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Entering the Mind

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books

Foucault in Warsaw and the Shapeless, Shaping Gaze of the Surveillance State

Reviewed by Marcel Radosław Garboś

Foucault in Warsaw
by Remigiusz Ryziński 
translated by Sean Gasper Bye
Open Letter Books, 220pp., $15.95
Harvard Review

Since Poland’s state socialist system collapsed in 1989, the records of its police agencies and security services have gone to a government commission entrusted with the “prosecution of crimes against the Polish nation,” today part of the Institute of National Remembrance. Remigiusz Ryziński credits the Institute and its holdings for enabling his work, yet his use of this archive also challenges prevailing Polish narratives of collective suffering under surveillance and repression. Trained in gender studies, queer theory, and feminist thought, Ryziński belongs to the milieu of pioneering Polish intellectuals who investigate the experiences of people persecuted and ostracized because of their sexuality. He has authored four books, three of them reconstructing the inner lives of LGBTQ+ communities across Poland’s traumatic twentieth century while tracing how illiberal regimes have constructed sexual deviance as a problem to be monitored, contained, and excised since World War II. [Read More…]

artist

Rose Wylie, "I Like To Be" (2020)

In Full Surrender to the Wylie Eye

Rose Wylie: Which One, at David Zwirner, NYC (through 12 June)
Reviewed by David Salle

Rose Wylie: Which One
by Rose Wylie; with Barry Schwabsky, Judith Bernstein, and Hans Ulrich Obrist
David Zwirner Books, 196pp., $75.00
NYRB

Rose Wylie, who is now eighty-seven, has been painting in the same rural studio in Kent, England, since the late 1960s, but she has only recently shimmered into wide public view. Incredibly, the show of large-scale paintings held last spring at David Zwirner was only her third appearance in New York, and the first in a big-time gallery.

She who laughs last and all that. [Read More…]

artist

Julian Schnabel, The Chimes of Freedom Flashing (detail), 2022

The Supremely Humanistic Hand of Julian Schnabel

For Esmé – With Love and Squalor, at Pace Gallery, Los Angeles (through 21 May 2022)
Reviewed by Eve Wood

How does one represent, let alone quantify hope, hate, grief, love, joy, tragedy, or anything, for that matter, which stands in opposition to something else? Throughout his illustrious career, Julian Schnabel has always been one to take chances, both materially and metaphorically, and this, his newest exhibition at Pace Gallery, Los Angeles, is no exception. Working with molding paste, oil and spray paint on velvet, these thirteen largely abstract paintings function much like a scream under water, their metaphoric power mitigated by abstraction. The result is that, when looking at them, we experience a wide array of emotional responses while all-the-while the deeper hidden content somehow eludes us, yet it is this elusive quality specifically that makes these paintings so ambitious and so unnerving. They are at once abstract yet perniciously narrative. [Read More…]

art

Beyond the Canonical Cube: Whitney Biennial’s Quiet As It’s Kept Sings

at Whitney Museum of American Art, Curated by David Breslin and Adrienne Edwards (6 April – 5 September 2022)
Reviewed by Jill Conner

Throughout Quiet As It’s Kept, the Whitney Museum of American Art has finally reached beyond the limitations of the white cube in order to bring 63 artists and collectives together in what has resulted in a cathartically gripping exhibition that is pieced together mostly by artists of Native American, African American, Latino, and Asian descent. By presenting the voices of those who have thrived creatively beyond the filters of Western entertainment and popular culture, Quiet As It’s Kept carries the flair of a cinematic documentary, while calling attention to the ongoing, multi-faceted contexts of American life. [Read More…]

profile

Pavel Kraus. Manes Monument. At Riot Material

In Studio With Pavel Kraus

by Jill Conner

There is usually nothing to say in the wake of violent conflict. The history of forms is bound to the dynamic of time, as a rendering of thoughts on survival. Perceptions create and deconstruct what one sees and experiences before them. Sometimes essence is all that we are left with, because words and forms do not effectively inform one another. Within Pavel Kraus’s sculptures and paintings, there is no time like the present. Although his work has been inspired by the structural tenets of the Classical era and the dynasties of Europe, Kraus’s conceptually abstract artworks remain complex and stand as critical responses to the state of disillusion. While utilizing the visual language of abstraction, Kraus attempts to unwind the past. [Read More…]

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The Line –>

Presence as Abstraction, as Beguiling Obfuscation, in the Works of Leon Kossoff

Leon Kossoff: A Life in Painting, at Mitchell-Innes & Nash, NYC (with concurrent exhibitions at LA Louver in Los Angeles, through 9 April 2022, and Annely Juda Fine Art in London) Reviewed by Arabella Hutter von Arx The first painting greeting us in the Mitchell-Innes & Nash exhibition is, aptly, a self portrait. Smaller than the other pieces in the show, monochromatic, it packs the power of dynamite. The man represented closeup looks aghast, terrified even. His eyes stare down with dismay at something off canvas, an abyss? Hell? Malleable, the face is agitated by a chaos of … [Read More...]

Noah Davis, Untitled (2015)

The Haunt of One Yet Faintly Present: Noah Davis, Still at Home

Noah Davis, at the Underground Museum, Los Angeles Reviewed by Ricky Amadour Directly across from the entrance, an opening statement to Noah Davis, at the Underground Museum, reads “many of the paintings you are about to see were painted in this space.” Smudges, dribbles, and droplets on the floor embody the physical notion of Davis activating the now museological edifice. Until this very writing, The Underground Museum was the gathering space for black culture in greater Los Angeles. As a Delphic entity, Davis predates the popularity of figurative works that are today commonplace in … [Read More...]

“Skunk Hour,” by Robert Lowell: A Reflection

by James McWilliams Robert Lowell Life Studies / From the Union Dead Farrar, Straus and Giroux, 176pp In 1958, The Partisan Review published … [Read More...]

I Am Not Your Cis

by Hypatia The verve of English is under house-arrest by the under-educated: the students of Ivy League universities. They are the standard-bearers … [Read More...]

The Ephemeral Palace: Alexey Titarenko’s City of Shadows

at Nailya Alexander Gallery Booth, Paris Photo 2021 by Allyn Aglaïa Aumand The Ephemeral Palace . I walked across Paris to the Palais Éphémère … [Read More...]

The View Into Your Already Awakened Mind

In his new book, Entering the Mind, C von Hassett takes us luminously into the life-affirming, heart-awakening, consciousness-altering terrains of … [Read More...]

Albert Pinkham Ryder: White Whale of American Art

by Christopher Benfey A Wild Note of Longing: Albert Pinkham Ryder and a Century of American Art at New Bedford Whaling Museum, MA NYR “American … [Read More...]

The Line

Savage Journey: Hunter S. Thompson and the Weird Road to Gonzo

Fifty years after the publication of Fear and Loathing in Las Vegas, and more than a decade after his death, Hunter S. Thompson’s celebrity continues to obscure his literary achievement. Savage Journey refocuses our understanding of that achievement by mapping Thompson’s influences, probing the development of his signature style, and tracing the reception of his major works. It concludes that Thompson was not only a gifted journalist, satirist, and media critic, but also the most distinctive American voice in the second half of the twentieth century. —The University of California Press 

Below is an excerpt from Savage Journey.

Savage Journey: Hunter S. Thompson and the Weird Road to Gonzo
by Peter Richardson
University of California Press, 296pp., $27.95

During the mid-1970s, Hunter S. Thompson was a central figure at Rolling Stone magazine. Although he did not write about music, he was its most popular contributor, and Abe Peck observed his primacy at close range. After editing an underground newspaper in Chicago, Peck worked for Rolling Stone in the mid-1970s and later taught journalism at Northwestern University. In his estimation, Rolling Stone was one of the most important American magazines of its era, and Thompson defined its nonmusical voice during the 1970s. In particular, Thompson linked readers to their youthful iconoclasm even as their tastes changed. “He kept the sparks flying when the readership was starting to settle down,” Peck said. As he did so, Thompson turned his growing renown to advantage. He began to lecture on college campuses, and though the work was easy and lucrative, he never enjoyed it. Rather than delivering speeches, Thompson limited himself to answering questions, which were often submitted in advance. Sensing that audiences were drawn to his alter ego, Raoul Duke, he played that role onstage. That approach, one of his friends noted, had the added benefit of masking Thompson’s shyness in public. [Read More…]

An interview with Alison Saar, at Riot Material magazine.

An Interview with Alison Saar

By Ricky Amadour

As an indefatigable voice for women of color and the greater human spirit, Alison Saar recomposes fractured histories into multivalent sculptures. Saar curated SeenUNseen, a group exhibition at L.A. Louver Gallery, with a focus on spirit portraiture. Throughout human existence there has been a predilection to the allure of the unseen. Hidden forces have shaped paradigms of scientific thought, political ideology, and technological development. Skepticism and belief can also subvert our realities as heavily noted over the course of the pandemic.

[Read More…]

William S. Burroughs on a bed, smoking a cigarette.

“The Opposite of Literature:” Mary McCarthy’s Feb. ’63 Review of Naked Lunch

From the inaugural print edition of The New York Review of Books
In remembrance of Jason Epstein, originator and co-founder of NYRB
RIP 1928-2022

by Mary McCarthy

Naked Lunch 
by William S. Burroughs
Grove Press, 304pp., $14.49

“You can cut into The Naked Lunch at any intersection point,” says Burroughs, suiting the action to the word, in “an atrophied preface” he appends as a tail-piece. His book, he means, is like a neighborhood movie with continuous showings that you can drop into whenever you please—you don’t have to wait for the beginning of the feature picture. Or like a worm that you can chop up into sections each of which wriggles off as an independent worm. Or a nine-lived cat. Or a cancer. He is fond of the word “mosaic,” especially in its scientific sense of a plant-mottling caused by a virus, and his Muse (see etymology of “mosaic”) is interested in organic processes of multiplication and duplication. [Read More…]

Remembered and Remade: James Castle’s Conjurings of Mind

James Castle at David Zwirner, NYC (through 12 February 2022)
by Andrew Martin

James Castle: Memory Palace
John Beardsley
Yale University Press, 280pp., $65.00
NYR

Every James Castle picture seems to contain a secret. Approaching one of his works for the first time, you peer into pockets of shadow and smudge, examining the depopulated landscapes and interiors for explanations. Here, an empty rural road, with telephone poles standing like sentries at precise intervals, stretching to the drawing’s vanishing point; there, a cryptic attic space with a yawning doorway, captured on disintegrating paper that is then stitched to cardboard backing with red string. A series of drawings from multiple angles depicts the walls of an unloved upstairs bedroom, which seem to be shadowed by cage-like patterns hovering behind the brooding furniture arranged haphazardly around the space. Another piece shows two empty blue coats standing upright in front of a farmhouse next to an overturned bottle, a spiritual cousin of American Gothic. Even after repeated viewings and an immersion in Castle’s sprawling, insular oeuvre, these works refuse to yield their intentions. Their power lies in their ability to remain in one’s mind like half-remembered dreams. [Read More…]

Vulgar Genres: Gay Pornographic Writing and Contemporary Fiction

Vulgar Genres: Gay Pornographic Writing and Contemporary Fiction

An excerpt from a new book which examines gay pornographic writing, showing how literary fiction was both informed by pornography and amounts to a commentary on the genre’s relation to queer male erotic life. —The University of Chicago Press

Vulgar Genres: Gay Pornographic Writing and Contemporary Fiction
by Steven Ruszczycky
University of Chicago Press, 216pp., $30.00

In the United States in the mid-1960s, a case came before the Supreme Court, one intended to settle the question of obscenity addressed by the famous Roth decision of 1957. The nine quarrelsome old men now came to the conclusion that obscenity required a work to be utterly without any redeeming social value. Whammo! There was a thoughtful pause whilst the country digested that—and came to the conclusion that of course there was a revelatory and redeeming social value to even the lousiest suckee-fuckee books. The gates were opened. The flood began. Suddenly all the old four-letter words (and some new ones) appeared in print, almost overnight. Publishers no longer had to write prefatory notes condemning what they were printing; they could merely suggest the social significance of erotica, and lo! all was satisfied. The court’s decision had more holes in it than a colander, and publishing houses sprang up like mushrooms after rain.

In the passage above, pornographer, tattoo artist, and erstwhile literature professor Samuel Steward reflects on a moment whose import for our understanding of gay literary fiction, pornography, and print culture has been largely underappreciated. Steward has in mind the rapid attenuation of US obscenity law at midcentury, when the state’s waning interest in censoring sexually explicit media led to a remarkable change in the kinds of texts available to a general readership.  [Read More…]

Riot Sounds

Dälek "Decimation (Dis Nation)"

“Decimation (Dis Nation)” is a Visual Stunner

Dälek
Feat MC dälek & Mike Mare

Directed by Will Brooks
.
from Precipice
out now on Ipecac Recordings
.

The Line

Hilary Brace, Drawings and Tapestries, is reviewed at Riot Material magazine.

Darkness Made Visible in Hilary Brace’s Drawings and Tapestries

at Craig Krull Gallery, Bergamot Station (through 19 February 2022) Reviewed by Eve Wood The intricacies and inherent beauty of the natural world are rarely celebrated these days, and when artists do turn their attention to the surrounding landscape, the resulting images are usually ones of devastation and chaos — charting the movement of fires, […]

The Tragedy of Macbeth 

A film written and directed by Joel Coen Reviewed by James Shapiro NYR Those who have long followed the Coen brothers and their cinematic universe of criminals, nihilists, and overreachers may see in Joel Coen’s The Tragedy of Macbeth (2021) a long-deferred reckoning with Shakespeare, who has been there before them. We don’t typically think of Shakespeare […]

John Divola, From Dogs Chasing My Car In The Desert,1996-98,

Illuminating Images: Liquid Light and Golden Hour and the Affective Force of Non-Didactic Art

at the Vincent Price Art Museum, Los Angeles (through 5 February 2022) Reviewed by Johanna Drucker What is the difference between a wall label and a work of art? The unrelenting didacticism that prevails in current gallery and museum exhibits of contemporary art makes it seem that many curators and artists cannot answer that question. […]

The Occult Works of Ray Robinson, with an essay by Christopher Ian Lutz, is at Riot Material Magazine.

The Brush as Luminous Torch: Ray Robinson’s Blazing Portals Into the Divine Feminine

The Third Door:Occult Works of Ray Robinson, at the Buckland Museum of Witchcraft and Magic (through 15 January) by Christopher Ian Lutz Burn the Sun The persecution of the witch is a war of the hours. The Inquisition that charged women with witchcraft was not just about controlling women’s bodies – it was a crusade to extinguish […]

An Interview with Artist Gala Porras-Kim is at Riot Material Magazine.

An Interview with Artist Gala Porras-Kim

by Ricky Amadour . Interdisciplinary artist Gala Porras-Kim frames her research to highlight and question the current institutional practices of conservation, acquisition, and deaccession. Acting as an investigator of cultural artifacts that correspond to institutional collections, Porras-Kim deep dives into the expansive histories, stories, and functions of those objects. The artist’s first solo exhibition in […]

Seizing the Snowmelt: Industrial Agriculture is Draining Our State Dry

by Mark Arax The Dreamt Land: Chasing Water and Dust Across California by Mark Arax Knopf, 576pp., $25.00 MITTR The wind finally blew the other way last night and kicked out the smoke from the burning Sierra. Down here in the flatland of California, we used to regard the granite mountain as a place apart, our […]

The Great Flood of 1862

The Looming Catastrophe Few in California Are Aware Of (or in Want to Address)

An excerpt from Perilous Bounty: The Looming Collapse of American Farming and How We Can Prevent it, by Tom Philpott. THE FLOOD NEXT TIME In November 1860, a young scientist from upstate New York named William Brewer disembarked in San Francisco after a long journey that took him from New York City through Panama and then […]

Precontact California Indians: Their Life Prior to Genocide

An excerpt from the first chapter of An American Genocide: The United States and the California Indian Catastrophe, by Benjamin Madley. CALIFORNIA INDIANS BEFORE 1846 Within a few days, eleven little babies of this mission, one after the other, took their flight to heaven. -Fray Junipero Serra, 1774 We were always trembling with fear of […]

Laurie Anderson's "The Weather," is reviewed at Riot Material magazine.

An Atmospheric River of Wonder in Laurie Anderson’s The Weather

at the Hirshhorn Museum and Sculpture Garden, Washington D.C. (through 31 July 2022)  Reviewed by Nancy Kay Turner             “What are the days for? To put between the endless nights. What are the nights for? To slip through time into another world.”  –Laurie Anderson             “Stories are our weather”  –Laurie Anderson Laurie Anderson is a Renaissance polymath whose […]

Maria Lassnig Augenglaeser - Autoportraets (1965)

Maria Lassnig: The Paris Years, 1960–68

at Petzel Gallery, New York City Reviewed by James Quandt Maria Lassnig: Film Works edited by Eszter Kondor, Michael Loebenstein, Peter Pakesch, and Hans Werner Poschauko FilmmuseumSynemaPublikationen, 189 pp., $35.00 NYRB Many female artists — most recently Carmen Herrera, Faith Ringgold, and Lorraine O’Grady — have had to wait a lifetime to be accorded the recognition […]

Marcellina Akpojotor’s Sublime Matriarchy

Daughters of Esan at Rele Gallery, Los Angeles (through 4 December 2021) Reviewed by Eve Wood Marcellina Akpojotor’s second solo exhibition, Daughters of Esan, continues her exploration into notions of personal intimacy, drawing on her own relationships with her family and the tremendously powerful and transformational possibilities of education and love. Inspired by her great-grandmother’s […]

An interview with Rachael Tarravechia, at Riot Material

Fear and Self-Loathing in Rachael Tarravechia’s Wish You Were Here

at Launch F18, NYC (through 4 December 2021) by Danielle Dewar The horror genre is rooted in a desire for catharsis by means of dispelling fears and anxieties that live deep within a subconscious mind. Since we often crave a controlled release of such emotions, the use of the macabre within an artist’s practice allows […]

Umar Rashid, aka Frohawk Two Feathers, exhibition review of En Garde/On God is at Riot Material magazine

Histories Disembowled in Umar Rashid’s En Garde/On God

at Blum and Poe, Los Angeles (through 18 December 2021) Reviewed by Ellen C. Caldwell In En Garde/On God, Blum & Poe showcases the work of artist Umar Rashid (also known by the pen name Frohawk Two Feathers). Featuring thirteen large paintings and one sculpture in Rashid’s hallmark style, the exhibition highlights works that are bold […]

A Grid Gone Wholly Off in My Monticello

Reviewed by Bridgett M. Davis My Monticello By Jocelyn Nicole Johnson Henry Holt & Company, 210 pp., $13.49 NYT In the essay “The Site of Memory,” Toni Morrison described the crafting of her fictional worlds as a quest to access the interior lives of her ancestors. “It’s a kind of literary archeology,” she explained. “On the […]

The Web of Mind Throughout Our Earth

Reviewed by Zoë Schlanger Entangled Life: How Fungi Make Our Worlds, Change Our Minds and Shape Our Futures by Merlin Sheldrake Random House, 352 pp., $28.00; $15.48 NYRB Imagine that you are afloat on your back in the sea. You have some sense of its vast, unknowable depths—worlds of life are surely darting about beneath […]

Drugs Amongst Other Adult Liberties

Reviewed by Mike Jay Drug Use for Grown-Ups: Chasing Liberty in the Land of Fear by Dr. Carl L. Hart Penguin Press, 290 pp., $16.94 NYRB The modern meaning of “drugs” is of surprisingly recent origin. Until the twentieth century, the word referred to all medications (as it still does in “drugstore”); it was only […]

Rashid Johnson, Anxious Red Painting August 20th. At Riot Material

Break//Breathe: Broken Men That Glitter

by Allyn Aglaïa Aumand On the coherence of fracture an essay in fragments on fragments * I had a lover once, who self described as a volcano, but fully encased. Make space to let it out sometimes, I told him. That’s why I wanted to see you today, he said.

Against White Feminism: Notes on Disruption

An excerpt from a new book W. W. Norton calls “a radically inclusive, intersectional, and transnational approach to the fight for women’s rights.”  Against White Feminism: Notes on Disruption by Rafia Zakaria W. W. Norton, 256pp., $23.95 There is an important distinction between what Nancy Fraser calls “affirmative change” and actual transformational change. The former is […]

Burt Shonberg. A review of "Beyond the Pleasuredome" is at Riot Material magazine

Beyond the Pleasure Dome: The Lost Occult World of Burt Shonberg

at Buckland Museum, Cleveland (through 1 November 2021). Presented by Stephen Romano Gallery, Brooklyn by Robin Scher “The truth is out there,” that quintessentially quotable tagline from the hit 90s TV series The X Files, reflects an ongoing fascination. The obsession with this statement lies in its absolute nature: the truth, not a truth. This idea speaks to an […]

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