Ricky Swallow

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Ricky Swallow
SKEWS + (white cover)


Following his solo exhibition /SKEWS/ at David Kordansky in Los Angeles, late 2015, Australian-born, Los Angeles-based artist Ricky Swallow has produced “SKEWS +”. Published under new Califonian imprint Canyon Rats, this fine publication presents 29 of Swallow’s new sculptural works, and comes wrapped in either white or black covers, editioned to 250 of each.

Ricky Swallow uses humble, ordinary materials to create precisely rendered objects that he then casts in bronze. The unique works that result are expressions not only of the objects’ constructed forms, but also of the process of transformation by which an otherwise inert grouping of forms becomes a sculpture.

Design by Nicholas Gottlund. Photography by Fredrik Nilsen. Printed at Typecraft in Pasadena, California.

Includes two Canyon Rats bumper stickers!

Edition of 500 (250 white cover / 250 black cover)

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Ricky Swallow - SKEWS + (white)
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Ricky Swallow
SKEWS + (black cover)

 


Following his solo exhibition /SKEWS/ at David Kordansky in Los Angeles, late 2015, Australian-born, Los Angeles-based artist Ricky Swallow has produced “SKEWS +”. Published under new Califonian imprint Canyon Rats, this fine publication presents 29 of Swallow’s new sculptural works, and comes wrapped in either white or black covers, editioned to 250 of each.

Ricky Swallow uses humble, ordinary materials to create precisely rendered objects that he then casts in bronze. The unique works that result are expressions not only of the objects’ constructed forms, but also of the process of transformation by which an otherwise inert grouping of forms becomes a sculpture.

Design by Nicholas Gottlund. Photography by Fredrik Nilsen. Printed at Typecraft in Pasadena, California.

Includes two Canyon Rats bumper stickers!

Edition of 500 (250 white cover / 250 black cover)

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Ricky Swallow - SKEWS + (black)
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1-$32.006
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Technologism


Catalogue published to accompany the exhibition Technologism, at Monash University Museum of Art (MUMA) in Melbourne, 3 Oct – 12 Dec 2015, curated by Charlotte Day.

Artists: Cory Arcangel (US), Dara Birnbaum (US), Chris Burden (US), Ian Burns (AU), Antoinette J. Citizen (AU), Simon Denny (NZ), Jan Dibbets (NL), Aleksandra Domanović (SI/DE), Harun Farocki (DE), Benjamin Forster (AU), Isa Genzken (DE), Greatest Hits (AU), Martijn Hendriks (NL), Lynn Hershman Leeson (US), Matt Hinkley (AU), Jenny Holzer (US), Edward Kienholz & Nancy Reddin Kienholz (US), Oliver Laric (AT), Mark Leckey (UK), Scott Mitchell (AU), Rabih Mroué (LB), Henrik Olesen (DK), Nam June Paik (KR/US), Nam June Paik & John Godfrey (US), Joshua Petherick (AU), Matte Rochford (AU), Jill Scott (AU), Richard Serra (US), John F. Simon Jr. (US), Brian Springer (US), Hito Steyerl (DE), Ricky Swallow (AU), Jeff Thompson (US), Pia van Gelder (AU), Ulla Wiggen (US) and Dennis Wilcox (AU)

MUMA concludes its three-part series on watershed moments in art history — Reinventing the Wheel: the readymade century and Art as a Verb — with Technologism, a major group exhibition bringing together forty-three historical and contemporary artworks, including several new commissions from Australian practitioners. Technologism wrestles with the profound cultural, social and political impact technology has made on art since the 1960s.

Conservative cul-de-sac’s of the community are often sceptical of technology and its ever increasing presence in our lives. However many artists — with a natural propensity for constant upheaval — have whole-heartedly embraced radical changes in technology over the last sixty years. Featuring artworks that engage both physically and conceptually with electronic systems — television, computers, the internet, smartphones — Technologism focuses on the ways artists critique and disrupt official uses of the media, or construct their own machines and data systems.

Riffing off both the aesthetic and conceptual characteristics of technology, artists in Technologism document technology’s advancement in a plethora of ways: Ulla Wiggen’s intricate paintings of circuit boards from the mid 1960s, see the development of an aesthetic inspired by the complex intersection of electrical wires, connectors and components, working to manipulate and rewire the physicality of technology; some thirty years later, John F. Simon’s Art Appliances series of the 1990s uses the circuitry of small LCD screens to disrupt pictures and patterns, recreating them over; in Matte Rochford’s video Progressively Degrading Test Pattern 2013, humble VHS tapes are copied and recopied, in a process of metaphysical reduction; while in Joshua Petherick’s new work, one technology is employed to record another soon to be superseded, revealing new visual dimensions and the ‘ghosts in the machine’.

A story of advancement inevitably turns into obsolescence, and Technologism seeks to document the early use of broadcast technology as a way of bridging the gap (and finding a space) between the image on the screen, the physical presence of the viewer, and the broader community. Jan Dibbet’s TV as a Fireplace 1968, documents television as a collective experience — even if viewers were separated physically, they were united through time and space like pre-historic cave-dwellers by a communal broadcast. However with the advent of the internet, personal computer devices and streaming services, technology has again changed the relationship we have with the world around us to a more singular yet proliferating existence.

A history of DIY jamming and hacking presents the way artists have continued to subvert conventional uses of technology and challenge the status-quo, from the internet as militarily-designed, to corporately-exploited, civilian-employed, artistically-manipulated, and back again. For instance, Lynn Hershman Leeson’s work investigates how media is used as a tool for censorship and political repression, while Simon Denny’s work co-opts the aesthetic and rhetoric of language of multinational corporations in order to question their power. In presenting these works and others, Technologism seeks to consider what is the value of such subversion, or is it merely a perpetuation of the problem?

Artist Hito Steyerl asks, ‘is the internet dead?’ Although, hyperbolic in its prognosis, Technologism recognises that sceptical questions such as this are an important part of how artistic practice negotiates technological advancement. Technologism proceeds from the idea that technology in all its forms, physical and immaterial, needs to be interrogated in order to be perpetually remade.

Technologism considers changes in infrastructure, such as telecommunication networks and the internet, and the cultural implications of technological innovation and considers from the position of the developers of these technologies as well as from the end user. Technologism asks ‘how does technology effect artistic practice?’ As well as, ‘how can artistic practice effect technology?’

Fully illustrated catalogue features texts by Charlotte Day, Philip Brophy, Bridget Crone and Sean Dockray. Designed by Yanni Florence.

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Technologism
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The Blackmail
OFFLINE #2

Featuring contributions from some of Australia’s most influential creatives, OFFLINE #2 packs up neat as a pocket-sized, black-and-white, novel style book. This edition also contains a special, full-colour Trojan zine, The Last White Cloud, with photographs by Conor O’Brien, sandwiched right in the middle.

Including interviews and features with the likes of Ricky Swallow, Riley Payne, Shelley Lasica, Dan Moynihan, James Mollison, Frank Valvo, Iwan Iwanoff, Max Olijnyk, Jonnine Standish, World Food Books and more.

INFO:
Launching in 2009, The Blackmail began as a partnership between Creative Director Tristan Ceddia and Digital Director Gabriel Knowles. Coming from backgrounds in publishing and with strong ties to the cream of Australian influencers, comprising publishers, galleries, designers, artists, musicians and fashion, The Blackmail was placed in an enviable position with unrivalled access to Australian-based popular sub-culture.

With the aim of exposing this information to the world, an online magazine was devised, featuring ten articles and visual essays a month, delivered via email, to a growing network of subscribers. With this unique approach, The Blackmail was able to create a cultural hub, offering a fresh perspective on the Australian creative scene, appealing primarily to thought leaders and influential minds.

With a strong focus on pairing contributors from varying disciplines, The Blackmail ran more than 200 features over 24 months. This format has now been archived in its original form.

After two years of monthly issues came a format refresh and a move into print with The Blackmail Offline Issue #1. Released in December 2012, the Offline model mirrors The Blackmail’s original philosophy, amassing contributions from a selection of Australia’s most influential creatives in a novella. Acting as a cultural time capsule for The Blackmail’s discerning audience, Offline reflects The Blackmail’s community and their interests in a preserved, physical form, representing and blending creativity in the form of features, articles, interviews, short stories, photo essays, illustrations and artist submissions, with a continued focus on pairing contributors from inter-related disciplines.

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The Blackmail OFFLINE #2
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