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
at Shulamiit Nazarian
by Angella d'Avignon

Artists of Color
at the Underground Museum
by Matt Stromberg

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects
by Aaron Horst

Home
at LACMA
by Simone Krug

Analia Saban at
Sprueth Magers
by Hana Cohn
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:
taisha paggett
Ashley Hunt
Young Chung
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Letter to the Editor
Launch Party
Reviews Alessandro Pessoli
by Jonathan Griffin

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:
Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Creature by Thomas Duncan
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
of the L.A.
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:
Analia Saban
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:
Molly Larkey
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,
White Cube, and
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/
Metaphysical L.A.
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
at François Ghebaly
Jonathan Griffin
#studio #visit
with #devin #kenny
@barnettcohen
Mateo Tannatt
Photographs
Jibade-Khalil Huffman
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:
Discussion on One Work
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
Distribution
Downtown
ARTBOOK @ Hauser & Wirth
Baert Gallery
Cirrus Gallery
Château Shatto
Club Pro
Dalton Warehouse
Elevator Mondays
The Geffen Contemporary 
at MOCA
Ghebaly Gallery
ICA LA
LACA
MAMA
Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
BBQLA
Chimento Contemporary
Charlie James
Human Resources
Ibid Gallery
Ooga Booga
Ooga Twooga
Parrasch Heijnen Gallery
Museum as Retail Space (MaRS)
Nicodim Gallery
Venus Over Los Angeles
Eastside
AWHRHWAR
67 Steps
ESXLA
Otherwild
SADE
Smart Objects
Skibum MacArthur
Westside
18th Street Arts
Ben Maltz Gallery at Otis 
College of Art and Design
Christopher Grimes Gallery
DXIX Projects
Five Car Garage
Team (Bungalow)
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
The Pit
Los Angeles Valley College
Natural
The Art Gallery @ GCC
Mid-City
1301 PE
Big Pictures Los Angeles
California African American Museum
Chainlink Gallery
Commonwealth & Council
David Kordansky Gallery
H I L D E
JOAN
Kayne Griffin Corcoran
LACMA
ltd Los Angeles
Marc Foxx
Shoot the Lobster
Ochi Projects
Park View
Praz-Delavallade
The Landing
SPRÜTH MAGERS
The Underground Museum
USC Fisher Museum of Art
Visitor Welcome Center
Culver City
Anat Ebgi
Arcana Books
Blum & Poe
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Family Books
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LACE
LA><ART
M+B
Nino Mier Gallery
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Various Small Fires
South Bay
DMV
Grab Bag Studios
The Torrance Art Museum
Elsewhere in CA
Alter Space (San Francisco)
City Limits (Oakland)
Et al. (San Francisco)
Ever Gold Projects (San Francisco)
fused space (San Francisco)
Gym Standard (San Diego)
Helmuth Projects (San Diego)
Interface Gallery (Oakland)
Jessica Silverman (San Francisco)
Left Field (San Luis Obispo)
San Diego Art Institute (San Diego)
Verve Center for the Arts (Sacramento)
Wattis Institute for Contemporary Art (San Francisco)
Non CA
Artbook @ MoMA PS1 (Long Island City, NY)
Editions Kavi Gupta (Chicago, IL)
Good Weather (North Little Rock, AK)
Nationale (Portland, OR)
Skowhegan School of Painting and Sculpture (Skowhegan, ME)
Small Editions (Brooklyn, NY)
Space 42 (Jacksonville, FL)
Spoonbill & Sugartown (Brooklyn, NY)
Ulises (Philadelphia, PA)
Libraries/ Collections
Bard College, Center for Curatorial Studies Library (Annandale-on-Hudson, NY)
CalArts (Valencia, CA)
Cranbrook Academy of Art (Bloomfield Hills, MI)
El 123 (México City, MX)
John M. Flaxman Library at SAIC (Chicago, IL)
Los Angeles County Museum of Art, Research Library (Los Angeles, CA)
Los Angeles Contemporary Archive (Los Angeles, CA)
Marpha Foundation (Marpha, Nepal)
Maryland Institute College of Art, The Decker Library (Baltimore, MD)
Metropolitan Museum of Art, Thomas J. Watson Library (New York, NY)
Midway Contemporary Art (Minneapolis, MN)
Pepperdine University (Malibu, CA)
Point Loma Nazarene University (San Diego, CA)
School of the Art Institute of Chicago, John M. Flaxman Library (Chicago, IL)
Scholes Library, NYS College of Ceramics at Alfred University (Alfred, NY)
Skowhegan Archives (New York, NY)
Sotheby’s Institute of Art (New York, NY)
Telfair Museum (Savannah, GA)
USC Fisher Museum of Art (Los Angeles, CA)
Walker Art Center (Minneapolis, MN)
Whitney Museum of American Art, Frances Mulhall Achilles Library (New York, NY)
Yale University Library (New Haven, CT)

Alessandro Pessoli
at Marc Foxx

Alessandro Pessoli, City of God (2017) (detail). White ceramic, wood with glitter, artist’s altered clothing, synthetic hair, plaster, pine and handmade metal chain on welded steel frame, dimensions variable. Image courtesy of the artist and Marc Foxx, Los Angeles. Photo: Robert Wedemeyer.

It’s just the most meaningless title for a radio show. And don’t even get me started on Jason Bentley, the dreariest voice on KCRW and the presenter of the morning music program, Morning Becomes Eclectic. (Fine, I admit, I listen to it most days and, yes, I sometimes enjoy his music selections.)

Alessandro Pessoli has taken Morning Becomes Eclectic as the title for his exhibition at Marc Foxx, which mercifully has none of the middle-of-the-road radio show’s milquetoast inclusivity. In four sculptures (two of them mobiles), four paintings, and two groups of drawings, Pessoli materializes a singularly piquant vision of his inner life.

Eclecticism enters via the cast of questionably related signs and signifiers that Pessoli uses to assemble his impression of selfhood. He appears in the most domineering work in the show, a painting more than eight feet tall titled A-P backyard (2017), in which he sits looking down at us through a thick black mane of hair, smoking a thin-stemmed pipe and kicking a cowboy-booted leg up against a tree stump. Beverage cans and Colt revolvers—silk-screened over a brushed and spray-painted ground— contribute to the painting’s noncontiguous, collagistic effect.

The exhibition’s press release, which comes in the form of the artist’s first-person explanation of the show, reveals that the hirsute figure in the picture is in fact “a wigged self.” Whether consciously or not, Pessoli’s acknowledgement here that the guy in the wig is just one of many selves (rather than himself disguised as someone else) is what delivers the exhibition—which he describes in the press release as “a big self-portrait”—from straight solipsism. Instead, it becomes a more general reflection on the fluid and subjective nature of selfhood, a quality that is not unique to, but is especially prevalent, in the self-realizing/self-inventing social milieu of Los Angeles.

In 2017, artists can anyway no longer assume that the world is necessarily interested in art based in autobiography, especially if the artist is male, white, heterosexual, or otherwise speaking from a position of privilege. Jason Rhoades’ concurrent exhibition, across town at Hauser & Wirth, makes this painfully clear. (Rhoades was born two years after Pessoli, although in very different parts of the world.)

Alessandro Pessoli, City of God (2017). White ceramic, wood with glitter, artist’s altered clothing, synthetic hair, plaster, pine and handmade metal chain on welded steel frame, dimensions variable. Image courtesy of the artist and Marc Foxx, Los Angeles. Photo: Robert Wedemeyer.

Some would maintain that the self is all an artist has. Pessoli seems to disagree. He goes further and reveals and depicts a menu of possible selfhoods: repressed selves, compartmentalized selves, private selves, public selves, past selves and future, aspirational selves. Fantasy becomes an alternative form of self-revelation. Me Myself & I (2017) is a sculpture of a life-sized chopper, a customized motorbike with a ludicrously long front fork which, in Pessoli’s rendering, is made from welded-together BMX frames. The fuel tank is made from papier maché, the engine is terracotta, and the wheels are stitched felt. Above the seat, stuck on a welded pole, is that wig—a totem of one of the artist’s alternate selves.

As a European expatriate living in California, the Italian-born Pessoli has been subject to the profoundly destabilizing experience of having to recalibrate his native proclivities to a foreign culture that is at once strange and deeply familiar. Easy Rider was released as Libertà e Paura in Italy while Pessoli was still a kid; the Captain America chopper in that film is recognized the world over as an archetype of a certain conception of American freedom. (The BMX tubes in Me Myself & I have Stars and Stripes stickers on them.) Endearingly, Pessoli admits to listening to Morning Becomes Eclectic in his car after he drops off his daughter at school, on his way to the studio. Talk about compartmentalized selves.

In two hanging mobile sculptures, objects including a carved wooden head, more bike tubes, and several plaster penises hang in equilibrium. I’m not so sure that most of us ever achieve such a balance. More realistic, perhaps, is City of God (2017), in which static steel frames suspend elements individually, including a sweater well-worn by the artist and embroidered with patches, and “1963”—the the year Pessoli was born—spelled out in dangling ceramic numbers.

What makes Pessoli’s work so enjoyable is not so much his reflections on his own psychology but his facility as a painter, both on canvas and on paper. His luminous pictures swim fluidly between media and styles of application, typically comprising sprayed sections (both stenciled and freeform), coarsely brushed abstraction, silk-screened motifs, and areas that are nearly photorealistic. Despite their technical eclecticism, they always feel so right, so coherent and whole: hopeful metaphors for the fractured self.

Alessandro Pessoli, Lonely Hours Working for Me (2017). Customized, welded, and painted steel parts, painted ceramic, glazed ceramic, bronze, handmade chain, fabric and glitter, dimensions variable. Image courtesy of the artist and Marc Foxx, Los Angeles. Photo: Robert Wedemeyer.

Alessandro Pessoli, A-P backyard (2017). Oil, acrylic, spray paint and soft pastels on canvas, 98 x 75 inches. Image courtesy of the artist and Marc Foxx, Los Angeles. Photo: Robert Wedemeyer.

Alessandro Pessoli, Morning Becomes Eclectic (2017) (installation view). Image courtesy of the artist and Marc Foxx, Los Angeles. Photo: Robert Wedemeyer.

Originally published in Carla Issue 8