Riot Material

Art. Word. Thought.

Atsuko Tanaka And The Performance Of Light

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by Christoper P Jones

Atsuko Tanaka was a pioneering Japanese artist. She was born in Osaka in 1932, and lived until the age of 74. She died in 2005 in the historic city of Nara.

Tanaka may claim a place among the forerunners of performance art. Before Alan Kaprow organized any “happenings” in New York, Tanaka was taking part in the Gutai group, an experimental postwar Japanese art movement founded by a group of young artists in Ashiya in 1954. The aims of the Gutai group were to reinvent the art-scene in post-war Japan, seeking new and radical means to sever links with the recent past. The art historian Yve-Alain Bois has said that “the activities of the Gutai group in the mid 1950s constitute one of the most important moments of post-war Japanese culture”. [Read more…]

Fuck The Game If It Ain’t Saying Nothing

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Chuck D: Artmageddon
at Subliminal Projects, Los Angeles (through January 26)
Reviewed by Henry Cherry

While Subliminal Projects, owned by the artist Shepard Fairey, is a small space, it resembles a Philadelphia graffiti crew’s warehouse loft with brick flooring in one room and sheets of plywood serving as support in all other parts of the gallery.  A nonsensical line delay outside (I waited 85 minutes) frustrated everyone, including the doorman at the front entrance. “I haven’t worked in L.A. for nine months, and this is why,” he told those awaiting their moment with Chuck D. [Read more…]

Deana Lawson’s Planes Soars

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Deana Lawson: Planes
at The Underground Museum, Los Angeles (through February 17th, 2019)
Reviewed by Ellen C. Caldwell 

The space of The Underground Museum might be what you expect, but it might not be. It is housed in an unassuming storefront on a busy street in Arlington Heights, Los Angeles. As visitors enter, they appear in a small museum gift store, with the usual items expected there: books about featured and past artists, some trinkets, and a sign-in registry for the museum’s mailing list. Just past the entry door and counter is another door. This is a carved wooden door, more like an ornate front door, if memory serves correctly, and here is the true entrance to the museum space and to Deana Lawson’s exhibit, Planes. [Read more…]

Transforming Light Into Art: A Look At The Movement Of Light And Space

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by Ryan Guerrero

During the mid 1960’s, Light and Space became a loosely affiliated art movement related to Op Art, Minimalism and Abstraction. Influenced by American artist John McLaughlin, the movement was characterized by a focus on perceptual phenomenon and became well known throughout California. Artists integrated ideas of light, volume and scale, and the use of materials such as glass, neon, fluorescent lights and cast acrylic. Led by installation artists Robert Irwin and James Turrell, the pair specialized in the phenomenon of sensory deprivation and became curious about pushing the boundaries of art and perception.  [Read more…]

Southern Discomfort: The Photographs of Sally Mann

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Sally Mann: A Thousand Crossings
at Getty Center, Los Angeles (through February 10, 2019)
Reviewed by Nancy Kay Turner

Abide with me! Fast falls the eventide;
The darkness deepens: Lord, with me abide!  –Hymn

Sally Mann’s haunting black and white photographs are a hymn to the South she loves so ferociously, with all its troubled, tangled, twisted history filled with bitter defeats. The charismatic photographs of her children, of her own black nanny Virginia, who also cared for her children, and of the Civil War battlefields are poignant, bittersweet narratives examining the complexities of race, place, family and faded memory. [Read more…]

Robert Pruitt: Devotion

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at California African American Museum, Los Angeles (through February 17, 2019)
Reviewed by Ellen C. Caldwell

Robert Pruitt: Devotion is Houston-born and New York-based Robert Pruitt’s first major museum exhibit in Los Angeles, and it is a must-see and muse-experience. California African American Museum (CAAM) features Devotion in a large interior room, with plenty of light and room for a show with large-scale charcoal works on paper, paintings, sculptures, and installations. [Read more…]

Vivian Maier: Photographic Poetry Swathed in Mystery

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Vivian Maier: Living Color
at KP Projects La Brea Gallery, Los Angeles (through December 29)
Reviewed by Genie Davis

Vivian Maier has been called a street photographer, although many of her photographic works are less about capturing the action around her and more about revealing a certain intimacy in her subjects. She was meticulous in her work; unedited and unculled, her images have an amazing range of power and depth. She has been called the nanny photographer, and while it is true that she spent forty years working as a nanny, she spent more time than that perfecting her craft. She has been called a mystery and an enigma, and to some extent, surely, she was that, having hidden her work from view, stored it in storage lockers, and then let those storage units fall into arears. Much speculation has been made as to whether or not Maier wanted her work discovered or cared little if it was lost. [Read more…]

Umar Rashid’s What is the Color, When Black is Burned?

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What is the Color, When Black is Burned? The Gold War. Part I
at University of Arizona Museum of Art (through March 24th, 2019)
Reviewed by Ellen C. Caldwell

The University of Arizona Museum of Art’s solo exhibition What is the Color, When Black is Burned? The Gold War. Part I  features the work of master storyteller, artist, and historian Umar Rashid (also known under the alias of Frohawk Two Feathers).

Chicago-born and Los Angeles-based, Rashid has been sowing his saga of the Frenglish Empire for fifteen years. He began this body of work by imagining the unification of France and England, exploring visually how centuries of colonial history could have played out differently (or exactly the same in many ways) had this union occurred.   [Read more…]

The Riveting Rauschenberg: The ¼ Mile

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at LACMA (through June 9, 2019)
Reviewed by Nancy Kay Turner       

“Every act of creation is first of all an act of destruction”
–Pablo Picasso

 “There is no reason not to consider the world as one gigantic painting”
–Robert Rauschenberg

Run, don’t walk to see the revelatory exhibition entitled Rauschenberg: The ¼ Mile, at LACMA. The large-scale, enormously ambitious work shown here (together for the first time) as one long piece was done over seventeen years and is a joyful trip through Rauschenberg’s absolutely pristine craftsmanship, complex imagery and his many cultural touchstones. These works were started in 1981 when there was a Rauschenberg retrospective in Europe and clearly the artist is ruminating on his previous bodies of work such as his iconoclastic “Combines” from the fifties and sixties and his “Spreads” series from 1975-83. [Read more…]

Julie Heffernan’s Hunter Gatherer

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at P·P·O·W, NYC
Reviewed by Phoebe Hoban

Both a multi-faceted spin on the pervasive selfie and an erudite capsule of feminist history, Hunter Gatherer, Julie Heffernan’s epic show at P·P·O·W, her first in five years, is far too much to absorb in one viewing—or even a dozen. Typically, Heffernan’s painterly technique is classical, almost atavistic. In a series of nine extraordinarily detailed images, all completed in 2018, Heffernan creates a personal diary cum feminist manifesto with an overtly political content seemingly at odds with its self-consciously pretty form. [Read more…]

Outliers and American Vanguard Art

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at LACMA (through March 17, 2019)
Reviewed by Genie Davis

What is an outlier? Is it someone outside conventional norms, beyond the commonplace? In art, both are almost certain true, and among outlier artists are the seeds of innovation, change, and a fearless evocation of what constitutes art. Boundaries are pushed, both in terms of content and creation. We may love this art, be drawn to it, seek out individual artists, but it is rare to see a wide-ranging collection of these works in a major museum. With that in mind, the west coast presentation of the National Gallery of Art-curated Outliers and American Vanguard Art at LACMA is in and of itself an outlier of an exhibition. [Read more…]

Director Nathaniel Khan Talks About The Price Of Everything

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by Cynthia Biret

Few ever dream of owning a masterpiece; even fewer know the intrinsic value of an art piece in today’s hyper inflated art market. Brilliantly directed by Nathaniel Khan, The Price of Everything is a fascinating journey into the personalities at the forefront of this phenomenon, from high-end investors to auctioneers, historians, art critics, collectors and artists. [Read more…]

Hilma af Klint: Paintings for the Future

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at The Guggenheim Museum, NYC (through April 23, 2019)
Reviewed by Nancy Kay Turner

The Hilma af Klint retrospective, currently at The Guggenheim Museum, is a game changer. This astonishing exhibition alters the way one must view the trajectory of abstract painting (almost always male dominated) in the early twentieth century. The mystery of how a classically trained female painter in Sweden at the turn of the century moved confidently away from realism to large-scale abstraction before any other painters did (and kept it secret) is a fascinating tale. [Read more…]

Helmut Newton: Private Property

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at 10 Corso Como, NYC
Reviewed by Jill Connor

The infamous partnership between art and fashion is receiving overwhelming recognition throughout New York galleries and museums this Fall. From September to November, 10 Corso Como introduced Private Property by the world-renowned fashion photographer, Helmut Newton. Although Newton passed away in 2004, this specific set of photographs had never been exhibited in the United States. Initially Private Property was created in 1984, but Newton had not intended for these photographs to be seen publicly. This dossier of 45 gelatin silver prints covers a decade of Newton’s career, from 1971 to 1983, and presents a mix of unknown models with well-known celebrities who, at that time, were beginning to gain notoriety. [Read more…]

Ron Baron’s Ode to a Void

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at Studio 10, Brooklyn
Reviewed by Phoebe Hoban

In his ghostly installation, Ode to a Void, at Studio10, Brooklyn, artist Ron Baron has channeled a literally granular level of grief. Particles of pearlite, salt, sand and broken glass are sprinkled on the gallery floor in the pattern of a room-sized spiral resembling a cosmic corona. Placed seemingly at random on this winding road to nowhere — or at least nowhere on earth — are some 60 pairs of shoes, ranging from baby’s shoes to adult cowboy boots. They have been slip-cast in ceramic, and whatever their past life was, they are now frozen in time. [Read more…]

Jordan Wolfson: Art and Objecthood

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at the Broad, Los Angeles (Through January 20, 2019)
Reviewed by Emily Nimptsch

“I was mostly just interested in the physicality of what I’d seen in the animatronic field, and I was also interested in making a sculpture that had the potential to be chronological or structural in the same way a video is. My hope is that the work dips in and out of spectacle.”  一 Jordan Wolfson

Beginning with the iconic Venus of Willendorf and her luscious curves, the Western art historical tradition has long associated the female body with consumption and objecthood. Now, in this modern age of technology and the #MeToo Movement, provocative American sculptor Jordan Wolfson’s hypersexualized animatronic figure currently on view at the Broad Museum deliberately challenges the viewer with its seemingly stereotypical depiction of women. Undoubtedly, this demeaning representation is bound to trigger consternation and spark debate. The artist is no stranger to this kind of controversy. His violent virtual reality-based installation at the 2017 Whitney Biennial shocked and horrified both critics and visitors alike. While the Broad’s (Female Figure) is far tamer in comparison, it does effectively question the progress of gender equality in America and echo Edouard Manet’s Olympia (1863) in its subversion of the male gaze. [Read more…]

Humor and Horror: A Tale of Two Satirists

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IndigNATION: Political Drawings by Jim Carrey, 2016-2018, Maccarone, Los Angeles (through December 1, 2018)                                                             
Robbie Conal: Cabinet of Horrors, Track 16, Los Angeles (through December 10, 2018)           
Reviewed By Lorraine Heitzman

There are two political shows capturing the attention of Angelenos now, besides, of course, the very real drama playing out in Washington. IndigNATION: Political Drawings by Jim Carrey at the Maccarone Gallery is a series of political cartoons as freewheeling and expressive as Carrey himself, while Robbie Conal: Cabinet of Horrors at Track 16 continues the artist’s well-known practice of skewering those in power in brutal, satiric portraits. Both shows are entertaining and provocative in their use of humor to depict harsh realities. Like Edel Rodriguez, whose graphic and clever depictions of Trump have attained an international following, and the innumerable artists who feel compelled to express their political views, Carrey and Conal are calling attention to what they see as the hypocrisies stemming from the current administration. If art has become the new, preferred method of political persuasion, bring it on. [Read more…]

Fred W. McDarrah: New York Scenes

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at Steven Kasher Gallery, NYC (through November 3)
Reviewed by Phoebe Hoban

The Village Voice is, sadly, now a hallowed memory of the past, but many of its iconic images live vividly on through the work of Fred W. McDarrah, the publication’s first picture editor and its sole staff photographer for decades.

McDarrah, who died in 2007, aimed a powerful lens at some of the most creative and turbulent times in New York City’s history. Eighty of his vintage black and white photographs are on display at the Steven Kasher gallery, in a show that coincides with the publication of the comprehensive Abrams book, Fred W. McDarrah: New York Scenes. [Read more…]

Adrian Piper: Concepts And Intuitions, 1965-2016

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at the Hammer Museum, Los Angeles (Through January 6, 2019)
Reviewed by Emily Nimptsch

Societal stereotypes and divisions are unfortunately ubiquitous in our culture. Which begs the question, how should we go about demolishing them? With the nearly 300 photographs, paintings, drawings, videos, and installations currently comprising her blockbuster Hammer Museum retrospective, Adrian Piper: Concepts and Intuitions, 1965-2016, this New York-born, Berlin-based conceptual artist and former philosophy professor obliterates these harmful ideas via self-expression and scholarly inquisition. This comprehensive, almost encyclopedic presentation not only documents fifty years of Piper’s experimental oeuvre but also investigates the genesis of prejudice and embraces a much looser, more liberated sense of self. [Read more…]