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Some Things Last A Long Time, Matthew Ryan Smith
Some Things Last A Long Time, Matthew Ryan Smith
Matthew Ryan Smith, Ph.D.
Relational viewing is also linked to poststructuralist theory, which has provided a framework for shifting away from the idea that the author is the creator of meaning to instead consider how readers interact with texts to produce meaning. Some Things Last a Long Time considers the connections between autobiography and relational experience. With this exhibition, I propose that contemporary autobiographical art can operate as a site where social encounters are created and where self-discoveries become possible. I encourage viewers to use their own lived experiences and personal histories to interpret the artworks in the exhibition.
The Participating Witness: A Conversation With Jaret Belliveau, Matthew Ryan Smith
The Participating Witness: A Conversation With Jaret Belliveau, Matthew Ryan Smith
Matthew Ryan Smith, Ph.D.
Jaret Belliveau is a Moncton-based photographer and filmmaker whose photographic work addresses illness and loss. Arguably, Belliveau is best known for his series Dominion Street (2003-2008), which began as a visual investigation into family dynamics and the hegemonic balances of power that maintain it. However, ten months into the project, Belliveau’s mother was diagnosed with stomach cancer. Soon after, the disease spread throughout the rest of her body and in time it took her life. Upon the recent staging of Dominion Street at Fredericton’s Beaverbrook Gallery (April 26, 2012 - June 10, 2012), I conducted an e-mail exchange with Belliveau …
Karin Doleske: The Drama Of Abstraction, Matthew Ryan Smith
Karin Doleske: The Drama Of Abstraction, Matthew Ryan Smith
Matthew Ryan Smith, Ph.D.
Karin Doleske’s most recent series Embedded Paintings from 2012 maintains a heightened interest in placing the viewer as an arbiter of knowledge. With these works, Doleske has manipulated poetic narrative for the visual sphere so that viewers may experience her paintings as they would written texts. However, in a twist of semiotic mischief, each painting formally characterizes an empty page to be filled by the viewer’s thoughts and imagination. For example, the horizontality of "Ten" subtly points to the lines of a written novel yet alphabetical letters are clearly absent. By doing so, it is as if Doleske has created …