Ryan J Rasmussen - Transmission

Ry a n J R a s mus se n Tra ns m i s s io n

D ir e c tor ’s For ewor d

Ryan J Rasmussen – Transmission, represents an occasion to view the impressive works of Ryan J Rasmussen. As a native Californian the search for gold was told to me at an early age and reinforced in school as I learned of the fortunes made in the hills and rivers of California.The gold found during the California gold rush that was just waiting to be exhumed is a lot like the current art world, as patrons of the arts scratch at the surface of artist’s ideas hoping to rewarded with a golden experience. Rasmussen has been called an alchemist, one that changes ordinary things to those of value and in his work and aesthetics you will find gold for the taking.

I would like to thank Ryan J Rasmussen for the opportunity to exhibit his work, Jake Weigel for recommending Ryan to be invited to exhibit with us, Dieter Entelechy writing the wonderful catalog essay, the College of the Arts, California State University, Stanislaus for the catalog design, Parks Printing for printing the catalog.

We are also grateful and extend our warmest appreciation to the Instructionally Related Activities Program of California State University, Stanislaus, as well as anonymous donors for the funding of the exhibition and catalogue.

Dean De Cocker, Gallery Director California State University, Stanislaus

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R yan J R as mu s s en

Ar tist Statement Driving south out of San Francisco along the coast one is struck by the metaphoric implications of California’s multitudinous terrain. One must confront the strong juxtaposition of a high-tech world laden with glass compounds and concrete appendages that seem to withdraw into themselves against the rugged stoicism of ancient land formations that jut into view and are tempered by the ever-expansive presence of ocean.

This is the edge, the threshold at the end of western expansion and the beginning of the return to infinite and nebulous ways of untamed nature. This stretch of ‘place’ echoes the ongoing struggle between the wild impulse of nature and the systematized rationalism of human development. One must confront and reconcile the inspiring vistas of rocks and relics with those of billboards and rest stops as you swerve in and out of hills that swallow you whole then thrust you back into ‘the grid’; the heavily controlled and ordered systems of human enterprise. It is a metaphysical rollercoaster ride. An interlude through the phenomenology of place and thingness.

These two seemingly diametrically opposed phenomena are folded into the same spatial-temporal fabric, inextricably woven into one another only to simultaneously reify and reject each other. This state of emergent tension from these complementary phenomena are at the heart of my work in Transmission. The works here serve to integrate and repel these relationships of geologic forces with human endeavor, of cosmic bodies with cultural mythos, of rawness and refinement, of massive time scales and ephemera.

I hope it invites reflection upon the vastness and mutability of natural forces while also serving to question the innate human curiosity that brought people to California in the first place. The lust for gold (a symbol of personal and social alchemy), the need to find the edges, the desire for an earthly promise land. This exhibition is about how all things speak and listen, serving as both transmitter and receiver. It is about how ancient energies continue to express through forms, machines, landscapes, billboards. How every object holds another. It is a tour through the phenomenology of thingness, of being, of place, of nature. It is a road heading south out of San Francisco.

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R yan R as mu s s en is a n a l ch e m i s t .

by Dieter Entelechy Berlin, 2019 Ryan Rasmussen is an alchemist. He works to elevate materials beyond their base implications and rouses them from dormant states to charge them with new meanings and motifs. His works often present contradictions such as humor and somber reflection, kinetic-ism with latency, natural and synthetic, real vs replica. His early works engage banal consumer products by contextualizing them in strange and eerie modes which give rise to new ways of relating to them, often producing feelings of distrust and suspicion. These early works point to a strange and inextricable bond between consumerism and art and invite reflection upon the nature of labor and value production.

More recently Rasmussen’s work has seen a resurrection of constructivist aesthetics and utopic notions. The presence of raw building materials evokes a sense of something in the stages of becoming. These are often tempered by forms that emit more esoteric aspects reminiscent of ritual sites and objects. They seem unearthed as opposed to created. In the presence of these works one feel’s suspended between an encroaching future and a slowly eroding past. The aggregate of these works particularly in the exhibition titled Fathom, are in part mechanistic, part cryptic, part scientific, and almost entirely alchemic.

In the works that comprise Transmission we encounter a multitude of motifs, but alchemy seems to serve as an accessible entry point. With hints of gold somehow growing out of an iron core, geological objects in transitional states, a whirlwind of time scales, we see human structures at once dominating natural systems only to simultaneously expose their vulnerabilities to those very systems. Transmission surveys Rasmussen’s interest in the nature of objects both made and encountered. His forms speak with remnants of technology, of myth making, of ritual, and of mysticism.

Rasmussen reveals the way objects speak not only to people but also to each other, decentering our anthropocentric tendencies. The forms here are at once autonomous and codependent like a dismantled machine. It seems to gesture to the notion that the best way to know something is to first take it apart. Sometimes these forms are connected through formal clues, other times through a mysterious invisible force, like radio waves silently carrying signals across a void only to be received and emitted by a complementary form.

Many artists since the beginning of the twentieth century have been exploring the subject of alchemy in varying ways, particularly those experimenting with innovative praxis of which Rasmussen’s practice is firmly rooted. Alchemy, especially during the Renaissance, involved practical pursuits as well as introspective contemplation. The alchemical laboratory (or in this case studio) was a site of purification for chemical materials and the alchemist (artist) himself. In addition, the aims of this process were to transmute the nature of the host environment. Transmutation is at the core of alchemical texts, theories, and beliefs and is also at the core of Rasmussen’s current work.

This new body of work seems particularly suited for California due to its historical relationship with the pursuit of physical gold and all the implications carried with it. California as a site is symbolic of westward expansion, of capitalism on the rise, of human enterprise tangled within a complex ecological network. Transmission echoes these phenomena and invites us to meditate on the phenomenology of being, of our ability to inscribe meaningful geological change in the fabric of deep time, and of our need to tune ourselves and our systems to a holistic ecological frequency before it’s too late.

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Ry a n J R a s m us se n www.ryanjrasmussen.com | ryanjrasmus@gmail.com EDUCATION 2012

Masters of Fine Arts, Dimensional Practice, Minor in Printmaking, University of Iowa

2011

Master of Arts, Sculpture, Minor in Printmaking, University of Iowa

2008

Bachelor of Fine Arts, Sculpture, Minor in Painting, University of Minnesota-Twin Cities

TEACHING APPOINTMENTS 2018-

Assistant Professor, Georgia State University, Atlanta, GA

2015-18 Assistant Professor, Rhodes College, Memphis, TN 2013-14 Assistant Professor, Virginia Commonwealth University, Doha, Qatar 2011-12 Instructor of Record, Undergraduate Sculpture, University of Iowa, Iowa City, IA

Instructor of Record, Special Topics, University of Iowa, Iowa City, IA

2009-10 Instructor of Record, Foundations, University of Iowa, Iowa City, IA

Instructor of Record, Undergraduate Sculpture, University of Iowa, Iowa City, IA

SOLO EXHIBITIONS 2019

Transmission, Stan State Art Space, Turlock, CA (forthcoming)

2017

Control Point, 406 Gallery, Elon, NC

Fathom, Clough Hanson Gallery, Memphis, TN

2016

Just for Now, University of Texas Permian Basin, Midland-Odessa, TX

2012

Fits and Starts, Public Space 1, Iowa City, IA

2011

Under Pressure, Porch Gallery, Iowa City, IA

Survival and the Like, Sculpture Lab, Iowa City, IA

And the Kitchen Sink, PLAND, Taos, NM

2010

O.R.E.O., Public Art Installation, Iowa City, IA

Destination Unknown, Sculpture Lab, Iowa City, IA

2009

Exit Stage Left, Sculpture Lab, Iowa City, IA

GROUP | JURIED* | INTERNATIONAL** EXHIBITIONS 2019

Coke Bin, Sloss, Birmingham, AL* (forthcoming)

NCCCIAP Exhibition, Birmingham, AL* (forthcoming)

2018

International Printmaking Biennial, Museo Do Douro, Alijรณ, Portugal * **

Short Shorts, Whitespace Gallery, Atlanta, GA*

2016

O2O, CICA Museum, Gimpo-si, Gyeonggi-do, South Korea* **

Taking Pictures, The Black Box Gallery, Portland, OR*

2015

State of Being Human, University of Central Oklahoma, Edmond, OK*

2014

Strange Wonders, Msheireb Enrichment Center, Doha, Qatar* **

Exploring the Definition and Practice of Interdisciplinary Design, TCDC, Bangkok, Thailand*

Lines in the Sand, VCU Qatar Gallery, Doha, Qatar*

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2013

Hybrid Making, Mathaf Arab Museum of Contemporary Art, Doha, Qatar* **

2012

Machinations: Kinetic Sculpture in the Age of Open Source, Glass Curtain Gallery, Chicago, IL*

2011

Mixed Bag, Drewelowe Gallery, Iowa City, IA

Weekend Warrior, Levitt Center, Iowa City, IA*

In Closing, Market Dubuque Gallery, Iowa City, IA

GAC, Market Dubuque Gallery, Iowa City, IA (Juried)

LIS: Life is Struggle, Art in Embassies, Kinshasa, Democratic Republic of Congo**

2010

Auction, PS1, Iowa City, IA*

Life is a Carnival, Market Dubuque Gallery, Iowa City, IA

2009

Hi, Market-Dubuque Gallery, Iowa City, IA

Showcasing Graduate Sculpture, Market-Dubuque Gallery, Iowa City, IA

Inter-media Open House, School of Art and Art History, Iowa City, IA

2008

Envisage, BFA thesis show, Quarter Gallery, Minneapolis, MN

2007

Didn’t Your Mother Teach You Not to Play with Fire, Quarter Gallery, Minneapolis, MN

2006

Para Ti, IES Center, Buenos Aires, Argentina**

Out of the Fire, Hinckley Museum, Hinckley, MN*

2006

Drawing on Walls: Conversing with Jim Dine, Quarter Gallery, Minneapolis, MN

RESIDENCIES | WORKSHOPS | CONFERENCES 2019

Residency at De-CONSTRUKT, New York City, NY (forthcoming)

2016

Physical Computing and Microcontroller Workshop, University of Texas Permian Basin, Midland-Odessa, TX

2014

Exploring the Definition and Practice of Interdisciplinary Design, Thailand Creative & Design

Center, Bangkok, Thailand (relocated to Doha, Qatar)

Design Days, Dubai, United Arab Emirates

Digital Fabrication and the Age of Open Source, VCUQ, Doha, Qatar (Workshop Instructor)

2013

Hyrbrid-Making Tasmeem Conference, Doha, Qatar (Lab Leader)

2012

Vermont Studio Center Artist Residency, Johnson, VT

2012

The Fine Art Works Center Artist Residency Finalist, Provincetown, RI

2011

PLAND Residency: Practicing Art Through Necessary Dislocation, Taos, NM

Letterpress Workshop, Hamilton Wood-type Museum, Two Rivers, WI

Archie Bray Ceramics Conference, Helena, MT

Southern Graphics Council Printmaking Conference, St. Louis, MS

Free Art School, PS1, Iowa City, IA

2010

Arduino Workshop, FREE ART SCHOOL at PS1, Iowa City, IA

GRANTS | SCHOLARSHIPS | FELLOWSHIPS 2018

Ernest G. Welch Faculty Research Grant, Georgia State University, Atlanta, GA

2016

Arts Accelerator Grant Finalist, Arts Memphis, Memphis, TN

Faculty Development Endowment Recipient, Rhodes College, Memphis, TN

2012

Vermont Studio Center Artist Grant

Graduate Art Congress Research Grant, University of Iowa

Center of Human Rights Research Grant, University of Iowa

School of Art and Art History Research Grant, University of Iowa

2011

Micro-Grant, PLAND residency, Tres Piedras, New Mexico

Graduate Student Teaching Assistant Tuition Scholarship, University of Iowa

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2010

Research Assistant Scholarship, University of Iowa

Graduate Student Teaching Assistant Tuition Scholarship, University of Iowa

2009

Graduate Student Teaching Assistant Tuition Scholarship, University of Iowa

VISITING ARTIST LECTURES | PANELS 2017

Visiting Artist Lecture, Elon University, Elon, NC

Visiting Artist Lecture, DAAP, University of Cincinnati, Cincinnati, OH

2016

Visiting Artist Lecture, University of Texas Permian Basin, Midland-Odessa, TX

2015

Visiting Artist Lecture, ACAD, Calgary, Alberta, Canada

Visiting Artist, Calliope Arts Printmaking Studio, Louisville, KY

2014

Panel Discussion, Interdisciplinary Design Symposium, Doha, Qatar

2013

Panel Discussion, Tasmeem Conference, Doha, Qatar

Visiting Artist Lecture, VCU Qatar, Doha, Qatar

2012

Visiting Artist Lecture, Vermont Studio Center, Johnson, VT

Panel Discussion, The Art of Storytelling, Old Capitol Building, Iowa City, IA

2011

Artist Talk, Edgewood College, Madison, WI

2006-08 Guest Artist, Voice to Vision, Minneapolis, MN PUBLICATIONS 2017

Her Campus Arts Interview, Elizabeth Limbaugh. September 24th, 2017.

The Pinch Journal, Fall 2016, Volume 36, Issue 2. The University of Memphis.

2016

Odessa American, “Just For Now”. Jacob Ford. October 14th, 2016.

Mesa Journal News, “Interactivity in Sculpture”. Jake Weigel. October 10th, 2016.

2015

A Schism in Disciplin-ism, Paradigms and Definitions of Design Related Interdisciplinarity,

Virginia Commonwealth University, Doha, Qatar 2014

Strange Wonders, Msheireb Art Center Exhibition Catalog, Doha, Qatar

More Than Just Art, Gulf Times, 21st, April 2014

2013

Hybrid Making, Frieze Magazine Online Publication, article by Kurchi Dasgupta, April 9th,

Context, Issue No. 2, Doha, Qatar

Tasmeem Journal, VCU-Qatar, Doha, Qatar

Tasmeem Explores ‘Hybrid Making’, Gulf Times, 15th, March 2013

In Review, Gulf Times, Doha, Qatar

2012

Machinations: Kinetic Sculpture in the Age of Open Source, Exhibition Catalog, Glass Curtain Gallery, Chicago, IL

Machinations: Kinetic Sculpture in the Age of Open Source, Review F-News Magazine Online Publication,

October 1st, 2012

Process: School of Art and Art History Graduate Journal, Iowa City, IA

Audrey Thompson, 800 KXIC (Interview), Iowa City, IA

Fits and Starts, Exhibition Catalog, Iowa City, IA

2009

Ivory Tower: Arts and Literary Magazine, Minneapolis, MN

2008

The Minnesota Daily, Arts Review, Minneapolis, MN

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I mage L is t Cover

Gold Nugget

Back

Miner

Page 2–3

Fathom, film still

Pages 4

Soft Landing, extruded polymer, epoxy, pigment, 24 in x 24 in x 4 in, 2019

Page 6

Progression, cast resin, pigment, 18 in x 6 in x 6 in, 2019

Page 8

Stone’s Throw , cast acrylic, aluminum, aqua resin, extruded polymer, cast resin, 36 in x 72 in x 24 in, 2019

Page 9

Transmitter , cast iron, bronze, epoxy, aluminum, enamel, 50 in x 24 in x 18 in, 2019

Page 10

Receiver, cast resin, steel, epoxy, extruded polymer, wood, found object, approx. 42 in x 42 in x 60 in, 2019

Page 11

Mind Over Matter, aluminum, cast acrylic, enamel, wood, extruded polymer, 24 in x 96 in x 30 in, 2019

Page 12

Soft Hatchet, cast iron, 12 in x 12 in x 16 in

Page 13

Untitled, cast resin, 12 in x 8 in x 12 in, 2019

Page 14

Origins (Number 6: Carbon), archival pigment print, 36 in x 24 in, 2019

Page 15

Gold and Apple, archival pigment print, 24 in x 36 in, 2019

Page 16–17 Cycle, wood, steel, carboard, enamel, 96 in x 24 in x 96 in, 2017 Page 18

Sets and Circumstances, wood, cast resin, steel, acrylic, epoxy, extruded polymer, hydrocal, glass, screen print,

approx. 96 in x 96 in x 32 in, 2017

Page 19

Array, MDF, epoxy, lacquer, 36 in x 36 in x 12 in, 2019

Page 20

Blue Print, relief print on BFK Reeves, 24 in x 60 in, 2016

Page 21

Geometer Gear, wood, enamel, fabric, cast resin,steel, cast bronze, screen print, approx. 32 in x 48 in x 96 in, 2017

Page 22–23 Control Point, wood, push buttons, electronics, motion sensor, steel, cast resin, pneumatic cylinders, air

compressor, vinyl record, found objects, Coca-Cola can, polyethylene, air, approx. 96 in x 120 in x 42 in, 2017

Page 24–25 Fathom, exhibition view, 2017 Page 26

Just for Now, exhibition view, 2016

Page 27

Oil and Ice, wood, enamel, video projection on floor, 24 in x 24 in x 72 in, 2016

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Ackn ow le dge m en ts

California State University, Stanislaus

Dr. Ellen Junn, President

Dr. Kimberly Greer, Provost/Vice President of Academic Affairs

Dr. James A. Tuedio, Dean, College of the Arts, Humanities and Social Sciences

Depar tment of Ar t

Dr. Carmen Robbin, Chair, Professor

Dean De Cocker, Professor

Martin Azevedo, Assistant Professor

Tricia Cooper, Lecturer

James Deitz, Lecturer

Daniel Edwards, Associate Professor

Jessica Gomula-Kruzic, Professor

Daniel Heskamp, Lecturer

Chad Hunter, Lecturer

David Olivant, Professor

Patrica Eshagh, Lecturer

Ellen Roehne, Lecturer

Dr. Staci Scheiwiller, Associate Professor

Susan Stephenson, Assistant Professor

Jake Weigel, Assistant Professor

Meg Broderick, Administrative Support Assistant II

Andrew Cain, Instructional Technician I

Jon Kithcart, Equipment Technician II

Stan State Ar t Space

Dean De Cocker, Director

Megan Hennes, Gallery Assistant

School of the Ar ts

Brad Peatross, Graphic Specialist II

Ryan J. Rasmussen - Transmission April 11–May 4, 2019 | Stan State Art Space, California State University, Stanislaus | 226 N. First St., Turlock, CA 95380 300 copies printed. Copyright © 2019 California State University, Stanislaus • ISBN: 978-1-940753-43-0 All rights reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of the publisher.

This exhibition and catalog have been funded by Associated Students Instructionally Related Activities, California State University, Stanislaus.

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