Andrea Rosen Gallery to Represent Lizzie Fitch and Ryan Trecartin
Andrea Rosen Gallery today announced the representation of the collaborative practice of Lizzie Fitch/Ryan Trecartin.
Fitch and Trecartin have worked with each other closely for more than ten years, having met as students at the Rhode Island School of Design in 2000. While developing autonomous bodies of solo work throughout their respective careers, the artists also forged a specific collaborative practice that has been responsible for a range of output: freestanding sculpture, musical compositions, and the sculptural theatres that "frame" Trecartin's movies.
Their work has been the subject of several solo exhibitions, such as at the Musée d'Art Moderne de la Ville de Paris (2011–12), Showroom MAMA, Rotterdam (2012), The Aboutthing (in the air), Elizabeth Dee Gallery, New York, and the Rose Art Museum at Brandeis University, Waltham, MA (2009), and Big Room Now, Crane Arts Center, Philadelphia. Their collaboration was included in the solo show Ryan Trecartin: Any Ever at MoMA P.S. 1 (2011) as well as numerous group exhibitions. Their work is featured in major public collections around the world, including Fondazione Prada, Milan; the François Pinault Foundation, Venice; Sammlung Goetz, Munich; The Pinnell Foundation, Dallas; and the Zabludowicz Collection, London, among many others.
The uniquely fluid nature of Fitch/Trecartin's collaboration is imprinted on the materials and works themselves. The sculptures reflect alternate and shifting modes of working where sometimes the construction of the work and compositional decisions happen simultaneously whereas at other times actions and decisions unfold in tandem and in response to individual subjective choice. The freedom allowed by this open structure lends Fitch/Trecartin's work both a remarkable sense of immediacy as well as a considered sense of form and design.
Collaboration is essential to Fitch and Trecartin's varied practice—both in their individual work and as a joint artistic entity—as an operative mode and as conceptual content. The artists frequently involve many creative partners, drawn from their own expanding networks, who inform the work in consistently redefined ways. Within each piece the unique contributions of the collaborators, who maintain their voice, are imported in their unaltered form as well as re-contextualized by Fitch/Trecartin. Their expansive collaborative practice is more akin to digital networks than to the more traditional artist collective (wherein individual contributions are sacrificed in service of group identification). In this model, the creative process mirrors the expansive linking that defines the dynamic systems reinventing all sectors of the built world.
Lizzie Fitch was born in Bloomington, Indiana and studied at the Rhode Island School of Design, graduating with a BFA in 2004. She currently lives and works in Los Angeles. Fitch will have a solo show opening in September at New Galerie in Paris.