2013 Art || Ryder Richards

Series: Conflicted || Deposition || The Cube || Declassified || Mass Ornament/Elegy || Le Bore
Solo Exhibits: Conflicted || Recompense || Conversations from the Museum of the Uniformed
Group Shows: The Art Foundation: Ruined State(s) No. 2 || semigloss || Boom Town || DB12 vol. 4 || Asteroid Belt of Trash Blocking Transmissions of Love
Culture Laboratory: Translatory Motion | | An Investigation of Extraterrestrial Issues for the Uninitiated || Flow
RJP: CTRL+ P
Projects: Roswell Artist-in-Residence || Amarillo Entropy | | Artists’ Commission

Conflicted Series

Conflicted series considers ideas of the American West using the form of Italian Renaissance propaganda art: the prominence of flat construction/signage as signifier, cultural violence, and Giambolgna’s Rape of the Sabine and Centaur and Nessus as public art in Florence.

Conflagration (view2)_ acrylic, wood, gunpowder_ 100″x55″x48″

Conflagration (det2)

Conflagration (det1)

Conflagration (det3)

“Commensurate”_ graphite, acrylic, wood_ 70″x48″x24”

$"Commensurate"_ {det}$

“Commensurate”_ {det}

Concession_ wood, acrylic, graphite_60″x80″x30″

$Concession_ {det}$

Concession_ {det}

$Concession_ {det2}$

Concession_ {det2}

Complicit_ gunpowder, graphite, paper_30″x22″

Constant I_ pigment, gunpowder, graphite on paper_30″x22″

Constant II_ gunpowder, pigment on paper_ 30x22 inches

Constant II_ gunpowder, pigment on paper_ 30×22 inches

Cancellation II: will not cry in public_ graphite on paper_ 30″x22″

“Cancellation I: no longer afraid of the dark” _graphite on paper, 30″x22″

Coercion II_ gunpowder, pigment, paper_ 22x30 in

Coercion II_ gunpowder, pigment, paper_ 22×30 in

Condescension II: slower and more calculated_ pigment, gunpowder on paper_30x22 in

Condescension III: fond but not in love_ gunpowder, pigment, paper_ 30x22 in

Condescension III: fond but not in love_ gunpowder, pigment, paper_ 30×22 in

Condescension IV: the ability to laugh at weakness_gunpowder, pigment, paper_30x22 in

Condescension I: pragmatism not idealism_ pigment, gunpowder on paper_ 30″x22″

Deposition series

Deposition series developed from a pieta painting by Bouguereau and further abstracting the implied content.

Deposition IV: Hold Back All My Dark_ wood, acrylic_ 64″x36″x42″

Deposition IV: Hold Back All My Dark {det}

$Deposition IV: My Bright Is Too Slight_ {det}$

Deposition IV: My Bright Is Too Slight_ {det}

Deposition IV: My Bright Is Too Slight_ wood, acrylic_ 62″x48″x20″

Deposition V: I Know You Think I Am Someone You Can Trust_ acrylic, wood, gunpowder, gold leaf _78″x 60″x 28″

Deposition V: I Know You Think I Am Someone You Can Trust_ angle 2

Deposition V: I Know You Think I Am Someone You Can Trust_ angle 3

Deposition V: I Know You Think I Am Someone You Can Trust_ back

Deposition V: I Know You Think I Am Someone You Can Trust_ back detail

“Deposition II: We All Got Wood and Nails” wood, acrylic, ebonized cherry wood, gold leaf 81″x 48″x 24″

Deposition II: We All Got Wood and Nails {det1}

Deposition II: We All Got Wood and Nails {det2}

“Deposition I: This Problem Is Gonna Last More Than The Weekend” _ acrylic, wood, ebonized cherry wood_ 2013

“Deposition I: This Problem Is Gonna Last More Than The Weekend” (view2)_ acrylic, wood, ebonized cherry wood_ 2013

"Deposition III: I Know You're Coming In The Night Like A Thief " pigment on paper, 30x22 in

“Deposition III: I Know You’re Coming In The Night Like A Thief ” pigment on paper, 30×22 in

"Deposition III: I Know You're Coming For The People Like Me " pigment on paper, 30x22 in

“Deposition III: I Know You’re Coming For The People Like Me ” pigment on paper, 30×22 in

"Deposition III: Everything Good is Happening Somewhere Else"_ gold leaf, pigment on paper_ 30x22 in

“Deposition III: Everything Good is Happening Somewhere Else”_ gold leaf, pigment on paper_ 30×22 in

Deposition III: When I Arrive I Won’t Know Anyone_ gold leaf and pigment on paper_ 30×22 in

"Deposition II: Bouguereau/Malevich" gunpowder, pastel on paper, 22x15

“Deposition II: Bouguereau/Malevich” gunpowder, pastel on paper, 22×15

"Deposition I: Rubens/Malevich" gunpowder, pastel on paper, 22x15

“Deposition I: Rubens/Malevich” gunpowder, pastel on paper, 22×15

2013 Installations in The Cube

The Cube was a 10’x10’x10′ gallery space in which art world strategies were enacted, often subversive towards the figurative pedestal.

The Cube: Inquisition_ pedestal, wire, hardware, walls, blue light

The Cube: Inquisition_ [detail]

The Cube: Ionic I

The Cube: Ionic II _ paint, pedestal, projected animated gif

Ellipsis: Lonely Boy_ pedestal, graphite, two ice-cream makers, tennis balls, string, The Cube

$Ellipsis: Lonely Boy_ {det}$

Ellipsis: Lonely Boy_ {det}

UFOFU_ acrylic, hydrostone, black wax

System Error_ hydrostone, black wax, styrofoam

System Error {det}

Suspension

Wood Eye_ pedestal, acrylic, 2×4’s.

$Wood Eye_ pedestal, acrylic, 2x4's {det}$

Wood Eye_ pedestal, acrylic, 2×4’s {det}

iComm {earbuds}

iComm (2013) 100+ iPhone 3 earbuds, 10 amps, 10 mp3 players, wire, wood, acrylic, Shepard Tone

iComm {det1}

iComm {det2}

Declassified series

Executive Order 13526 series is developed from released, but redacted, FBI files on UFO’s. The works consider the value of redaction as an intentional strategy, a void which allows for infinite reconsideration and conspiracy, which tempts cultural monumentalization.

Safe: mini-installation

Safe II: A Pact Against Insight_ plaster, salt_ 18″x18″x20″

Safe I: Contagious Within A Certain Circumference_ gunpowder, hydrocal, salt_ 18″x18″x20″

Blocked I: A Death Mask Aesthetics _ plaster, pigment, paper_ 13″x12″x2.5″

Blocked I: A Death Mask Aesthetics _ (det)

Blocked II: A Harm’s Way, We Plunged Into_ plaster, pigment, paper_ 15″x12″x2.5″

Blocked III: Evidence Was Mounting_ plaster, pigment, paper_ 14″x12″x2.5″

Blocked IV: Someone Else Was A Moron_ plaster, pigment, paper_ 14″x12″x2.5″

Executive Order 13526 (file 13) _ pigment on paper_ 15″x22″

Executive Order 13526 (file 108) _ pigment on paper_ 15″x22″

Executive Order 13526 (file 84) _ pigment on paper_ 15x22

Executive Order 13526 (file 84) _ pigment on paper_ 15×22

Executive Order 13256 (file 231) _ pigment, silver leaf on paper, 15″x22″

Executive Order 13526 (file 644)_ pigment on paper_ 15x22

Executive Order 13526 (file 644)_ pigment on paper_ 15×22

Executive Order 13256 (file 92) _ pigment on paper, 15″x22″

Executive Order 13256 (file 498)_ pigment on paper, 15″x22″

Executive Order 13526 (file 301)_ pigment, gunpowder on paper_ 15x22

Executive Order 13526 (file 301)_ pigment, gunpowder on paper_ 15×22

Executive Order 13526 (Dallas)_ Silverleaf, pigment on paper_ 15x22 inches

Executive Order 13526 (Dallas)_ Silverleaf, pigment on paper_ 15×22 inches

{det}

Safe: Niave is too Mild a Word_ silverleaf, graphite, pigment on paper_ 44x30 inches

Safe: Niave is too Mild a Word_ silverleaf, graphite, pigment on paper_ 44×30 inches

$Safe: Niave is too Mild a Word_ {det}$

Safe: Niave is too Mild a Word_ {det}

Safe: Textbook Abstraction without the Burden of Intimacy _ gunpowder, pigment on paper_ 44x30 inches

Safe: Textbook Abstraction without the Burden of Intimacy _ gunpowder, pigment on paper_ 44×30 inches

$Safe: Textbook Abstraction without the Burden of Intimacy _ {det}$

Safe: Textbook Abstraction without the Burden of Intimacy _ {det}

“Safe: We are in a High Season of Error”_ graphite on paper_ 44″x30”

stack

stack2

Mass Ornament/Elegy series

[link]

Mass Ornament/Elegy series takes the form of conceptual minimalism, loading each shape with intention: such as the square footage of a defunct auto plant converted to inches in area, marked and burned, measured in centimeters and applied to the dewey decimal system to achieve new meaning. The work draws from readings of Kracauer’s “Mass Ornament,” “Dark Matter” by Gregory Sholette, and “Are you Working Too Much?” by E-flux journals.