Jonathan Rider

b. 1983, Easton, PA
lives and works in New York City

Installation for three windows, 2013. 243 hand-sanded Styrofoam bricks. Dimensions variable. Installation view

— 6 months ago with 2 notes
#jonathan rider  #installation  #styrofoam bricks 
Floor Drawing (6 colors), (Detail)2013. Archival paper and foam, 25 x 25 inches, site specific installation at Josée Bienvenu Gallery

Floor Drawing (6 colors), (Detail)2013. Archival paper and foam, 25 x 25 inches, site specific installation at Josée Bienvenu Gallery

— 1 year ago with 1 note
#Jonathan Rider  #Floor Drawing  #Josée Bienvenu Gallery  #Drawing Up! 
HGL(B) (detail), 2013. archival paper, engineered wood, 16 3/4 x 8 x 1/2 inches

HGL(B) (detail), 2013. archival paper, engineered wood, 16 3/4 x 8 x 1/2 inches

— 1 year ago
#HGL(B)  #Jonathan Rider  #Drawing Up! 
HGL(B), 2013. archival paper, engineered wood, 16 3/4 x 8 x 1/2 inches

HGL(B), 2013. archival paper, engineered wood, 16 3/4 x 8 x 1/2 inches

— 1 year ago
#HGL(B)  #Jonathan Rider  #Drawing Up! 

The first apprentice bent over the glass in the sloping top of the teakwood box. After a few moments he stepped aside and allowed the second apprentice to bend over the glass. When both had done looking, the younger of the two said that the Master’s work was indeed incomparable. Never in his short life had he seen anything so remarkable in both conception and execution. At once, the second apprentice gave voice to his admiration, saying that even in his dreams he had not dared to imagine such loveliness. And, indeed, it was the highest of all honors simply to be in the presence of so great an accomplishment. Then the two apprentices thanked the Master for dignifying them with his attention and respectfully took their leave. The maker of miniatures, knowing that they had seen nothing, that their words were hollow, and that they would never visit him again, returned with some impatience to his work; and as he sank below the crust of the visible world, into his dazzling kingdom, he understood that he had travelled a long way from the early days, that he still had far to go, and that, from now on, his life would be difficult and without forgiveness.

Text Excerpt: Steven Millhauser’s “In the Reign of Harad IV” from the collection Dangerous Laughter, published by Random House is 2008. The story was published in The New Yorker in 2006. 

— 1 year ago
#into his dazzling kingdom  #IN THE REIGN OF HARAD IV  #STEVEN MILLHAUSER  #The New Yorker 

, into his dazzling kingdom, , 2013. archival foam, paper, wood, approx. 2 3/4 x 8 x 1 inches

— 1 year ago
#Jonathan Rider  #STEVEN MILLHAUSER  #into his dazzling kingdom  #Drawing Up!  #IN THE REIGN OF HARAD IV 
Series A #2, 2013. chipboard, paper, paint, 7 1/2 x 4 3/4 x 1/2 inches

Series A #2, 2013. chipboard, paper, paint, 7 1/2 x 4 3/4 x 1/2 inches

— 1 year ago with 1 note
#Jonathan Rider  #chipboard  #paper  #painting  #Drawing Up!  #Josée Bienvenu Gallery 
jimmies, 2012. aluminum, cardboard, chipboard, matte board, paint, paper, 2 1/2 x 4 1/4 x 1/2 inches

jimmies, 2012. aluminum, cardboard, chipboard, matte board, paint, paper, 2 1/2 x 4 1/4 x 1/2 inches

— 1 year ago
#jonathan rider  #jimmies  #chipboard  #painting  #wall work 

1 X, 4 Triangles, 2012. cardboard, chipboard, matte board, paint, paper, wood, 5 x 3 1/2 x 3/4 inches

— 1 year ago
#jonathan rider  #chipboard  #painting  #1 X 4 Triangles  #paper 

‘Friendship,’ Aristotle defines in Part VIII of his Nicomachean Ethics, ‘is a virtue or implies virtue, and is besides most necessary with a view to living.’ And while by no means synonymous with contemporary art, ‘friendship’ as set forth by Aristotle - shared between lovers of ‘good’ and not precipitated by ‘utility’ or ‘likeness’- makes for a compelling, resurrected discussion of ‘virtue’ (for Artistotle: arete) within the context of contemporary art. Nicomachean Ethics was a cornerstone of the reading list for this graduating class of the MFA Fine Arts Department, a reading list that seemed to advocate dually for the role of community and for a renewed criticality when it comes to context - beyond institutional critique. This, for a program that seems to allegorize the pluralism of production method: The artists here, working in painting, sculpture, installation, film, video, performance, robotics, airbrush… And what brought them to the discrete context of art? Certainly not ‘likeness.’

In spite of its long history in the human language, ‘virtue’ is a word that so powerfully connotes traditional moralities, that it’s difficult to deal with it in the context of ‘progressive,’ ‘secular’ contemporary art. And yet ‘value,’ a term much more au courant and with resilient use but no less secular via-a-vis the market, doesn’t begin to explain the complex cultural heritage of art today, nor why these artists came to Manhattan to work in tightly-fitted, loosely organized, small and modular studios. It does not explain the deep issues unleashed when, say, a truncated archival video clip by David Wojnarowicz is censored from a public museum. Reminded of the culture wars of one generation ago, we ask, What does art have to communicate on an axis of today’s morality, one no less necessarily recursive than modernism? What permissions does contemporary art offer, and what constraints?



Text: Gartenfeld, Alex, “Implied Virtue,” SVA MFA Thesis Exhibition, January 2011

Stringcourse, 2011. archival foam, matte board, paper, 67 feet x 1/8 inch

— 1 year ago with 1 note
#Implied Virtue  #Stringcourse  #jonathan rider  #sva thesis exhibition  #alex gartenfeld 

Composite, 2011, plywood, chipboard, paper, archival foam, spray paint, 5 x 4 3/4 x 3 inches

— 1 year ago
#jonathan rider  #sculpture  #composite  #alarm clock 
Series A #1, 2012. chipboard, paper, paint, approx. 5 x 8 x 1/2 inches

Series A #1, 2012. chipboard, paper, paint, approx. 5 x 8 x 1/2 inches

— 1 year ago with 3 notes
#jonathan rider  #chipboard  #blue  #painting 
HGL(G), 2012. archival paper, wood, approx. 11 x 5 x 3/4 inches

HGL(G), 2012. archival paper, wood, approx. 11 x 5 x 3/4 inches

— 1 year ago
#grey horizontal lines  #jonathan rider  #wall work  #monochrome  #Drawing Up!  #Josée Bienvenu Gallery 
Red, 2010. paper, wood, approx. 2 1/4 x 3 1/4 x 3 3/4 inches

Red, 2010. paper, wood, approx. 2 1/4 x 3 1/4 x 3 3/4 inches

— 2 years ago
#red  #anne carson  #wall work  #jonathan rider 
Horizontal Green Envelope, 2011. archival foam, staple, approx. 12 x 18 x 2 inches (destroyed)

Horizontal Green Envelope, 2011. archival foam, staple, approx. 12 x 18 x 2 inches (destroyed)

— 2 years ago
#envelope  #horizontal green envelope  #jonathan rider  #sculpture  #monochrome