Riot Material

Art. Word. Thought.

Remembered and Remade: James Castle’s Conjurings of Mind

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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…]

Darkness Made Visible in Hilary Brace’s Drawings and Tapestries

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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 aftermaths of raging tornadoes, biblical floods and the myriad other requisite depictions of an apocalypse surely at hand. We’re all, it seems, arriving at the unfortunate knowing of a planet changing much-too rapidly due none other than to our own arrogance and our earth-devouring tendencies toward near-total consumption. Climate change, in other words, is now a very real and terrifying reality. [Read more…]

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

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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. Works serve as mere illustrations of some finger-wagging statement that is itself a recycled thought-form extracted from some current revisionist seminar-speak for the nth time.

But two stunning installations at the Vincent Price Art Museum, at the East Los Angeles Community College, make strong arguments for the way visual art offers illuminating awareness of the multifaceted complexity of current cultural issues. Liquid Light and Golden Hour, quite distinct in their approaches and materials, are each visually smart exhibitions that show ways to understand and interrogate identity, geography, and ecology without reducing them to didactic messaging. [Read more…]

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

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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 illumination. The Catholic church is a solar religion, channeling divinity through the Son (sun). The sun is the origin of light. Thus, the church considers its institution synonymous with God. As worshipers of the source of illumination, the church claims to be the only true medium of heavenly light. The Morning Star, Lucifer, signifying the master, is not a true source of enlightenment. Its illumination is merely a reflection of the sun. For this reason, the church regards Lucifer as a deceiver of spiritual enlightenment, as is the Moon. The illumination of lunar knowledge is considered an illusion by the church. It is the enlightenment of darkness. It is knowledge absent of the sun, absent of God, the source of knowledge. Therefore, lunar knowledge symbolizes the antichrist, the anti-sun. The female body is considered a vessel, not a source of divinity, and thereby, if filled with false light, she becomes the mother of the antichrist, the antithesis of the holy Madonna. Although it is through the womb of the mother that the sun is born, the church denies the female body as the vessel of divine light. They instead demand her vessel to remain empty, like a virgin. However, the Mother is nature. She is not an astral virgin. She is celestial and terrestrial. She is the creator. She is God. [Read more…]

An Interview with Artist Gala Porras-Kim

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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 New York City, Precipitation for an Arid Landscape, opened at Amant — a non-profit arts organization based in Brooklyn.

[Read more…]

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

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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 staggering breadth of knowledge, insatiable curiosity, technical virtuosity and conceptual rigor form the basis for her superb exhibit at The Hirshhorn. Simply titled (though not so simple) The Weather, it is billed as an immersive multimedia experimental exhibit, but really it is an otherworldly investigation into what it means to be a human in this twenty-first century. Intensely personal as well as political, it is a revelation, encompassing eerie video projections, kinetic talking sculpture, operatic oil paintings, invented conceptual violins, complex installations, multiple soundscapes, and everywhere words static and moving painted on floors and walls surrounding the viewer. [Read more…]

Maria Lassnig: The Paris Years, 1960–68

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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 of a major museum retrospective. The Austrian painter and filmmaker Maria Lassnig abided many decades of curatorial slights and oversights before being granted one at the Serpentine Gallery in London in 2008, six years before her death at the age of ninety-four. Astonished by the revelation of Lassnig’s extreme paintings, with their sometimes bilious palettes and gleeful emphasis on aged, corpulent, and deliquescing flesh, The Guardian’s reviewer, Laura Cumming, proclaimed, “Maria Lassnig is the discovery of the year—of the century.” [Read more…]

Marcellina Akpojotor’s Sublime Matriarchy

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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 impassioned commitment to learning and to literacy specifically, Akpojotor has fashioned a series of deeply intimate portraits that insist on knowledge as an essential means of crafting an individual’s sense of self and how to operate within the greater world at large. [Read more…]

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

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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 for a quick glimpse into a unique psyche while highlighting our collective societal fears. Brooklyn-based artist Rachael Tarravechia delivers just that in her new, exciting body of work currently on view at Launch F18 in Manhattan. [Read more…]

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

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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 in both color and story, backed by lengthy titles which are equally vivid and emotive in their humor and wit. Using his imagined “Frenglish Empire” as key players in a revisionist history, Rashid uses biting humor to question, underline, and undermine contemporary and historical issues around the construction of race and class, the perpetual cycle of colonial violence, the historical erasure and survivance of Los Angeles’ Tongva and Chumash people, and the legacies of imperialism that haunt the present and future. Building on a practice of about 18 years, En Garde/On God moves Rashid’s work into decidedly new territory. [Read more…]

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

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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 objective reality, a place that lies beyond our subjective perceptions and experiences of the world. The paths toward reaching this destination take many forms, encompassing spiritual practices, creative expression and psychonautical exploration. And while the combination of these pursuits was once the remit of counterculture, today they could not be more interconnected and mainstream. To know why is interesting unto itself, but let’s look beyond that to the more curious nature of this recurring curiosity. [Read more…]

The Liquidity of Ourselves: Amoako Boafo’s Singular Duality: Me Can Make We

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at Roberts Projects, Los Angeles (through November 6, 2021)
Reviewed by Eve Wood

Amoako Boafo’s second exhibition at Roberts Projects, Singular Duality: Me Can Make We, represents an exploration into personal identity and the dualities that comprise and shape our human existence. On the surface, this exhibition both examines and celebrates the theme of Blackness, as each image is suggestive of empowerment and individuality. Yet upon deeper reflection, we see the artist pushing the limits of materiality and content in new and exciting ways. The result is a powerful and persuasive body of work, one which serves as a compelling visual testament to the beauty of the Black experience. [Read more…]

Restless Threads: The Tapestries of Annette Cords

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Reviewed by Jill Conner
at Project:ARTspace, New York City
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When Shape/Shifters opened on January 7, 2020 at Project:ARTspace in Manhattan, no one was remotely ready for something as dramatic as the Covid-19 pandemic, despite the reports that had been circulating out of China. The opening reception was packed and stood as a strong validation of Cords’ new Jacquard tapestries, which simultaneously embraced and reflected the fast-paced nature of New York City. Even though this curatorial collaboration between myself and the artist closed on February 20, 2020, the unexpected shutdown that occurred nearly two weeks later, ceased all potential conversations about this innovative project. The walkable city had been brought to an abrupt halt, and the regular conduits of communication were distorted. And yet, despite the new era of lockdowns and self-quarantine, her work remains key to an objective, city-based adaptation.

[Read more…]

Recalibrating Awareness in Rebecca Campbell Infinite Density, Infinite Light

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At LA Louver (through 2 July 2021)
Reviewed by Eve Wood

How does an artist adequately describe in paint the concept of love? One could say that even the idea of attempting to capture this ineffable human attribute seems schmaltzy and somehow embarrassing, yet most of us have at some point or other lived and died by the sword of passion- jilted, exalted, or both simultaneously. Each person’s personal history is also the history of humanity in that within each life’s unique and spectacular set of personal associations, images, affinities and biases, there also exists a common thread of communion, of universal likeness and of love. We all want it. We all have lost it. We all somehow find it again, and if we don’t, our lives speak endlessly to the pain of this loss. [Read more…]

Aidan Salakhova’s The Dust Became The Breath

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at Gazelli Art House, London (through 6 June 2021)
Reviewed by Niccy Hallifax

Walking into a London gallery again after a year of restrictions and lock-downs was strange but uplifting for the soul. More uplifting still was seeing an artist I have long admired, ever since I saw her work at the Saatchi gallery many years before. The Dust Became The Breath, at Gazelli Art House, is a solo exhibition for Aidan Salakhova, the prominent Azeri artist. [Read more…]

Ferrari Sheppard: Positions of Power

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At UTA Artist Space, Los Angeles (through 15 May 2021)
Reviewed by Eve Wood

The history of portrait painting is long and star-studded from the stunningly humanist portraits of Alice Neel to the politically charged monolithic works of Kehinde Wiley; artists have, for centuries, endeavored to capture the essence of their times and the people who mattered through the lens of figuration. Ferrari Sheppard, like so many artists before him, has created a visual mapping of his life that includes not only friends and family but also artists like Tupac Shakur, Jimi Hendrix and other artists in the Black community whose works have affected him. These paintings suggest less a topography of place and time and more a personal lexicon of strength, love and friendship in the face of injustice. [Read more…]

Museum of Injury: Musings on the New MoMA

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by Allyn Aglaïa Aumand

In New York, briefly at the beginning of the year, I stayed at the home of friends: a documentary filmmaker and a photographer, both from Italy. Another friend, a former farmer turned urbanist and dancer came by the house for tea. She marveled at the space, which had an aesthetic completely distinct from her own. “There are so many ways to be in the world,” she said. She had an energy of admiration, and also liberation, tinged with a small sense of why didn’t anyone tell me? “The more I see other ways of being, the more free I feel to live however I choose,” she said. [Read more…]

Simphiwe Ndzube’s Like the Snake that Fed the Chameleon

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at Nicodim Gallery, Los Angeles (through 20 March 2021)
Reviewed by Nancy Kay Turner

God is beginning to resemble not a ruler but the last fading smile of a Cheshire cat.
–Julian Huxley

I will eat the last signs of my weakness
Remove the scars of old childhood wars
and dare to enter the forest whistling
like a snake that had fed the chameleon
–“Solstice,” Audre Lorde

Simphiwe Ndzube’s engaging exhibit, entitled Like the Snake that Fed the Chameleon at Nicodim Gallery, is a visual and aural treat composed of paintings, sculptures and two installations, all bathed in a soundscape created by the artist in collaboration with Thabo K. Makgolo and Zambini Makwetha. A master storyteller, Nzdube creates an existential, otherworldly space where the ordinary becomes extraordinary. The work defies easy explanations, as mystery is piled on top of enigma. Each painting or sculpture shares a homemade, do-it-yourself aesthetic, with all seams made visible, as though haphazardly sewn, stitched, stapled, glued and pinned together in a hurry. All collaged elements are intentionally separate and noticeable, like a homey piecework crazy quilt. Ndzube juggles fact and fiction, the real and the imagined, with a skill and dexterity of a trained magician while employing inventive improvisation like a superb jazz musician. [Read more…]

Portals for Memory, and Wonder, in the Work of Reggie Burrows Hodges

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at Karma Gallery, NYC
Reviewed by Hilton Als
NYRB

Reggie Burrows Hodges begins by painting a raw canvas black. Then he paints his figures and their atmosphere on top of that. His hand is everywhere in his work, in control but not controlling. Shall we call Hodges’s work controlled bleeding? While Color Field painters such as Helen Frankenthaler, Morris Louis, and the like managed their paint by splashing color here and there, their project was different from Hodges’s in a number of ways, including their use of color. While today we look on those distinguished Color Field paintings for the joy they express about physicality, the irrepressible eye, and a relative lack of fear when it comes to the decorative, there are, in these artists’ wonderfully gestural work, some shortcomings. Such as their use, or lack of use, of the color black, a hue that is of the utmost importance to Hodges, who has said: “I start with a black ground [as a way] of dealing with blackness’s totality. I’m painting an environment in which the figures emerge from negative space….If you see my paintings in person, you’ll look at the depth.” [Read more…]