywelski) in an oceanfront condo. Their ambiguous flirtation suggests that romance is simple and simplicity is romantic. In fact, they are just two bodies in a very special setting. The movie closes with a song. A line goes, \\"you're not the only sky to touch that star.\\" Traversing times and possibilities as physical places, <i>Roamie View: History Enhancement<\/i> collapses the importance of grasping who one is, in favor of where. Who is incidental, contained, monotonous; but an inhabited context is what informs and is informed by an active identity.\r\n\r\n-- Kevin McGarry\",
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\"slug\": \"re-search-wait-s\",
\"title\": \"Re'Search Wait'S\",
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\"completion_date\": \"2010\",
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\"short_desc\": \"<i>Re'Search Wait'S<\/i> comprises four movies: <i>Ready<\/i>, <i>The Re'Search<\/i>, <i>Roamie View : History Enhancement<\/i>, and <i>Temp Stop<\/i>. The setting of this other side of the <i>Any Ever<\/i> diptych is a complicated industry predicated on the supremacy of metaphysically evolved market research.\",
\"long_desc\": \"<i>Re'Search Wait'S<\/i> comprises four movies: <i>Ready<\/i>, <i>The Re'Search<\/i>, <i>Roamie View : History Enhancement<\/i>, and <i>Temp Stop<\/i>. The setting of this other side of the <i>Any Ever<\/i> diptych is a complicated industry predicated on the supremacy of metaphysically evolved market research. The base commodities are personality traits; while ordinarily they are considered malleable, here they ossify into static examples (\\"examplize,\\" to use Trecartin's term) that can be traded among owners. With market research lording both the supply and demand of existence, characters are wrapped in a knot where their every action is studied, and the findings dictate the brands that pilot everything they do. As a picture of modern consumer society literalized to an extreme, <i>Re'Search Wait'S<\/i> verges on social science-fiction; and by examplizing <i>Any Ever<\/i>'s other half into fuel for their own stories, these works tie the seven together as a yin and yang of nihilism and boundless meaning.\",
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\"short_bio\": \"Ryan Trecartin is one of the most innovative young artists working with video today. He was termed \\"the most consequential artist to have emerged since the 1980s\\" by The New Yorker. Trecartin's fantastical video narratives seem to be conjured from a fever dream. Collaborating with an ensemble cast of family and friends, Trecartin merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances. Trecartin crafts startling visions that are thoroughly unique.\",
\"long_bio\": \"Termed \\"the most consequential artist to have emerged since the 1980s\\" by The New Yorker, Ryan Trecartin is one of the most innovative artists working with video today. \r\n\r\nTrecartin's video narratives unfold like futuristic fever dreams. Collaborating with an ensemble cast of family and friends, he merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances. While the astonishing <em>A Family Finds Entertainment<\/em> (2005) has drawn comparisons to Jack Smith, early John Waters, and <em>Pee-Wee's Playhouse<\/em>, Trecartin crafts startling visions that are thoroughly unique.\r\n\r\nKevin McGarry writes,\r\n\\"Ryan Trecartin has established a singular video practice that in form and in function advances understandings of post-millennial technology, narrative and identity, and also propels these matters as expressive mediums. His work depicts worlds where consumer culture is amplified to absurd or nihilistic proportions and characters circuitously strive to find agency and meaning in their lives. The combination of assaultive, nearly impenetrable avant-garde logics and equally outlandish, virtuoso uses of color, form, drama and montage produces a sublime, stream-of-consciousness effect that feels bewilderingly true to life.\\"\r\n<br>\r\n<br>\r\nRyan Trecartin was born in 1981 in Webster, Texas. He received a BFA from the Rhode Island School of Design in Providence, Rhode Island in 2004. Solo exhibitions include <em>Any Ever<\/em>, which traveled from the Power Plant, Toronto in 2009 to the Museum of Contemporary Art, Los Angeles in 2010, then to the Museum of Contemporary Art, North Miami, FL in 2011; MoMA P.S.1, Long Island City, New York; Mus\u00e9e d'Art Moderne de la Ville de Paris, France (both in 2011); Kunsthalle Wien, Austria; Wexner Center for the Arts, Columbus, OH; Hammer Museum, Los Angeles, and Elizabeth Dee Gallery, New York. His works have been seen in group exhibitions at the San Francisco Museum of Modern Art; ZKM - Center for Art and Media, Karlsruhe, Germany; Garage Center for Contemporary Culture, Moscow, Russia; The Eighth Gwangju Biennale, Gwangju, South Korea; MIT\/List Visual Arts Center, Cambridge, MA; New Museum of Contemporary Art, New York; Guggenheim Museum Bilbao, Spain; the 2006 Biennial Exhibition of the Whitney Museum of American Art, New York; USA Today: Works from the Saatchi Collection, Royal Academy of Arts, London; Moore Space, Miami, Florida; The Getty Center, Los Angeles; New York Underground Film Festival, New York; Chicago Underground Film Festival, Chicago; and Smack Mellon, Brooklyn, among others.\r\n\r\nIn 2009 Trecartin was the recipient of the first Jack Wolgin Fine Art Prize, presented by the Tyler School of Art at Temple University, Philadelphia, which recognizes the highest level of artistic excellence on an international level. In 2009 he received the Calvin Klein Collection New Artist of the Year Award at The First Annual Art Awards, Solomon R. Guggenheim Museum, New York. He also received a Pew Fellowship in the Arts in 2009.\r\n\r\nTrecartin lives and works in Los Angeles.\",
\"bibliography\": \"Cooper, Dennis. \\"First Take, Dennis Cooper on Ryan Trecartin.\\" <i>Artforum<\/i>, January 2006. \r\n<br><br>\r\nCotter, Holland. \\"Video Art Thinks Big: That's Showbiz.\\" <u>The New York Times<\/u>. January 6, 2008.\r\n<br><br>\r\nKnight, Christopher. \\"Transformation Caught on Video.\\" <u>Los Angeles Times<\/u>. February 24, 2006.\r\n<br><br>\r\nMelendez, Franklin. \\"Ryan Trecartin.\\" <i>SOMA Magazine<\/i>, April 2006.\r\n<br><br>\r\nSaylor, Ryan. \\"Ryan Trecartin, Virtual Reality From YouTube to Saatchi.\\" <i>Useless<\/i>, November 2006\r\n<br><br>\r\nSmith, Roberta. \\"Art in Review.\\" <u>The New York Times<\/u>. June 10, 2005\r\n<br><br>\r\nTrecartin, Ryan. \\"The Artists's Artists.\\" <i>Artforum<\/i>, December 2006\r\n<br><br>\r\nWillis, Holly. \\"Signal to Noise: Ryan Trecartin.\\" <u>LA Weekly<\/u>. February 22, 2006\",
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\"notes\": \"Extra sound notes for early works:<br>\r\n\\"Sometimes when there is access to a preamp or something that lets you adjust the bass mid and treble it\u2019s helpful with the early movies \u2014 so that the balance can be adjusted to the space \u2014 often times the bass needs to come up and the treble needs to come down \u2026 especially in an un-carpeted room \u2026\\" \u2014 e-mail from Ryan to JP 7\/2\/25<p>\r\n\r\nSpecs for showing movies on a monitor:\r\n<p>\r\nWall moutned LED backlit LCD tv with full array + local dimming\r\nPreferred size is 45\\"-55\\" (but not bigger than 55\\")\r\n4 pairs of headphones with a headphone amp mounted discretely below the tv.\r\nThe preferred headphones are these:\r\nSennheiser HD-280 PRO Headphones\r\n<p> \r\nSpecs for projecting a movie:\r\n<p>\r\nSOUND EQUIPMENT\r\nThe Artist's preference is for the movie's sound to be played through open speakers. Exact details of the speaker system will\r\ndepend upon the size of the installation space, however a minimum of two full-range speakers, a subwoofer, and an appropriate\r\namplifier. The speakers used should have a relatively flat frequency response curve over the range of 50 Hz - 20 kHz for accurate\r\nreproduction of the sound. A subwoofer should be included to bring out the low end of the movie sound.\r\nIf there are reasons in the context of the exhibition why playing the sound out loud is problematic, it is possible to use headphones\r\nfor the movie soundtrack. The headphones used should be comfortable, closed-ear headphones with a good response at low\r\nfrequencies, such as the Audio Technica ATH-M50. The number of headphones required is dependent on the seating and\r\nexpected audience traffic. It will be necessary to use one or more headphone amplifiers, such as the Tascam MH-8, depending on\r\nthe number of headphones.\r\nImportant notes regarding sound: In sound reproduction, it is important that the equipment used maintain a strong response at\r\nthe low end of the frequency spectrum and a generally flat response curve otherwise, in order to accurately reproduce the sound\r\nmix. Making sure that the speaker system is arranged optimally for the acoustics of the room is of great importance. Sound levels\r\nshould be loud, though not uncomfortable.\r\n<p>\r\nEXHIBITION SPACE\r\nRoom\r\nDuring the installation, please set the image at a size that feels large and encompassing in the room.\r\nThe installation should preferably inhabit a closed space with no ambient light leakage, and minimal sound leakage. The walls of\r\nthe room should be grey or black. The projection surface should be finished with a high-contrast, reflective paint intended for\r\ndisplays, such as Screen Goo. The display and sound equipment should not be overly visible, but it is not necessary that it be\r\ncompletely hidden either.\r\nSeating\r\nThe seating should be grey or black. It should ideally be individual and comfortable, and if possible the seats should swivel to\r\nmaximize viewing angles. For installations with smaller seating requirements, small armchairs could be used; for installations\r\nwhere more visitors are expected, stools (with a back) and\/or small couches are suggested. Seating should not look like office\r\nfurniture. Overall, choices of seating elements and wall colors should aim for comfort and neutrality, unless the selection is done in\r\nconsultation with the Artist.\r\nCarpet\r\nThe space should be carpeted to diminish the noise of foot traffic, and avoid excessive echo from the movie sound. The carpet\r\nshould be dark grey, with a densely woven, low pile loop. Wherever the budget allows, a carpet underlay should also be used.\r\n<p>\r\n-email from Andrea Rosen Gallery to potential client, 10\/2\/14\r\nkm 4\/8\/15\r\n<p>\r\nAny exhibition or screening requests need to be pre-approved by the Trecartin Studio. An email should be sent to Sean, Sergio, and Lola (see contact notes). \r\n<p>\r\nIn addition to the Trecartin studio, Andrea Rosen gallery should be notified of any requests in advance. RC to have a meeting with the gallery in September 2012.\r\n\r\nEducational and museum sales are not permitted. All rentals and exhibition loans should be passed by the Trecartin studio \r\n<p>\r\n\r\n(old information follows, no longer relevant as gallery representation has changed)\r\n\r\nthe gallery should be notified of everything - but exhibitions should be passed by them for agreement. Any sales other than educational ones would need their agreement as well. Like some other artists the situation has never been formalized; it is more a case of \\"policy\\" developing over time.- per JT email 2\/5\/08\r\n<p>\r\nElizabeth Dee is to be contacted regarding exhibitions and screenings. -per RC email 2\/3\/2008\r\n<\/p>\",
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Press Clippings
Peter Schjeldahl
Peter Schjeldahl's review of Ryan Trecartin's "Any Ever" at MoMA PS1 in the New Yorker, June 2011.
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