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
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Whitney Museum of American Art, Frances Mulhall Achilles Library (New York, NY)
Yale University Library (New Haven, CT)

Americanicity’s Paintings

Orion Martin at Favorite Goods

Orion Martin, Son of a Hairdresser (2015). Photograph, etched glass, MDF, acrylic and enamel, 56 x 40 inches. Image courtesy of the artist and Favorite Goods.

Orion Martin, Son of a Hairdresser (2015). Photograph, etched glass, MDF, acrylic and enamel, 56 x 40 inches. Image courtesy of the artist and Favorite Goods.

A Google image search for “Barbara Rossi” reveals fifty years of the artist’s work alongside glamour shots of a lingerie-clad Babi Rossi, a Brazilian model (with a much longer Wikipedia page). “I feel like I’ve gone through my life on my eyeballs,” the artist Rossi recently told Leslie Buchbinder—a summary, if there ever was one, of that split-screen fatigue and image-happy psychosis brewed in the special alchemy of American culture (read: google-y eye emoji).

The wide-eyed Chicago Imagists didn’t just collage, as Google does. Those virtuosic dilettantes fused aesthetic universes with the kind of exuberance art history longs to forget. It’s no surprise that the best Imagists often rendered forms that represent labors of weaving, binding, and puncturing. Rossi’s Navigation series depicts knots in various states of complexity and constriction alongside abstracted bodily forms suspended by bits of string. She often split her canvases in two, connecting the different halves with a carefully-drawn leash, or by shooting through a plane with painted-on, pin-point perforations, as if the other image longed to break through. More literally, and perhaps more famously, Art Green would fuse representation and abstraction in his zany, chromatic paintings, joining the two elements with bits of tape, shoelaces, or chain-link fencing, rendered in paint.

Perhaps it’s no surprise that representations of tying and binding emerged in “Shorb St.,” Orion Martin’s perversely thrilling solo show at Favorite Goods, where the Imagists’ penchant for surrealism and kink is also on conspicuous display. In the contemporary climate of drab, iterative painting, Martin’s oils please by virtue of being distinct from one another; it just so happens they are equally appealing at being themselves. In Skirt (American Don) (all works 2015), the cartoon geometry of a lily is edged out of a gauzy, pastel, almost impressionist field. The lily is evenly perforated from stem to petals, and one of its leaves looks quite like a hot dog. In Strawberry, a centaur with an exceedingly hard cock is figured blowing a shofar, seemingly affixed to a strawberry—as if with strawberry’s own seeds—and the centaur, the strawberry, the whole canvas, and its frame are totalized in a Driscols™ red. Martin smears Imagist tastes and techniques into a broader vocabulary, in which wild figuration, an unruly sense of color, and forays into decorative kitsch appear so quintessentially and excessively American I feel downright patriotic to celebrate them.

Orion Martin, Career in Magic (2015). Oil on canvas, 51 x 35 inches. Image courtesy of the artist and Favorite Goods.

Orion Martin, Career in Magic (2015). Oil on canvas, 51 x 35 inches. Image courtesy of the artist and Favorite Goods.

Either football or corset laces thread together a leaf in Career in Magic, where one flower’s bud is replaced by its concrete architectural double: the fleur-de-lis. Two of the flowers are wearing collars on their necks, leashed at right angles off the frame. Traced onto a coral plane, most of the forms are rendered behind an irregular orange grid, as if we’re seeing through an engraved window–though one leaf, speckled with spherical dewdrops, breaks into the primary plane. Even the grid won’t stay itself: in the left corner, the orange gives way into the same green gradient that colors the leaves, an exquisite, hallucinogenic detail.

In other, mixed-media works, Martin makes literal the window figured in Career in Magic’s oils. Stained Glass is actually a leaded window. Set into an interior gallery wall, the light shines through the thick, raised outline of what could be Athena’s lower half: her wing attached to a muscular thigh, her foot in a ‘50s pump. In both Son of a Hairdresser and Louver, a photograph of a young woman’s face—one seemingly covered in Baby Oil, both rendered in almost cruelly high definition—is encased in glass etched like a diner booth separator. One plane is patterned like the flowers in Skirt and Career in Magic, the other with a plane of cheesy, diamond-shaped dots. The frames of these two photographs also vie for attention. Enameled, enormous, and apparently hand-carved, their bulbous forms and Easter palate add a Memphis furniture flourish to the already suffused aesthetic field.

To look at these works is to live through on your eyeballs. They reward lingers and roves. They overwhelm. Yet Martin’s ingenious use of decorative glass, playfully ‘80s colors, or fetishy florals offers an earnest optical anthropology. Ultimately, the works seem to offer us a sense of wonder at the aesthetic accomplishments of a now-aging generation, retiring modestly to Florida and taking their Vegas-informed sense of fun with them. This kind of middle class excess is an utterly American invention. Ornamented and celebratory, with a few notes of foreign–which is to say, sometimes America is the becoming-shitty of elsewhere. Then, it is the becoming-glorious of the shitiness of here. It hallucinates home at diners and fast food restaurants. It longs to vacation, if vacation means a cruise and a cruise means to navel-gaze as your stomach expands. It collects tchotchkes from all of its travels within its bubble. Its maximalism borders on hoarding (but everything was so reasonably priced!). It clips coupons. It surfs channels. It has taste. Good taste. It wants to sway in festive environs to family-friendly trends. It wants to learn how to squirt. It wants a pool on the beach. It wants little paper fans on every drink. “Here we have an advertisement,” Barthes began his classic text on Italianicity. And here, we have Americanicity’s paintings.

Orion Martin, Shorb St. was on view from March 21–May 9, 2015 at Favorite Goods.

Orion Martin, Strawberry (2015). Oil on canvas, 21 x 17 inches. Image courtesy of the artist and Favorite Goods.

Orion Martin, Strawberry (2015). Oil on canvas, 21 x 17 inches. Image courtesy of the artist and Favorite Goods.

Shorb St. (installation view)(2015). Image courtesy of Favorite Goods, Los Angeles.

Shorb St. (installation view)(2015). Image courtesy of Favorite Goods, Los Angeles.

Orion Martin, Skirt (American Don) (2015). Oil on canvas, 21 x 17 inches. Image courtesy of the artist and Favorite Goods.

Orion Martin, Skirt (American Don) (2015). Oil on canvas, 21 x 17 inches. Image courtesy of the artist and Favorite Goods.

Originally Published in Carla Issue 2