Ripper Jordan ReduxNovember 16 - December 15, 2024
TRIPLETHINK: The Art of Ripper Jordan
Ripper Jordan was a collaborative art group active between 2005 and 2009, comprised of James Hough (now based in Texas), David Ryan, and Sean Slattery (both still in Las Vegas). Taught by the influential American critic Dave Hickey(1), these three artists developed the appellation Ripper Jordan to produce, as they put it, “a multitude of artworks and retail objects … that an average college-aged person could afford”(2).
I. Name
The origin of the name Ripper Jordan remains known only to its creators. It could be a merism(3) or even a catachresis(4), but both words evoke cultural familiarity. Whether referencing Jack the Ripper(5), Michael Jordan(6), the River Jordan(7), or British slang celebrating someone exceptional—“Bloody ripper, Jordan!”—the name suggests multiple interpretations. It might also play on the term “bodice ripper” from low-brow novels or, closer to home, mirror the initials R.J., the acronym given by locals to Las Vegas’s major news source The Review-Journal. This range of associations allowed Ripper Jordan to cultivate a sense of vague familiarity, creating a name that felt both recognizable and intriguingly elusive, creating something akin to a reverse-engineered Mandela effect(8).
Reflecting on an era that was ankle-deep in the parturition of social media, while society stanky-legged(9) itself blindly towards a Global Financial Crisis(10), the Ripper Jordan project reads as a proto-algorithmic, aesthetic, capitally-driven social experiment.
The group approached their work with a factory production ethic, creating both mass-produced and uniquely embellished items. Using affordable materials like routered medium-density fiberboard, buttons, craft store canvases and small drawings in ziplock baggies, they balanced between high-volume production and lowbrow cottage industry. The convenience of stock availability (in every size and color) is king.
Their approach to exposure reflected this mix of high and low art, with works displayed in tent booths at events like Downtown Las Vegas’ First Friday(11). Some of their paintings even appeared on MTV’s Real World(12). Their collaboration was featured in publications like Vurb Magazine, The Las Vegas Sun (in an article by Kristen Peterson)(13), and The Las Vegas Weekly (article by Scott Dickensheets). Meanwhile, they also exhibited at upscale galleries, presenting an eponymously titled show at Trifecta Gallery(14) in 2008 and Ellsworth Peanuts(15) at MCQ Fine Arts in 2009 (both galleries no longer in existence).
II. Place
“… In Vegas, everybody's gotta watch everybody else. Since the players are looking to beat the casino, the dealers are watching the players. The box men are watching the dealers. The floor men are watching the box men. The pit bosses are watching the floor men. The shift bosses are watching the pit bosses. The casino manager is watching the shift bosses. I'm watching the casino manager. And the eye-in-the-sky is watching us all…”
-Ace Rothstein, Casino(16)
Las Vegas—with its competitive, layered culture—served as the perfect backdrop for Ripper Jordan’s exploration of art and gaming the system. Using Las Vegas as an incubator, the city became a space where the collective could challenge artistic expectations while feeding into the performative culture of the city itself. At First Friday, Ripper Jordan thrived as a “social experiment,” their artworks blending in seamlessly with street vendors while subtly mocking the art market’s standards. But their departure from high art’s seriousness may have limited their reach in the traditional gallery circuit.
In their work, familiar objects took on strange, often humorous roles: a cat-ensigned pirate ship, a basketball dreaming of a hoopless/hapless backboard, a potted plant sprouts a phallus, reminiscent of Raphael’s libidinous eggplant penetrating a split open fig in the garland of his Cupid and Psyche fresco at the Villa Farnesina in Rome in 1518(17). These juxtapositions of quotidian banalities were Ripper Jordan’s commentary on the absurdities of consumer culture and artistic elitism. The collective’s blend of lowbrow humor with high-culture blue chip reinforced the accessible nature of their project, using their lowbrow imagery and humor as a gateway for youth to experience abstract painting in a city filled with pseudo-didactic figurative street murals and raunchy advertising. Their ‘fiddle in the middle’(18) of this slacker pedagogical directive may have been too much for a city of youth where art (or aesthetics) was all around, but just not very good art(19). And besides, did (and does) Las Vegas really want kids experiencing the complexities of abstract painting and the vagaries of their emotions wrapped up in the aesthetics of formalism? Probably not. To operate, the city needs workers, valets and if you’re blessed with a cool hand, a dealer or croupier position awaits. The house always wins.
III. Time
In George Orwell’s dystopian novel 1984, the protagonist Winston Smith wrestles with the state-sanctioned DoubleThink(20), the process of indoctrination in which he and his fellow workers are expected to simultaneously accept two conflicting beliefs as truth. With Ripper Jordan, Hough, Ryan and Slattery created a multitude of artworks that seem to both work together, yet against themselves at the same time—investing into their own TripleThink—ideas being held together through repetition and mass production. If enough are made, they have to sell. Truth, rituals, marketing, Reddit-like content was conflated to create their own brand of slacker joke abstraction(21), with aesthetic ambiguities as beguiling as their collective name. The works sit awkwardly between the 1976 genesis of Richard Dawkins’ memetics(22) and Doge(23) or Jason Momoa sneaking up on Henry Cavill(24).
With time passed, Ripper Jordan’s work foreshadowed the algorithm-driven culture of today’s internet. As audiences become more entrapped by personalized feeds and hyper-specific content, the collective’s ambiguity and playfulness remind us of a time when art could resist easy classification. Ripper Jordan’s artistic legacy questions how long individuality can persist before it, too, is subsumed by “the system.”
This exhibition commemorates the looming 20th anniversary of Ripper Jordan’s legacy, inviting viewers to experience their experiment in gaming the art world’s conventions. By bridging the gap between fine art and popular culture, they anticipated the algorithmic forces that would shape contemporary art consumption. Nestled in the middle of the exhibition are examples of art by the individual members, drawing lines to, and extending from, many of the aesthetic attributes from their Ripper Jordan period.
The exhibition is dedicated to Ripper Jordan’s 44 followers on Facebook(25).
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