Riot Material

Art. Word. Thought.

Archives for January 2017

Andrea Joyce Heimer, A Jealous Person

By

Hometown Gallery, Brooklyn
Reviewed by Robin Scher

Memory is a useful faculty in a painter’s toolbox. It can be used to conjure the color of an emotion or deployed in the pursuit of perspective. It is the mind’s Instagram filter, tinting the images of our past. In the case of Washington-based artist Andrea Joyce Heimer, whose new exhibit, A Jealous Person, is currently on view at Hometown Gallery in Brooklyn (her first New York solo exhibition), memory is wielded as a powerful device for navigating neuroses borne of a set of formative experiences worthy of the Tenenbaum family, and with an equally pleasing palette to boot. [Read more…]

Reinvention Through A Rearward Eye

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Kerry James Marshall’s Mastry
at Met Breuer, NYC
Reviewed by Prajna Desai

When a much-awaited survey of a leading light finally takes shape, and on hallowed ground, it should be forgiven its hagiographic excesses on grounds of perfect execution. The Met Breuer’s staging of Mastry, the first-ever retrospective of MacArthur Foundation Genius Awardee Kerry James Marshall, now 61 and a resident of Chicago, was exactly that, adoring, excessive, and majestic. [Read more…]

The Downwind Smell Of Teen Spirit

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Henry Miller’s The Time of the Assassins
Reviewed by John Biscello

“This time we have him: we know where Arthur Rimbaud, the great Rimbaud, the real Rimbaud, the Rimbaud of Illuminations is. This is not a decadent hoax. We are declaring that we know the real hiding place of the famous missing poet” —La France moderne, Feb 19-March 4, 1891 [Read more…]

In Memoriam, 20 January 2017: What Have We Done?

By

Denis Johnson 
From Tree of Smoke

Last night at 3:00 a.m. President Kennedy had been killed. Seaman Houston and the other two recruits slept while the first reports traveled around the world. There was one small nightspot on the island, a dilapidated club with big revolv­ing fans in the ceiling and one bar and one pinball game; the two marines who ran the club had come by to wake them up and tell them what had happened to the President. The two marines sat with the three sailors on the bunks in the Quonset hut for transient enlisted men, watching the air conditioner drip water into a coffee can and drinking beer. The Armed Forces Network from Subic Bay stayed on through the night, broadcasting bulletins about the unfathomable murder. [Read more…]

The Eyes of My Mother

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CINEMA DISORDINAIRE

Nicolas Pesce’s new American gothic, The Eyes Of My Mother (2016), is a spare, simmering vision of riptiding loneliness and grim pathology, and it is both beautiful and unconventionally good. Pesce gives us a protagonist we cannot know, nor scarcely bear, and delivers a film we can no less turn our eyes from, though considering the subject at hand this may be blindingly ill-advised. [Read more…]

Portrayals in Bone: Heide Hatry’s Cremation Portraits

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Icons in Ash: Cremation Portraits
Ubu Gallery, NYC
Reviewed by Phoebe Hoban

Somewhat hidden, the small, subterranean Ubu Gallery, on 59th Street, close to the East River, is the perfect place for the haunting show by Heide Hatry, known for her use of unique or transgressive materials–such as fashioning flowers out of animal offal, something she artfully did in a previous series. [Read more…]

Remarkable Banality: The Teasing Opacity of Jack Hoyer

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May Be Seen
Moskowitz Bayse Gallery, Los Angeles
Reviewed by Christopher Michno

Loosely speaking, Jack Hoyer is a painter of landscapes. May Be Seen, his debut exhibition at Moskowitz Bayse in Hollywood, expresses the hallmarks of modern landscape painting, identified by some historians as beginning with Gustave Courbet: eschewing romanticism in favor of empiricism and the conveyance of inner states of mind. Strictly speaking, only three of his seven oil-on-linen paintings are landscapes; the other four are scenes – places in Los Angeles, or unremarkable locations chosen by the artist on lengthy road trips – that include concrete, buildings and infrastructure. [Read more…]

A Quiet, Cutting Torch Toward Activism

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An Interview With Jael Hoffmann
By Rachel Reid Wilkie

Jael Hoffmann is a metal sculpture artist living in the Northern Mojave Desert, just north of Los Angeles. Her rough, nearly primitive sculptures stand at highway’s edge like creatures in a mythic scene, their anointed god a sleepy chief who towers just west in the form of 12,132’ Olancha Peak. Large, wind-worn, lively on the land, they are in constant, animated banter with drivers who speed past, and all the more friendly and engaging for those who stop, stretch their legs, and stroll about the land. Rachel Reid Wilkie spoke with Jael on a gorgeous winter day following heavy snowfall in the Sierras. [Read more…]

The Virtuous Mandate Of Protest

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by Johanna Drucker

Millions of marchers, worldwide, jammed streets and transit routes. In Los Angeles, the mood was jubilant and festive, with a family outing atmosphere. We waited for two and a half hours on the Metro platform, cheering one jammed train after another. Placards flat against the windows proclaimed every possible version of equal rights, reproductive choice, attention to the earth, and the need for health care. Solidarity was assumed, and spontaneous conversation broke out everywhere. [Read more…]

Cosmography

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by Anthony Hassett (2 of 3)

Amongst their kind was one thrust through,
who fell off from his house and made such
a lowing that we Christians thanked Almighty
God for his delivery, and fell straight way
to our labor with full power upon his body. [Read more...]

Nudging Chaos Into The Frame

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An Interview With Harry Gamboa Jr. 
by Pancho Lipschitz

Harry Gamboa Jr. is best known as the co-founder of ASCO, the mas chingon performance art group to emerge from the 70’s and 80’s. But his post-ASCO output, in a wide variety of media, has continued to defy the boundaries of categorization and commodification. Working with a new group of performers he published the photo-novela Aztlángst 2, a poetic grito against corporate culture, constant wars, digital surveillance and the criminalization of “others”. [Read more…]

Through a Lighted Glass Darkly: Ann Nietzke’s Windowlight

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Reviewed by John Biscello

In many respects a window is a writer’s best friend. It can give the unrelenting “I” a break from inner-space-gazing, extend depth and perspective, offer slice-of-life unscripted cinema, frame the world in manageable portions. It is also the voyeur’s privileged peephole, and this is the spy-glass through which Ann Nietzke covers the whirligig waterfront of Venice, California. [Read more…]