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
Cool School
Catherine Wagley
The Rise
of the L.A.
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
Baert Gallery
Cirrus Gallery
Château Shatto
Club Pro
Dalton Warehouse
Elevator Mondays
The Geffen Contemporary 
Ghebaly Gallery
Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
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
67 Steps
Smart Objects
Skibum MacArthur
18th Street Arts
Ben Maltz Gallery at Otis 
College of Art and Design
Christopher Grimes Gallery
DXIX Projects
Five Car Garage
Team (Bungalow)
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The Armory Center for the Arts
The Pit
Los Angeles Valley College
The Art Gallery @ GCC
1301 PE
Big Pictures Los Angeles
California African American Museum
Chainlink Gallery
Commonwealth & Council
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Kayne Griffin Corcoran
ltd Los Angeles
Marc Foxx
Shoot the Lobster
Ochi Projects
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USC Fisher Museum of Art
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Anat Ebgi
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Roberts and Tilton
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Nino Mier Gallery
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Shulamit Nazarian
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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)

Gary Hill
at Roberts & Tilton


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)


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


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


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