Riot Material

Art. Word. Thought.

Tales Of The Unconfined: Alison Saar’s Defiant Women Warriors

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Syncopation, at L.A Louver, Los Angeles (through 29 February)
Chaos in the Kitchen, at Frieze Los Angeles
Reviewed by Lita Barrie

Alison Saar’s work combines the raw power of tribal art with the postmodern sophistication of complex cultural subtexts. Her work is made in a near devotional way, which infuses a rare emotional intensity into her new narratives on upturning gender and racial hierarchies. Few artists can use visual materials as skillfully to create such powerful political statements. Fewer still can combine aesthetic technique and conceptual acuity in artwork that is so heartfelt it resonates with the viewer viscerally, a sensation akin to listening to a Nina Simone song. This is a rare feat only an exceptional artist can accomplish, which makes her concurrent exhibitions, Syncopation, at L.A Louver, and Chaos in the Kitchen, at Frieze Los Angeles, stand out even amidst the art fair frenzy. [Read more…]

Jeffrey Vallance Interview: The Story Behind Blinky

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by Lita Barrie

Jeffrey Vallance has loved pranks since he was at high school but it did not occur to him that they could be called “performance art” until he went to art school. Vallance is so guileless he did not understand why he was called a “prankster” at first because he was making a social point. Since then he has continued to do what came naturally to him: blurring the lines between art and life because it has never occurred to him that they could be separate. Vallance is known as a pioneer of Infiltration Art (a form of Intervention Art) because he interacts with religious and political institutions and foreign dignitaries: traveling throughout Polynesia in search of the origin of the myth of Tiki and meeting with the king of Tonga and the queen and president of Palau; studying Christian relics and meeting Pope John Paul 11 at the Vatican; creating a Richard Nixon Museum; initiating a campaign “Preserving America’s Cultural Heritage” and creating a shamanic magic drum in Lapland. These art performances led to whacky sculptures, phantasmagoric paintings, collages, bricolages and frenzied drawings that draw as much on folk art and pop culture as avant-garde concepts. [Read more…]

Sites Of Love And Desire In Lari Pittman: Declaration Of Independence

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at Hammer Museum, Los Angeles (through January 5)
Reviewed by Lita Barrie

Lari Pittman’s momentous retrospective at Hammer Museum, is not only the most ambitious exhibition organized by the museum but arguably the most important exhibition anywhere in the country — or perhaps the world, today. This career-spanning exhibition of 80 densely layered monumental paintings and 50 vibrant works on paper ends the decade on a jubilant note because as the curator Connie Butler says, “the show is really about revelation.” [Read more…]

Mary Corse: A Survey in Light

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at LACMA (through November 11)
Reviewed by Lita Barrie

Mary Corse is finally having her moment in a breakout role as the luminary of  “light painting.” Although Corse has received critical acclaim since the sixties she has been overshadowed by male SoCal Light and Space artists. Interestingly, it took New York women curators to revise the canon with a fresh spin on Corse’s singular importance as the first light painter because she does not depict light as a subject but paints with light as her source material. [Read more…]

Enrique Martínez Celaya’s The Tears of Things

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at Kohn Gallery, Los Angeles ( through November 2)
Reviewed by Lita Barrie

Enrique Martínez Celaya’s haunting exhibition at Kohn Gallery is conceived as visual poetry predicated upon Virgil’s phrase “the tears of things,” from Aeneid ( Book 1, line 462), about an encounter with a mural of the battle of Troy which made the Trojan hero weep as he remembered those he had loved and lost. This famous poetic passage about the power of painting continues to fascinate scholars because it is open to  multiple subjective and objective interpretations. [Read more…]

Laura Krifka’s Wickedly Deviant The Game of Patience

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at Luis De Jesus (through October 26)
Reviewed by Lita Barrie

Laura Krifka enjoys doing things she is not supposed to do. Having absorbed the tenets of neoclassical painting, she bypasses high-minded seriousness by adding a candy-coated veneer of hyper-artificiality adopted from 1950s MGM musicals to the domestic decor of private scenes she then undercuts with a deviant sexual subtext recalling David Lynch’s Twin Peaks. This irresistible mix of dexterity, decor, decorum and deviance makes viewing her paintings a guilty pleasure — rather like sneaking into a peep show or secretly spying on neighbor’s forbidden acts. We can view the conventions of art, cinema and domestic life through a bemused female gaze with no-holds-barred on taking delight in human foibles.  [Read more…]

Christina Quarles And The Aesthetics Of Ambiguity

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by Lita Barrie

Christina Quarles is at the forefront of a generation of millennial artists who are making ambiguity the aesthetic of our time. Few artists can incorporate as many painting styles as fluidly as Quarles does because few artists have the chops to paint and draw as well as she does. Even fewer have the philosophic rigor and intellectual muscle to upturn the cultural assumptions underlying the history of painting – and have such obvious pleasure doing it. [Read more…]

Deborah Roberts Explores The Fragility of Black Masculinity in Native Sons

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Native Sons: Many thousands gone
at Susanne Vielmetter Los Angeles Projects (through June 8)
Reviewed by Lita Barrie

Deborah Roberts’ impassioned exhibition memorializes Black boys who lost their lives from the social injustices of false accusations for murders they did not commit. This solemn exhibition is predicated on African American literature and takes its title from James Baldwin’s non fiction essay, “Many Thousands Gone” (Notes of a Native Son, 1955). [Read more…]

Kim Dingle: I Will Be Your Server (The Lost Supper Paintings)

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at Susanne Vielmetter Los Angeles Projects (through May 4)
Reviewed by Lita Barrie 

Priss has captivated the artworld with her mischievous antics since she first appeared in Kim Dingle’s artwork thirty years ago, dressed in her Sunday Best and ready for battle. Dingle’s imaginary character split and replicated, like a Tribble on Star Trek, into a bi-racial pair, Fatty and Fudge, and then into a wild pack, the “Priss Girls.” These ornery tots run amok: causing mayhem, having fights, raging temper tantrums, and destroying things. Priss and her gang of rambunctious pre-pubescent girls inhabit a world with no adults, no men, and no rules.  [Read more…]