REVIEW: Gaffes and Informations

Kevin Todora and Jeff Zilm
Gaffes & Informations
TCU Fort Worth Contemporary Art, Fort Worth, TX
September 17 – October 30, 2011

Published by D Magazine’s Frontrow. (Oct 12, 2011)

Zilm and Todora present a darkly droll, anarchistic mash-up of images, sounds and texts at TCU’s Fort Worth Contemporary Arts. Presupposing contemporary art world savvy, the exhibit blatantly obscures intention while providing an abundance of information.

Todora’s digital prints on foam core, vandalized with plastic and paint, are coupled with Zilm’s choppy, declarative sentences aligned on paper or canvas (“hit. hit. kick. destroy. hit. kick. kick. kill. loot.”) suggesting an exhibit redolent with angst. Further confounding the intent are light-boxes containing unknown objects, a series of chopped 8mm film stills neatly stacked on the floor, and a video projection featuring a shifting character with esoteric cartoon bubbles set to a jarringly loud computerized ‘boing’ every few seconds.

Viewing Gaffes and Informations is like reading “Infinite Jest” or deciphering Sigur Ros lyrics: the show needs a user’s manual. Luckily, Gallery Director Christina Rees hosted an artist talk with the gentle, quirky Zilm and Todora. As the artists expounded on topics brought up by Rees, the exhibit could be seen as the site of personal experimentations and conversation, allowing the audience access to the concepts and actions that informed the work.

For instance: Zilm’s textual narratives, blunt and minimal, are derived from ‘video game cheats’ found on the Internet. A ‘cheat’ is a set of instructions allowing the player to achieve a goal in the most efficient way possible, the concise text of the ‘cheat’ mirroring the purpose. Zilm takes a niche audience’s local, digital dialect and presenting it as if it is understandable or reasonable – like cockney slang for gamers. His pieces embrace these new linguistic structures, removing context and presenting a minimal, brutal form of poetry as imagery.

Todora’s works offer a similar re-contextualization as a print Michele Bachman on Newsweek is drizzled with red, white, and blue plastic goo: the advertised image becomes substrate for mock nationalistic vandalism, desecrating the image as a path to a more personalized and sculptural art form. Todora also displays a series of five hamburger prints cut to expose a red-pink circle, at once a pun and also reminiscent of Baldessari, the images further reference photographic iconoclasm.

Presenting niche dialects as common knowledge, the exhibit disrupts normative gallery viewing, intellectually and visually, while remaining somehow humorous and self-deprecating despite the violent overtones. It’s primary success, however, is the lack of transparency: the exhibit does not pander to the audience. Simultaneously alienating and a call to arms, Gaffes and Informations provides a challenge needed to foster a healthy, experimental arts scene.

Ryder Richards

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“Monument to a Quarter Million Dreams”

Collaborative art piece created by Ian F. Thomas (Slippery Rock, PA) and Ryder Richards (Dallas, TX)
Accepted into “Push Play” for the NCECA 2012 Invitational in Seattle, Washington.
Curator: Linda Ganstrom, Director of NCECA Exhibitions

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“Precious Cargo” by TBA

TBA presents Precious Cargo

Richland College’s Brazos Gallery presents the first collaborative effort of TBA. During a month long installation an 8’ crate will be transformed into a response to the uncertainties of nature. Stuffed with components salvaged from previous art works, the minimalist cube releases artistic detritus from which shelter and chaos may take form. The exhibition opens August 4th with a CLOSING RECEPTION on Wednesday, August 31st from 4-7 PM.

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“import”

“import”
Eric Eley, John Frost, and Ryder Richards

Ro2 Art-Uptown, Dallas
3699 McKinney Ave
Aug. 13- 28, 2011

Opening Reception: Saturday, August 13th, 6-9 PM.

Artists Talk: Thursday, Sep 1, 6-7 PM.

Ro2 Art hosts “import” featuring recent Dallas imports Eric Eley, John Frost, and Ryder Richards. A similarity of refinement and intellectual consideration unites the drawings and sculptures of the three artists. The works will be on display at Ro2 Art’s new space, 6399 McKinney Ave. in the West Village. Join us for the opening reception Saturday, August 13th from 6-9 PM.

Gallery artist Ryder Richards invites contemporaries Eric Eley and John Frost to exhibit with him. Richards stated that after finding aesthetic commonalities in the works, further conversations revealed biographical commonalities: each artist recently moved-to or returned-to Dallas. “We are all in our thirties, educators, seriously working on an art career and introducing ourselves to the Dallas art community,” says Richards. “As such, the city plays a role in our continued development.”

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Ryder Richards: Contemplating Unconventional Exhibit Spaces

Interview on the Texas Tech University Alumni blog…

Ryder Richards is a man who makes space for art.

Ryder Richards (2001 BFA in Painting and Drawing; MFA from Texas Christian University in 2003) is the Richland College Gallery coordinator and his show, “Response,” at Richland College’s Brazos Gallery is open for viewing from February 3rd to March 3rd. Richards was recently featured in D Magazine for the “responsible risk taking” that led to the creation of alternative gallery space located at Richland College. Renowned for his extensive long-term collaborations, Richards is deeply invested in the interconnectivity of art to life; the following interview provides a window into Richards’ contemporary curatorial sensibilities.

ART: How are your redefining gallery spaces and their function? Why is it necessary to redefine the exhibition space?

RR: I consider GALLERY to be a word put on a space when we want a considered contemplation. The idea of gallery is often confused with the gallery structure: bricks and mortar with white walls displaying objects of significance. The necessity in exposing gallery misconceptions is that each artist, each person, becomes encouraged to utilize their ingenuity to start movements capable of achieving goals independent of the traditional program. Once that concept has been dispelled a GALLERY can be seen as a way to further ideas and engage people. As such, a GALLERY can be anything we can name: the back of a Ryder truck, a website, or a twelve year old boy’s sock drawer filled with toy cars.

For example, the RJP Nomadic Gallery, created by Piotr Chizinski, Jonathan Whitifill, and myself, originally functioned as a way to show art wherever we could due to our geographic isolation in Lubbock. We drove the truck to a new city, proclaimed it a GALLERY, handled it seriously, and it became a way for artists from Lubbock to gain exposure and empower ourselves. The nomadic gallery offers a decentralized solution; free of the cumbersome etiquette and foundation that plague large institutions.

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Many thanks to Joe Arredondo, Assistant to the Director at TTU School of Art and Landmark Arts Gallery Director, for setting up this interview, and Kim Matthews, TTU Art PhD student, for the interview and editing.

link: http://www.ttuartalum.com/?p=1873