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

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.
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
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.
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
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Catherine Wagley
The Rise
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Art Witch
Amanda Yates Garcia
Interview with
Mernet Larsen
Julie Weitz
Agnes Martin
Jessica Simmons
Launch Party Carla Issue 6
Exquisite L.A.
Analia Saban
Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Made in L.A. 2016
Doug Aitken Electric Earth

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
at The Underground Museum
Catherine Wagley
The Art of Birth Carmen Winant
Escape from Bunker Hill
John Knight
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.
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
Marva Marrow's
Inside the L.A. Artist
Anthony Pearson
Mystery Science Thater
Diana Thater
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
at Arturo Bandini
Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota
Faith Wilding
at The Armory Center
for the Arts
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
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
at François Ghebaly
Jonathan Griffin
#studio #visit
with #devin #kenny
Mateo Tannatt
Jibade-Khalil Huffman
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
ARTBOOK @ Hauser & Wirth
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Wilding Cran Gallery
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Ibid Gallery
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Nicodim Gallery
Venus Over Los Angeles
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Los Angeles Valley College
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1301 PE
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ltd Los Angeles
Marc Foxx
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Nino Mier Gallery
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Walker Art Center (Minneapolis, MN)
Whitney Museum of American Art, Frances Mulhall Achilles Library (New York, NY)
Yale University Library (New Haven, CT)

Broken Language
at Shulamit Nazarian

Josh Faught, Attachments (2016). Hand woven hemp, hand bleached, hand dyed in fashionable shades of Black and Cardinal Red, giant clothespin, trick towel, greeting card, pins, iron-on scrapbooking letters, laminated advertisement for a chiropractor, and sun glasses from a cruisy area on Venice Beach on stretched linen, 112.5 x 75.5 x 4 inches. Image courtesy of the artist and Shulamit Nazarian, Los Angeles.


In the early days of the internet, fluency was self-determined. Intimacy blossomed between keystrokes. Without body language, a typed-out affectation negated grammar. “Netspeak,” writes Laur M. Jackson, “transmitted the real feels.” 1 Flatness and communication by code were vehicles in Broken Language at Shulamit Nazarian, a group exhibition textured with humor and pathos. Interconnectivity between traditional modes of art-making (textiles, still lifes, abstract paintings) and technology confronts the limits and implications of modern communication by exposing the glitches, gaps, and mash-ups in the space between what is said and what is understood.

From outside the gallery window on La Brea you could see Wendy White’s glossy black Dibond raincloud, No Pressure (2016). With three perfect black droplets, the work suspends from a rainbow-hued ratchet strap; cute, and moody, even ominous. Her paintings hang in the next room, echoing the hazy washes of Ed Ruscha. Crisp brand logos from ski apparel companies are affixed onto her airy backgrounds. On the wall near Gyro/Spirit and Leave-in (both 2016), iconographic rainbows appeared in black vinyl, placed a little higher than a would-be didactic panel. The effect was discontinuous and though it recalled the artist’s nearby black raincloud, any deeper association aside from personal branding seemed blank and incoherent. Erratic patterning like this throughout the exhibition pointed to the way visual repetition in advertising and technology is used to rewire the brain and affect human desire.

Wendy White, No Pressure (2016). Dibond, rainbow webbing, nylon rope, ball chain, Edition 3 of 3, 50 x 60 inches.Image courtesy of the artist and Shulamit Nazarian, Los Angeles.

Josh Faught’s work explores the aesthetics of lo-fi customization and recontextualizes a relationship between technology and physical labor. Hung on the wall and littered with found objects, Attachments (2016), is a large weaving that appears monochromatic from a distance. Moving closer revealed a world of detail: fastened kitschy metal pins printed with slogans such as “Look Out World,” a pair of plastic stock sunglasses hooked into a loose section of weft, and a laminated advertisement for a chiropractor clipped with a giant clothespin. A series of words are ironed on in pale scrapbooking letters down the center of the weaving and read like the tweets of a sputtering bot.

Similarly, Missed Modifier (2017) is a screenshot-turned-wall-fabric featuring a stock image of a disgruntled woman dressed business casual with her hand resting on a black computer mouse. The text “Terrifying Typo?,” in black bold sans-serif, floats above the image, which is stacked above its duplicate; the second image contains slapdash red circles around inconsequential objects in the woman’s office. The dissonance between material and subject matter is evocative in that it’s disorienting, a feeling one might get from having too many browser tabs open.

Takeshi Murata’s work is post-nostalgic, a memento mori to the death of subcultural internet trends. Vaporwave, for example— the chill visual cyberculture that combines ancient Greek and Roman aesthetics with that of the early net—is a specific aesthetic reference; this micro-trend, like others, is easily subsumed by mainstream culture. Murata’s prints glisten, sensually, with desire mismanaged by technology. Cyborg (2011) reads like an interior design stock image from a well-lit dystopian future—both chromatic and austere, with amorphous shapes polished in a CGI-engineered sheen. It’s the stuff of movie magic. Artifice is convincing when it’s done well, imagine longing for a mirage. Trembling with a kinetic energy that thrills, Murata’s still life prints are deeply uncanny and unnerving.

Takeshi Murata, Jogger (Red) (2014). Pigment print mounted to plexi with powder coated unibody aluminum frame, 40 x 44.5 x 2 inches. Image courtesy of the artist and Salon 94, New York.

To be relatable, an artwork might allow the audience to play protagonist, or offer blanks to fill in like a Mad Lib. Greg Ito was ostensibly the lone artist in Broken Language who guided the act of looking; the other artists used icons and references that felt more coded and singular. Ito’s work appeals because of its clean lines and flat, graphic simplicity. He borrows from everyday pictorials like public safety pamphlets and children’s books, repainting them into new stories. The result is nebulous; his paintings read like storyboards for a graphic novel that’s missing half its pages. Manga-inspired neo-Surrealist details engage false cognition; the effect feels like déjà vu. Here, Ito taps into a universal current of anxiety: compositions are precise and finite, but their messaging is unresolved.

If the internet were a place, it’d be a room full of noise, or a dinner scene from a Robert Altman film: scraps of conversation and ambient sounds peak and curve because they’re recorded at the same volume. You can hear everything all at once—anxiety is crowd-sourced, a low static hum everyone speaks over. Broken Language followed a similar premise while allowing each voice to speak at length, though rarely uninterrupted. It was simultaneously clean and kitschy, noisy but melodic, sporadic but even-handed. Online, successive imagery implies meaning without guaranteeing it, but made physical in a gallery, meaning loops infinite whether you recognize it or not. You can just Google the rest.


Broken Language (2017) (installation view). Image courtesy of Shulamit Nazarian, Los Angeles.

Greg Ito, Casual Encounter (2017). Acrylic on canvas, 62 x 48 inches. Image courtesy of the artist and Shulamit Nazarian.

Takeshi Murata, Cyborg (2011). Pigment print, Edition 3 of 3 + 2AP, 29 x 44.5 inches. Image courtesy of the artist and Salon 94, New York.

Broken Language (2017) (installation view). Image courtesy of Shulamit Nazarian, Los Angeles.

Broken Language (2017) (installation view). Image courtesy of Shulamit Nazarian, Los Angeles.

Originally published in Carla Issue 9