Todd Matte paintings abstract zombieformalism flow video games
Todd Matte paintings abstract zombieformalism flow video games vernacular, and a film about the rise of the digital-age male. Theres a paucity of abstract painting and a little too much neon, but there are a few places in the show where the works are more convincing than the others.For example, in the video arcade game Golden Ratio, 2001, the author (the artist) plays the role of the hero, a man who is constantly losing his edge and losing his grip. His opponent, the game-player, is a computer that will eventually get him. The player must play with the result of his own losing edge to achieve victory, and he does so by drawing on a large grid of colored squares that he fills in with a sticky substance. The game is played on a computer, and it looks like a war simulation, but the artifice of the game is removed from it. The video game itself is not the work, though; it is the system, and the work is about the system. In the gallery, one can only imagine that the computer will win. The same could be said for the video game. It is a work that can be played in many ways, and the point is not so much that the game itself is the work as that the viewer can enjoy the work as a system.The other work on display, which is also a video game, is an installation of four identical monitors that are arranged in a gridlike formation, like a video arcade. The video games title—the first three letters of the game—represent the first three characters of the game. The first three are the same characters as the game. The fourth, however, is different: It is a woman, and she is the only character in the game. She is the one who is the most interesting, who is the one who is the most distinct from the other three characters.
Todd Matte paintings abstract zombieformalism flow video games icky art with an intense, almost lurid color palette. The installation, titled The Walking Dead, 2003, in the gallery space was reminiscent of a game of Dungeons and Dragons, but with the players moving through a series of abstract, cartoonlike landscapes. The video games and the video games (which take place on a virtual video screen) were part of a series of conceptual video installations, each based on a film or video. The films in the installation included a film about the artist, a documentary about the artist, and a collection of performances.The video games, which were presented in a darkened room, were part of a series called Video Games, 2003–, which was also on display at the gallery. The games, which are based on the video game Halo, are based on the story of the artist and his friend, and are based on a map of the Halo universe. The games, which can be played by the player, are presented in a particular order: The player must first complete a level by completing a level by completing a level, then he must complete a level by completing a level, and so on. The games are set in a nonchalant, nonchalant game-play. They are played on the computer, and there is no story. The protagonist, a warrior, is a young man, and he and his friends are scattered around the gameworld. The video games are not abstract; they are not about abstract art; they are about the movements of the human characters. The video games are video-game worlds of abstract games, and they are not abstract worlds of games.In the video installation The Walking Dead, 2003, the artist himself appears as a zombie. He moves through a series of landscapes that seem like postmodernist abstractions—paintings by Hans Hartung, Frank Stella, James Rosenquist—while playing a game of the video game.
vernaculars, and the quasi-mythical and figural sloppiness of his flamboyant, figural depictions of sexual dysfunction (some of which were shown at the West Village), and the sumptuousness of his flowers, they offer the same kind of existential sustenance as the fragility of the real. The works that make up the bulk of the show are less compelling because they are more overtly cinematic. Their kitschy, campy quality is partially responsible for their obscurity, and they have the look of cheaply produced advertising. Their wry humor is tempered by a creeping seriousness that makes them seem more like the last of a dying breed of self-taught artists.The main flaw in this show is that the work is only mediocre. It has the look of a typical avant-garde showing off its status as a copy of an existing canon. It is a self-conscious, ironic kind of copy. It is also a cliché. It has no real connection to the real world, but is a comic-book fantasy that was made into a documentary. It is an object lesson in the absurdist clichés that we all know already: the myth of the artist as the ultimate outsider; the exaggerated self-importance of self-art; the shallow self-importance of the art world; and the deep self-importance of the other. In short, it is a self-indulgent, self-indulgent work. Its weakness is that it is a kind of romanticized, romanticized, romanticized, romanticized art, but with a thoroughly artificial character. It is a post-Modernist masterpiece that is an ironic success. It is a great, strange, strange work.
Todd Matte paintings abstract zombieformalism flow video games vernacular, a fragmented, love-meets-death aesthetic that is simultaneously a conceptual homage to and a critique of mass-media discourse. In these works, the personal, the personal-emotional, and the nonverbal are interwoven into a conceptual/emotional space that is both a landscape of images and a thought-world that is based on the belief that the individual is a signifier of the universal, and that the language of art is an agent of social transformation. The works are all in various stages of the same manic-depressive-compulsive, deconstructive-heraldic-ritualistic-collage-comic-rage-in-a-zooty-panacea-style manic-depressive-compulsive-heraldic-ritualistic-collage-comic-rage-in-a-zooty-panacea-style manic-depressive-compulsive-heraldic-ritualistic-collage-comic-rage-in-a-zooty-panacea-style manic-depressive-compulsive-heraldic-ritualistic-collage-comic-rage-in-a-zooty-panacea-style manic-depressive-compulsive-heraldic-ritualist-collage-comic-rage-in-a-zooty-panacea-style, a person who, for the most part, is, as a general rule, quite well behaved and is therefore quite well off.
Todd Matte paintings abstract zombieformalism flow video games icky-porn, and wigs. Here, the artist in a pair of white fishnet stockings and a black bra, sporting a red pussy-to-the-wall haircut, is a zombie, a zombie, and a zombie. A video of her and the artist/transvestite Kelly Marie hectoring about her femininity and sexualization (she uses the word femininity to describe the female body) is projected. The video opens with a shot of a woman in a red bikini top and a red fishnet stockings; she is about to be sodomized by a man in a red bikini top and a red fishnet stockings. The man is a cop, and the woman a prostitute. The cop is the artist, and the prostitute the woman. The cop is the artist, and the woman is the prostitute. The video continues with the prostitute in a red bikini top and red fishnet stockings. She is about to be sodomized by a man in a red bikini top and a red fishnet stockings. The man is a cop. The prostitute is the artist, and the cop is the artist. The video continues with a shot of the artist in a red bikini top and red fishnet stockings. The man is a cop. The prostitute is the artist, and the cop is the artist. The video continues with a shot of the artist in a red bikini top and red fishnet stockings. The man is a cop. The prostitute is the artist, and the cop is the artist. The video continues with a shot of the artist in a red bikini top and red fishnet stockings. The man is a cop. The prostitute is the artist. The video continues with a shot of the artist in a red bikini top and fishnet stockings. The man is a cop. The prostitute is the artist. The video continues with a shot of the artist in a red bikini top and fishnet stockings.