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
    & Schimmel
917 E. 3rd St.
Los Angeles, CA 90013

Central Park
412 W. 6th St. #615
Los Angeles, CA 90014

CES Gallery
711 Mateo St.
Los Angeles, CA 90021

Cirrus Gallery
2011 S. Santa Fe Ave.
Los Angeles, CA 90021

Château Shatto
406 W. Pico Blvd.
Los Angeles, CA 90015

Club Pro
1525 S. Main St.
Los Angeles, CA 90015

Fahrenheit
2245 E. Washington Blvd.
Los Angeles, CA 90021

Ghebaly Gallery
2245 E. Washington Blvd.
Los Angeles, CA 90021

The Geffen Contemporary
    & at MOCA
152 N. Central Ave.
Los Angeles, CA 90012

Harmony Murphy
358 E. 2nd St.
Los Angeles, CA 90012

LACA
2245 E. Washington Blvd.
Los Angeles, CA 90021

MAMA
1242 Palmetto St.
Los Angeles, CA 90013

Mistake Room
1811 E. 20th St.
Los Angeles, CA 90058

MOCA Grand Avenue
250 S. Grand Ave.
Los Angeles, CA 90012

Night Gallery
2276 E. 16th St.
Los Angeles, CA 90021

The Box
805 Traction Ave.
Los Angeles, CA 90013

Wilding Cran Gallery
939 S. Santa Fe Ave.
Los Angeles, CA 90021
Chinatown
A.G. Geiger
502 Chung King Ct.
Los Angeles, CA 90012

EMBASSY
422 Ord St., Suite G
Los Angeles, CA 90012

Human Resources
410 Cottage Home St.
Los Angeles CA, 90012

Ooga Booga
943 N. Broadway
Los Angeles, CA 90012
Mid-City
1301PE
6150 Wilshire Blvd.
Los Angeles, CA 90048

Chainlink Gallery
1051 S. Fairfax Ave.
Los Angeles, CA 90019

Commonwealth and Council
3006 W. 7th St. #220
Los Angeles CA 90005

David Kordansky Gallery
5130 W. Edgewood Pl.
Los Angeles, CA 90019

HILDE
4727 W. Washington
Los Angeles, CA 90016

JOAN
4300 W. Jefferson Blvd. #1
Los Angeles, CA 90016

Kayne Griffin Corcoran
1201 S. La Brea Ave.
Los Angeles, CA 90019

ltd Los Angeles
1119 S. La Brea Ave.
Los Angeles, CA 90019

Marc Foxx
6150 Wilshire Blvd. #5
Los Angeles, CA 90048

Martos Gallery
3315 W. Washington Blvd.
Los Angeles, CA 90018

Ochi Projects
3301 W. Washington Blvd.
Los Angeles, CA 90018

The Landing
5118 W. Jefferson Blvd.
Los Angeles, CA 90016

Park View
836 S. Park View St. Unit 8
Los Angeles, CA 90057

Skibum MacArthur
712 S. Grand View St., #204
Los Angeles, CA 90057

SPRÜTH MAGERS
5900 Wilshire Blvd.
Los Angeles, CA 90036

The Underground Museum
3508 W. Washington Blvd.
Los Angeles, CA 90018

VACANCY
2524 1/2 James M. Wood Blvd.
Los Angeles, CA 90006

Visitor Welcome Center
3006 W. 7th St., Suite #200A
Los Angeles, CA 90005
Culver City
Arcana Books
8675 W. Washington Blvd.
Culver City, CA 90232

Blum and Poe
2727 S. La Cienega
Los Angeles, CA 90034

Cherry and Martin
2712 S. La Cienega Blvd.
Los Angeles, CA 90034

Honor Fraser
2622 S. La Cienega Blvd.
Los Angeles, CA 90034

Klowden Mann
6023 Washington Blvd.
Culver City, CA 90232

Luis De Jesus
2685 S. La Cienega Blvd.
Los Angeles, CA 90034

MiM Gallery
2636 La Cienega Blvd.
Los Angeles, CA 90034

Roberts and Tilton
5801 Washington Blvd.
Culver City, CA 90232

Samuel Freeman
2639 S. La Cienega Blvd.
Los Angeles, CA 90034

Susanne Vielmetter
6006 Washington Blvd.
Culver City, CA 90232
Silverlake/ Echo Park
Smart Objects
1828 W. Sunset Blvd.
Los Angeles, CA 90026

Otherwild
1768 N. Vermont Ave.
Los Angeles, CA 90021
Hollywood
Diane Rosenstein
831 Highland Ave.
Los Angeles, CA 90038

Family Books
436 N. Fairfax Ave.
Los Angeles, CA 90036

GAVLAK
1034 N. Highland Ave.
Los Angeles, CA 90038

Hannah Hoffman
1010 Highland Ave.
Los Angeles, CA 90038

LAXART
7000 Santa Monica Blvd.
West Hollywood, CA 90038

M+B
612 N. Almont Dr.
Los Angeles, CA 90069

Mier
1107 Greenacre Ave.
Los Angeles, CA 90046

Moskowitz Bayse
743 N. La Brea Ave.
Los Angeles, CA 90038

Regen Projects
6750 Santa Monica Blvd.
LLos Angeles, CA 90038

Shulamit Nazarian
616 N. La Brea
Los Angeles, CA 90036

Various Small Fires
812 Highland Ave.
Los Angeles, CA 90038
Westside
18th Street Arts
1639 18th St.
Santa Monica, CA 90404

Ben Maltz Gallery at Otis
    &College of Art and Design
9045 Lincoln Blvd.
Los Angeles, CA 90045

Christopher Grimes Gallery
916 Colorado Ave.
Santa Monica, CA 90401

DXIX Projects
519 Santa Clara Ave.
Los Angeles, CA 90291

Five Car Garage
(Emma Gray HQ)

Team (Bungalow)
306 Windward Ave.
Venice, CA 90291
Eastside
ACME
2939 Denby Ave.
Los Angeles, CA 90039

ESXLA
602 Moulton Ave.
Los Angeles, CA 90031

SADE
204 S. Avenue 19
Los Angeles, CA 90031
Boyle Heights
BBQLA
2315 Jesse St.
Los Angeles, CA 90023

Chimento Contemporary
622 S. Anderson St., #105
Los Angeles, CA 90023

Ibid.
670 S. Anderson St.
Los Angeles, CA 90023

Ooga Twooga
356 Mission Rd.
Los Angeles, CA 90033

Parrasch Heijnen Gallery
1326 S. Boyle Ave.
Los Angeles, CA 90023

Museum as Retail Space (MaRS)
649 S. Anderson St.
Los Angeles, CA 90023

Nicodim Gallery
571 S. Anderson St.
Los Angeles, CA 90033

Venus Over Los Angeles
601 S. Anderson St.
Los Angeles, CA 90023
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
145 N. Raymond Ave.
Pasadena, CA 91103

Los Angeles Valley College
5800 Fulton Ave.
Valley Glen, CA 91401

Natural
15168 Raymer St.
Van Nuys, CA 91405

The Pit
918 Ruberta Ave.
Glendale, CA 91201

Gary Hill
at Roberts & Tilton

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Gary Hill, Observaciones Sobre los Colores (1998) (installation view), single-channel video and sound installation. Image courtesy of the artist and Roberts & Tilton.

Sandwiched between muffled traffic noise and the reverberations of gallery-running goings-on at Roberts & Tilton is Gary Hill’s wall-sized video installation, Observaciones Sobres los Colores. Once your ears adjust to the volume, you hear a child’s slow, unwieldy reading of Wittgenstein’s Remarks on Color. Positioned like a news anchor, the boy reads Spanish translations of the text’s 88 sections as a timer in the upper right hand corner counts up. Behind him, footage of street protests unfolds in slow motion.

Though occupying the best of Roberts & Tilton’s four walls, Hill’s piece seems, at first, a bit adrift, its cerebral subtlety and demanding duration not quite rising above obscurity. If the look and style of the piece feel dated, that’s because they are. The press release notes that Observaciones Sobres los Colores was filmed in Venezuela—in 1998—and subsequently smuggled out. The background footage, from 2002 street protests in Caracas against the then-nascent government of Hugo Chavez (produced by non-governmental association Active Citizenship), was added at a later date, and the work has never before been exhibited in the U.S.

Video has a curious flatness, particularly in Hill’s hands here, a quality intrinsic to the medium and the smooth oiliness of its frame-rate and color balance. As a cheap and a direct medium, video is useful in the capture of real time absent the often atemporal concerns of aesthetics. As such, it has a certain plasticity, deployed in the capture of urgency on one end and sterility on the other: Endless feeds of surveillance v. the efficiently edited snippets of news.

Similarly, Hill has made demanding and subtle work before.  The passive and vaguely threatening Viewer (1996, not part of this exhibition) consists of quasi police line-up of average citizens blankly watching you as you watch them. The scene is both dull and weirdly intense—like being stared at by a stranger. Who are these people? And who’s viewing who? By contrast, the child in Observaciones Sobres los Colores acts as both focal point and conduit, a curious presence as well as the means through which we hear Wittgenstein’s text—but in clumsy soundings out.

By slowing down the borrowed footage, Hill makes literal the geologic crawl of political movement. This forms the piece’s essential ground, against which a child’s incipient conception of time is tested and obscured by numbered regularity and cryptic philosophy. But Observaciones Sobres los Colores, though hypnotic in its tedium, is tenuous in its connection between Wittgenstein and populist uprising. The 2002 coup in Venezuela was a time of great upheaval, uncertainty and, ultimately, myth-making according to some. That Wittgenstein’s late work is “impenetrable” is a notorious fact. In being so, is Hill simply connecting it with another thing, using its opacity for cover or as a kind of universal remote?

The adjacent protest footage, as you might imagine, contains image upon image of flags, rippling slowly in the wind in the vicious hues of color on film. The flag is a primary signifier, one collapsing a nation’s meaning into itself and acting as both connective tissue and a means of measuring progress and decline. The yellow of the boy’s shirt is a striking primary color, and Wittgenstein’s text, obscure though it may be, seeks to tease out the intrinsic value and experience of color. Perhaps the obscurity of Wittgenstein’s philosophy and the turmoil of Venezuela’s governing philosophy are not that far apart in that both move uncertainly toward a kind of reconciliation with reality. Even so, the politics unfolding so largely in our visual field seem incidental to Hill’s aesthetic concerns.

But not without a fight. In several scenes, we see protesters covering their mouths as if to shield from tear gas or otherwise compromised air. Similarly, it is easy to forget in slow motion that the protesters are often shouting, with anger and purpose. Is Hill drawing a parallel between the difficulty of speech—of articulating specific political goals, desires or problems—and the dense impenetrability of Wittgenstein, especially as heard through a child’s voice?

Slowing the footage down enables Hill to underscore the visual characterization of protest. Shots of buildings fade into crowd scenes, drawing a contrast between the housing and edifices of civilization, its citizenry expunged onto crowded streets. Overall, as a document in real time, the Active Citizenship footage mainly shows the banality of protest, given an ironic boost of excitement in Hill’s use of slow motion. The footage, out of context, would otherwise be a representation of the everyday: drab contemporary fashions, citizens walking and behaving politely. Here, it’s lent a clear political dimension in the protesters’ sheer numbers, and an aesthetic one in Hill’s slowdown.

Observaciones Sobre los Colores is both hypnotic and boring. The demand of its duration, unfolding over 78 minutes, tests the viewer’s endurance as it also recalls the now archaic, highly conceptual period of art in which Hill began his practice. No climax or reconciliation is reached in Hill’s piece, thus patience in the face of it isn’t so much rewarded as it is mirrored in the slowed texture of the crowd, playing out behind a fidgeting child whose conception of time is still forming. The pixelated fuzz around this central figure (a consequence of using a green screen) suggests the future implied by his youth, as indexed in the body, has been flatly applied to the protesters’ goals, even as he loses himself in an obscure text on nothing other than color.

Gary Hill, Observaciones Sobre los Colores, runs June 6–27, 2015 at Roberts & Tilton (5801 Washington Blvd., Culver City, CA 90232)

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Gary Hill, Observaciones Sobre los Colores (1998) (installation view), single-channel video and sound installation. Image courtesy of the artist and Roberts & Tilton.

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Gary Hill, Observaciones Sobre los Colores (1998) (installation view), single-channel video and sound installation. Image courtesy of the artist and Roberts & Tilton.

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Gary Hill, Observaciones Sobre los Colores (1998) (installation view), single-channel video and sound installation. Image courtesy of the artist and Roberts & Tilton.