Women on the Plinth Catherine Wagley
Us & Them, Now & Then:
Reconstituting Group Material
Travis Diehl
The Offerings of EJ Hill
Ikechukwu Casmir Onyewuenyi
Interview with Jenni Sorkin Carmen Winant
Letter to the Editor Lady Parts, Lady Arts
Launch Party August 19th at Blum and Poe
Object Project
Featuring: Rebecca Morris,
Linda Stark, Alex Olson
Lindsay Preston Zappas
Photos by Jeff McClane
Reviews Mark Bradford
at the Venice Biennale
by Thomas Duncan

Broken Language
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by Angella d'Avignon

Artists of Color
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Anthony Lepore & Michael Henry Hayden
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Home
at LACMA
by Simone Krug

Analia Saban at
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Kanye Westworld Travis Diehl
@richardhawkins01 Thomas Duncan
Support Structures: Alice Könitz and LAMOA Catherine Wagley
Interview with Penny Slinger Eliza Swann
Exquisite L.A.
Featuring:
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Ashley Hunt
Young Chung
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Letter to the Editor
Launch Party
Reviews Alessandro Pessoli
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Jennie Jieun Lee
by Stuart Krimko

Trisha Baga
by Lindsay Preston Zappas

Jimmie Durham
by Molly Larkey

Parallel City
by Hana Cohn

Jason Rhodes
by Matt Stromberg
Generous
Structures
Catherine Wagley
Put on a Happy Face:
On Dynasty Handbag
Travis Diehl
The Limits of Animality:
Simone Forti at ISCP
(L.A. in N.Y.)
Ikechukwu Casmir Onyewuenyi
More Wound Than Ruin:
Evaluating the
"Human Condition"
Jessica Simmons
Launch Party
Exquisite L.A.
Featuring:
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Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
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Sam Pulitzer & Peter Wachtler by Stuart Krimko
Karl Haendel by Aaron Horst
Wolfgang Tillmans by Eli Diner
Ma by Claire de Dobay Rifelj
The Rat Bastard Protective Association by Pablo Lopez
Kenneth Tam
's Basement
Travis Diehl
The Female
Cool School
Catherine Wagley
The Rise
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Art Witch
Amanda Yates Garcia
Interview with
Mernet Larsen
Julie Weitz
Agnes Martin
at LACMA
Jessica Simmons
Launch Party Carla Issue 6
Exquisite L.A.
Featuring:
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Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews:
Made in L.A. 2016
Doug Aitken Electric Earth
Mertzbau

Jean-Pascal Flavian and Mika Tajima
Mark A. Rodruigez
The Weeping Line
Molly Larkey, Aaron Horst,
Keith J. Varadi, Katie Bode,
Stuart Krimko, Matt Stromberg
Non-Fiction
at The Underground Museum
Catherine Wagley
The Art of Birth Carmen Winant
Escape from Bunker Hill
John Knight
at REDCAT
Travis Diehl
Ed Boreal Speaks Benjamin Lord
Art Advice (from Men) Sarah Weber
Routine Pleasures
at the MAK Center
Jonathan Griffin
Launch Party Carla Issue 5
Exquisite L.A.
Featuring:
Fay Ray
John Baldessari
Claire Kennedy
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Hana Cohn, Eli Diner,
Claire De Dobay Rifelj,
Katie Bode, Molly Larkey,
Keith J. Varadi
Moon, laub, and Love Catherine Wagley
Walk Artisanal Jonathan Griffin
Reconsidering
Marva Marrow's
Inside the L.A. Artist
Anthony Pearson
Mystery Science Thater
Diana Thater
at LACMA
Aaron Horst
Informal Feminisms Federica Bueti and Jan Verwoert
Marva Marrow Photographs
Lita Albuquerque
Launch Party Carla Issue 4
Interiors and Interiority:
Njideka Akunyili Crosby
Char Jansen
Reviews Claire de Dobay Rifelj,
Matt Stromberg, Hana Cohn,
Lindsay Preston Zappas,
Simone Krug, Keith Vaughn,
Ikechukwu Casmir Onyewuenyi
Le Louvre, Las Vegas Evan Moffitt
iPhones, Flesh,
and the Word
F.B.I.
at Arturo Bandini
Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota
Faith Wilding
at The Armory Center
for the Arts
and LOUDHAILER
Benjamin Lord
A Conversation
with Amalia Ulman
Char Jansen
How We Practice Carmen Winant
Launch Party Carla Issue 3
Share Your Piece of the Puzzle Federica Bueti
Amanda Ross-Ho Photographs
Erik Frydenborg
Reviews Eli Diner, Jonathan Griffin,
Don Edler, Aaron Horst
Hot Tears Carmen Winant
Slow View:
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Anna Breininger and Kate Whitlock
Americanicity's Paintings
Orion Martin
at Favorite Goods
Tracy Jeanne Rosenthal
Layers of Leimert Park Catherine Wagley
Junkspace Junk Food
Parker Ito
at Kaldi, Smart Objects,
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Château Shatto
Evan Moffitt
Melrose Hustle Keith Vaughn
Reviews Benjamin Lord, Aaron Horst, Stephen Kent
Top-Down Bottom-Up Jenny Gagalka
Snap Reviews Aaron Horst, Char Jansen, Randy Rice, Lindsay Preston Zappas
Max Maslansky Photographs
Monica Majoli
at the Tom of Finland Foundation
White Lee, Black Lee
William Pope.L’s Reenactor
Travis Diehl
Dora Budor Interview Char Jensen
MEAT PHYSICS/
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Travis Diehl
Art for Art’s Sake:
L.A. in the 1990s
Anthony Pearson
A Dialogue in Two
Synchronous Atmospheres
Erik Morse
with Alexandra Grant
SOGTFO
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Jonathan Griffin
#studio #visit
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@barnettcohen
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Photographs
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VESSEL // CINS and
VESSEL // PERF
Ben Medansky
I've been a lot of places,
seen so many faces
Nora Slade
Launch Party Carla Issue 1
Slow View:
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Anna Breininger
with Julian Rogers
Reviews Tracy Jeanne Rosenthal, Catherine Wagley, Keith Vaughn, Aaron Horst, Kate Wolf, Mateo Tannatt, Evan Moffitt, Cal Siegel
We’re in This Together Lauren Cherry & Max Springer
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A New Rhythm
at Park View

A New Rhythm with Charles Atlas, Benjamin Carlson, Nancy Lupo, and Silke Otto-Knapp (installation view) (2015). Image courtesy of the artists and Park View, Los Angeles. Photo: Jeff McLane.

A New Rhythm with Charles Atlas, Benjamin Carlson, Nancy Lupo, and Silke Otto-Knapp (installation view) (2015). Image courtesy of the artists and Park View, Los Angeles. Photo: Jeff McLane.

It can be hard to know where to look when confronted with the dizzying array of movement found in the choreography of Merce Cunningham. As opposed to the framing devices of classical ballet and early modern dance, which draw the eye to particular points of focus, “unfocus,”or simultaneity, is a Cunningham hallmark; as the critic Douglas Crimp writes, this “requires the audience to make choices about the dances presented to them.” [1]

Over the course of his four-decade long collaboration with the choreographer, Charles Atlas—serving, in some ways, as a proxy audience member—deftly translated this central element of Cunningham’s work to both film and video. A good example is the ghostly Fractions 1 (1978), in which Atlas uses four separate video cameras (three black and white, and one color) to film a dance performed at the Cunningham Company’s Westbeth studio in New York. After some initial shots, one camera pulls back to reveal four stacked monitors sharing the floor with eight dancers.

With quick cuts, the video alternates between black and white and color. What is seen in the dance space is augmented by what is shown on the monitors: close ups of dancers’ faces, divergent perspectives of the featured dance, and accompanying sections of it that are not being featured, ostensibly taking place just out of the frame.

The effect is one of focusing in, but also one of disorientation. With the presence of the monitors in the lower half of the space, the eye splinters. Dancers’ bodies become irregularly segmented, with additional limbs and faces. The camera zooms in on one of the black and white feeds and suddenly we are no longer sure where we’re situated or what part of the dance—main, or auxiliary, or if such terms even apply—we’re being shown.

Throughout his career, Atlas has displayed a similar sensitivity with a diverse group of other choreographers (beyond Cunningham, a few include Michael Clark, Yvonne Rainer, and Karole Armitage), artists, and musicians; one indication of this is the incredible range of his work.

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A New Rhythm with Charles Atlas, Benjamin Carlson, Nancy Lupo, and Silke Otto-Knapp (installation view) (2015). Image courtesy of the artists and Park View, Los Angeles. Photo: Jeff McLane.

At A New Rhythm—a group show that was organized to coincide with a 10-day long festival, generously spearheaded by the artist Paul Pescador, which brought Charles Atlas to Los Angeles for a packed schedule of screenings and talks at locations all over the city—Fractions 1 was paired with a later dance video, Jump (1984), made in collaboration with the French choreographer Philippe Decouflé. Where the former work is spare and conceptually driven, Jump is a wild escapade, set to New Wave music, that takes place in a kind of atomic café by the sea; dancers appear as punk mutants, in colorful face paint, pavonine hairdos, and sculpted costumes. Here Atlas is working less to represent the dynamics of dance as it’s performed on stage (as in Fractions 1) and instead enjoying—with abandon—the full spatial freedom of film. In one exhilarating shot, we’re catapulted from the dance floor to a balcony above it, only to follow a young punk down a narrow set of stairs in a tight close-up as he sneers and gestates directly into the camera.

Atlas’s work held prominence in A New Rhythm (his videos were the first thing one saw walking in the door and the obvious catalyzing force of the show), a compact exhibition set in small gallery that also moonlights as its proprietor’s apartment. As a result, dance was the overriding frame of reference for the rest of the works on display; or, more generally, the body in motion.

Across the wall from the videos, and perhaps most explicitly related, was a spectral, erasure-filled, gray-toned watercolor on canvas by Silke Otto-Knapp: Seascape (third movement) (2013). The piece depicts Yvonne Rainer in a prone position, performing the dance of its title. With its layers of pentimenti, it seemed to assert—similarly to Fractions 1—the impossibility of representing live performance with a single, unified image.

Silke Otto-Knapp, Seascape (installation view) (2015). Image courtesy of the artists and Park View, Los Angeles. Photo: Jeff McLane.

Silke Otto-Knapp, Seascape (third movement) (2013). Image courtesy of the artists and Park View, Los Angeles. Photo: Jeff McLane.

Nestled around the corner in a bedroom, a recent painting (one of two) by Benjamin Carlson presented a more optical choreography. Based off a Memphis Group design, the untitled work is comprised of frieze-like clusters of gessoed triangles and squares, alternating in size and arrangement across the deep blue dye of the canvas. Neon undertones and outlines (which echoed the palette of Jump) cause the shapes to leap from their moorings, projecting energy and motion.

By contrast, Nancy Lupo’s pet/child-scaled undulating couch sculpture, Tuxedo Feeder (2014), was the most weighted thing in the room. Coated in black and white quinoa and epoxy, it includes steel inset animal food dishes and floats somewhere between surrealist oddity and luxury item. Still, the sculpture elicited all forms crouching and bending over from its viewer for inspection and its miniature scale insisted on a somatic awareness.

Surely it’s often enough that one is prompted to consider the body when viewing art, but the subtle revelation of this exhibition, and much more so the Atlas In LA festival, was encountering variations on the way movement and dance can be depicted across media, apart from live performance. And in the case of Atlas, there are few others who have done so with as much rangy charm and imagination.

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Benjamin Carlson. Image courtesy of the artists and Park View, Los Angeles. Photo: Jeff McLane.

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A New Rhythm with Charles Atlas, Benjamin Carlson, Nancy Lupo, and Silke Otto-Knapp (installation view) (2015). Image courtesy of the artists and Park View, Los Angeles. Photo: Jeff McLane.

[1] Douglas Crimp, “Inside the Dance: Charles Atlas’s Early Collaborations with Merce Cunningham,” Charles Atlas. (Munich: Prestel, 2015)