ryder [at] ryderrichards.us
STUDIO// 508 Fabrication St.
Dallas, TX 75212
… born in 1977, grew up in Roswell, New Mexico. He works in Dallas, Texas.
Ryder Richards was a fellow at Roswell Artist-in-Residence from September 2012 until August 2013, held the art department chair at Eastfield College in Mesquite, TX, and is now an independent artist.
Richards is a co-founder of the RJP NOMADIC GALLERY (a traveling art gallery), CULTURE LABORATORY (internet based collective exhibiting internationally) and Dallas-based group THE ART FOUNDATION. He has curated and exhibited in numerous exhibitions (including an exhibition at the Dallas Museum of Art) and is the recipient of several scholarships, travels abroad, and awards for his achievements in art, including seven artist-in-residence programs, including the Roswell Artist-in-Residence (2012-2013). Writing for Glasstire.com, D Magazine, and other publications prompted Richards to found Eutopia: Contemporary Art Review focused on concise arts writing.
Richards has exhibited at the Bellevue Museum, Seattle; Roswell Museum, Roswell, NM; Olm Space, Switzerland; Public Address, Brooklyn; Antena, Chicago; Falling Water, Pennsylvania; Cornell University, Ithaca; Monkskirche, Tangermunde, Germany; C2 Pottery Gallery, China; Blue Star Contemporary Art Museum, San Antonio; ArtPace, San Antonio; The Luminary, St. Louis ; Lawndale, Houston; Amarillo Museum of Art; San Diego Art Institute; The London Art Fair; as well as The Power Station, The Reading Room, Beefhaus, and Gray Matters in Dallas. He has participated in The Texas Biennial 2011 and 2013 and the Dallas Biennial 2012 and 2014. Richards has works in the permanent collections of The Anderson Contemporary Museum, Roswell Museum, McNeese University, Richland College, and several private collectors.
My work can be seen as an investigation of influences related to building power and identity. Often embracing cultural constructs with subversive tendencies the work explores violence, symbology, architectural influence and systems of unknowing. With several facets to my practice (writing, curating, and several collaborations) many of my projects are research based, expanding my conceptual practice and the materiality of the work.
Specific pieces are performative works based around invisible labor within the art world, while others take the form of tightly rendered drawings, paintings, or installations commenting on high-modernism’s relationship to science fiction. Currently, my work is investigating the aesthetics of civil unrest involving institutional power dynamics and civilian rebuttals.