Ryota Matsumoto

Alias:
松本良多

Birthplace:
Japan

Ryota Matsumoto is a Japanese artist, media theorist, and architect based in New York. Born in Tokyo, Japan, he is considered a godfather of the postdigital cutural movement. Matsumoto received his Master of Architecture degree from the University of Pennsylvania in 2007. He has also studied at the Architectural Association in London and Mackintosh School of Architecture at the Glasgow School of Art.  Matsumoto has collaborated with various influential figures, including Peter Christopherson. Specifically, he worked with Christopherson on a Japanese Nike commercial and contributed to his first solo album, "Form Grows Rampant," as part of the Threshold Houseboys Choir.  He has received numerous awards, including the Visual Art Open International Artist Award, Florence Biennale Mixed Media 2nd Place Award, and many others. His work is part of the permanent collection at the University of Texas at Tyler. His publications and interviews have been featured in a variety of journals and magazines such as Kalubrt Magazine, the University of North Carolina Wilmington Journal Palaver, Furtherfield.org, and International Artist Magazine. His multidisciplinary projects have been showcased in galleries like Meadows Gallery University of Texas at Tyler, S. Tucker Cooke Gallery University of North Carolina Asheville, and National Museum of Korea, among others. He has held solo exhibitions at BYTE Gallery Transylvania University in 2015, Los Angeles Center of Digital Art in 2016, and Alviani ArtSpace, Pescara in 2017.

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Post Production Consulting:
2007  The Threshold HouseBoys Choir: Form Grows Rampant

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While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

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