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

Below the Underground
at the Armory Center for the Arts

Sonido Apokalitzin, Below the Underground (2017) (installation view). Image courtesy of Armory Center for the Arts. Photo: Ian Byers-Gamber.

In Below the Underground: Renegade Art and Action in 1990s Mexico at the Armory, there’s a little light box built into a temporary wall. Inside rests a laminated, card-sized photo of a young man, dead in a morgue. Teresa Margolles made cards like this between 1997–1999, all picturing victims of the drug war in Mexico and called Cards to Cut Cocaine. It’s a political piece that doesn’t protest drug use; rather, it adds to the contradictions around the drug war. The work in Below the Underground was made during a tumultuous decade in Mexico: the peso crisis  coincided with the Chiapas conflict, and cartel violence rose and fell. So much of it wades riskily into messiness, and that’s undoubtedly the show’s strong suite: uncertain, brutal honesty over “right” political clarity.

In the video of their 2000 performance, How Much Time do You Lose Going Around the Zocalo (The Return of the Evil Daughters), collaborators Gina Arizpe and Marcela Quiroga wear matching black pleather bodysuits and get picked up by police ostensibly for public drunkenness, escorted to their art show, kicked out, and returned to custody. We don’t know who’s in the right; authority and rebellion seem on weirdly equal footing. Lorena Wolffer appears as a battered, bruised fashion model in her installation, If She is Mexico, Who Beat Her Up? (1997-1998). We see her walking down a runway as voices of U.S. congressmen discuss decertifying Mexico as a drug war ally—these are artworks “confronting a system,” interested in “making messes” say the show didactics.

The work does make messes, as if order itself is the threat to human agency, but the installation, as with so many shows in the Armory’s classroom-adjacent galleries, is clean and organized. Each artwork feels like a station you can stop by with guidebook in hand. Despite the staid installation, though, nearly every work in the show packs a scrappily acerbic punch. If the mutinous energy of the work spilled more freely into the exhibition design, Below the Underground would be unforgettable.

Below the Underground: Renegade Art and Action in 1990s Mexico runs from Oct. 15, 2017 – Jan. 22, 2018 at the Armory Center for the Arts (145 N Raymond Ave, Pasadena, CA 91103).

Below the Underground, (2017) (installation view). Image courtesy of Armory Center for the Arts. Photo: Ian Byers-Gamber.

Melquiades Herrera and Cesar Martinez, Venta de peines (Combs for sale) (1993). Image courtesy of Armory Center for the Arts. Photo: Ian Byers-Gamber.

 

Colectivo Caxa, Time ES money / Time IS money. Installation in the Puente del Papa by the river Santa Catarina. Image courtesy of Armory Center for the Arts.

 

Lorena Wolffer, If She is Mexico, Who Beat Her Up? (Si ella es México, ¿Quién la golpeó?) (1997-1998). Image courtesy of Armory Center for the Arts. Photo: Ian Byers-Gamber.

El Chino, Chinese Cabinet/El Mueble Chino (2000- 2001). Image courtesy of Armory Center for the Arts. Photo: Ian Byers-Gamber.

 

Sonido Apokalitzin, Below the Underground (2017) (installation view). Image courtesy of Armory Center for the Arts. Photo: Ian Byers-Gamber.

Pinto Mi Raya, Justicia y democracia (Justice and democracy) (1995/2016/2017). Image courtesy of Armory Center for the Arts. Photo: Ian Byers-Gamber.