testsite 08.4 ~ Heavy Petting

Matthew Ronay & Matthew Drutt

October 5, 2008

    Send comments to the editors:

      Email this article to a friend:

      Matthew Ronay, Vigil, 2007
      Walnut, clear pine, plastic, sawdust, cotton, steel, string and paint
      40 x 56 x 48 inches
      Courtesy of Andrea Rosen Gallery, New York
      Photograph by Jason Mandella
      © Matthew Ronay

      View Gallery

      Matthew Ronay’s art occupies a space where illustration, tableau, sculpture, and installation all intersect in harmonious indifference to one another. Beginning in 2004, his arrangements of discreet, colorful, mutated objects evoked wild manifestations of surrealist imagination and hallucinogenically induced visions, with distended narratives designed to provoke or even outrage viewers through their irreconcilable compositions and outrageous imagery, such as drooping anuses skewered on a pole. Indeed, like Dada and Surrealist artists earlier in the 20th century and American Funk musicians of the 1970s, whose work employed metanarrative, metaphor, provocation, and fantasy as devices for addressing human behavior in times of social upheaval, Ronay’s work has been a manifesto of the spirit, screaming back at us with pieces that suggest that fear, pain, and violence have replaced pleasure in a society increasingly indifferent to war and terrorism.

      His more recent work might seem like an abrupt departure from these more sensational projects. Brightly colored cartoonish objects have been replaced by muted organic elements rendered in earth tones. Their Primitivist aesthetic shares more with early works by Louise Bourgeois or Martin Puryear than they do with the cartoon antics of Ren and Stimpy. But while the look and feel of his work has shifted, the core concerns have not. If anything, now Ronay has stripped away the elements that link people and things to a specific time and place and has uncovered at a more naked reality, where universal truths might be said to be incapable of disguise.

      For his testsite project, the artist will make his first foray into performance. While he can be said to have flirted with it in the past, such as his collaboration with Nathan Carter in the hardcore band, the Final Run-ins, which combined the two artists’ visual acumen with original songs and music, this is the first time the artist is experimenting with costume and engagement. His piece will consist of a discreet period of interaction with visitors during the exhibition’s opening, where he will don a costume he has been working on for the occasion and will inhabit a blacked-out space and encourage viewers to physically explore him. It is an experimental foray into what might become a more resolved fusion of sculptural and performative elements into environmental or installation works. But for now, Ronay just invites you to cop a feel.

      Matthew Drutt
      Executive Director
      Artpace San Antonio

      Collaborator Biographies

      Matthew Ronay

      Matthew Ronay was born in 1976 in Louisville, Kentucky. He graduated from the Maryland Institute College of Art in 1998 and earned an MFA from Yale University in 2000. He currently lives and works in New York. Matthew’s most recent solo exhibition was at Andrea Rosen Gallery in New York in 2008. Ronay has two upcoming solo exhibitions, first at Luettgenmeijer Berlin and next at ARoS Aahus Kunstmuseum, Århus, Denmark. In 2006 Parasol Unit Foundation for Contemporary Art, London, hosted a major one-man presentation of the artist’s work, Goin’ Down, Down, Down. Ronay has recently been included in several notable group exhibitions, including Phantasmania, at the Kemper Museum of Contemporary Art, Kansas City, and the traveling exhibition Uncertain States of America: American Art in the 3rd Millennium which originated at the Astrup Fearnley Museum of Modern Art in Oslo, Norway.

      Matthew Ronay and Nathan Carter make up the sporadically performing band The Final Run iNs. They last appeared at Esther Schipper Galerie, Berlin in 2008. They have also performed at the Vizcaya Gardens in Miami, FL for the 'The Ball of Artists’ in conjunction with Art Basel Miami Beach. RTY BURT'S BUBBLE SPA AND BLUE BAZAAR performed in Los Angeles, CA, at the Mandrake, and HONG KONG RESTAURANT all ages show in New York, NY, at Taxter and Spengemann.

      Matthew Drutt

      Matthew Drutt is the Executive Director of Artpace San Antonio. Prior to his position at Artpace, Drutt served as the Chief Curator at The Menil Collection in Houston, Texas.While at the Menil Collection, notable exhibitions and projects Drutt organized include: Robert Gober: The Meat Wagon (2005-2006); Olafur Eliasson: Photographs (2004); Kazimir Malevich: Suprematism , co-organized by the Solomon R. Guggenheim Foundation, New York, NY (2003-2004); and Vik Muniz: Model Pictures (2002).