Poetic Energies and
Radical Celebrations:
Senga Nengudi and Maren Hassinger
Simone Krug
Interior States of the Art Travis Diehl
Perennial Bloom:
Florals in Feminism
and Across L.A.
Angella d'Avignon
The Mess We're In Catherine Wagley
Interview with
Christina Quarles
Ashton Cooper
Object Project
Featuring Suné Woods, Michelle Dizon,
and Yong Soon Min
Lindsay Preston Zappas
Photos: Jeff McLane
Launch Party May 19, 2018
at Karma International
Reviews Meleko Mokgosi
at The Fowler Museum at UCLA
-Jessica Simmons

Chris Kraus
at Chateau Shatto
- Aaron Horst

Ben Sanders
at Ochi Projects
- Matt Stromberg

iris yirei hsu
at the Women's Center
for Creative Work
- Hana Cohn

Harald Szeemann
at the Getty Research Institute
- Olivian Cha

Ali Prosch
at Bed and Breakfast
- Jennifer Remenchik

Reena Spaulings
at Matthew Marks
- Thomas Duncan
Letter from the Editor Lindsay Preston Zappas
Museum as Selfie Station Matt Stromberg
Accessible as Humanly as Possible Catherine Wagley
On Laura Owens on Laura Owens Travis Diehl
Interview with Puppies Puppies Jonathan Griffin
Object Project Lindsay Preston Zappas, Jeff McLane
Launch Party
Reviews Dulce Dientes
at Rainbow in Spanish
- Aaron Horst

Adrián Villas Rojas
at The Geffen Contemporary at MOCA
- Lindsay Preston Zappas

Nevine Mahmoud
at M+B
- Angella D'Avignon

Radical Women: Latin American Art, 1960- 1985
at the Hammer Museum
- Thomas Duncan

Hannah Greely and William T. Wiley
at Parker Gallery
- Keith J. Varadi

David Hockney
at The Metropolitan Museum of Art (L.A. in N.Y.)
- Ashton Cooper

Edgar Arceneaux
at Yerba Buena Center for the Arts (L.A. in S.F.)
- Hana Cohn
Letter from the Editor Lindsay Preston Zappas
Barely Living with Art:
The Labor of Domestic
Spaces in Los Angeles
Eli Diner
She Wanted Adventure:
Dwan, Butler, Mizuno, Copley
Catherine Wagley
The Languages of
All-Women Exhibitions
Lindsay Preston Zappas
L.A. Povera Travis Diehl
On Eclipses:
When Language
and Photography Fail
Jessica Simmons
Interview with
Hamza Walker
Julie Wietz
Reviews Cheyenne Julien
at Smart Objects

Paul Mpagi Sepuya
at team bungalow

Ravi Jackson
at Richard Telles

Tactility of Line
at Elevator Mondays

Trigger: Gender as a Tool as a Weapon
at the New Museum
(L.A. in N.Y.)
Launch Party November 18, 2017
at the Landing
Object Project
Featuring: Rosha Yaghmai,
Dianna Molzan, and Patrick Jackson
Lindsay Preston Zappas
Photos by Jeff McLane
Pacific Standard Time: LA/LA
Reviews
Regen Projects
Ibid Gallery
One National Gay & Lesbian Archives and MOCA PDC
The Mistake Room
Luis De Jesus Gallery
the University Art Gallery at CSULB
the Autry Museum
Letter from the Editor Lindsay Preston Zappas
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

Broken Language
at Shulamit Nazarian

Artists of Color
at the Underground Museum

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects

Home
at LACMA

Analia Saban at
Sprueth Magers
Letter from the Editor Lindsay Preston Zappas
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 May 13, 2017
at Commonwealth and Council
Reviews Alessandro Pessoli
at Marc Foxx

Jennie Jieun Lee
at The Pit

Trisha Baga
at 356 Mission

Jimmie Durham
at The Hammer

Parallel City
at Ms. Barbers

Jason Rhodes
at Hauser & Wirth
Letter from the Editor Lindsay Preston Zappas
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 February 18, 2017
at Shulamit Nazarian
Exquisite L.A.
Featuring:
Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Creature
at The Broad

Sam Pulitzer & Peter Wachtler
at House of Gaga // Reena Spaulings Fine Art

Karl Haendel
at Susanne Vielmetter

Wolfgang Tillmans
at Regen Projects

Ma
at Chateau Shatto

The Rat Bastard Protective Association
at the Landing
Letter from the Editor Lindsay Preston Zappas
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
at The Hammer Museum

Doug Aitken
at The Geffen Contemporary at MOCA

Mertzbau
at Tif Sigfrids

Jean-Pascal Flavian and Mika Tajima
at Kayne Griffin Corcoran

Mark A. Rodruigez
at Park View

The Weeping Line
Organized by Alter Space
at Four Six One Nine
(S.F. in L.A.)
Letter form the Editor Lindsay Preston Zappas
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 Revolution in the Making
at Hauser Wirth & Schimmel

Carl Cheng
at Cherry and Martin

Joan Snyder
at Parrasch Heijnen Gallery

Elanor Antin
at Diane Rosenstein

Performing the Grid
at Ben Maltz Gallery
at Otis College of Art & Design

Laura Owens
at The Wattis Institute
(L.A. in S.F.)
Letter from the Editor Lindsay Preston Zappas
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 L.A. Art Fairs

Material Art Fair, Mexico City

Rain Room
at LACMA

Evan Holloway
at David Kordansky Gallery

Histories of a Vanishing Present: A Prologue
at The Mistake Room

Carter Mull
at fused space
(L.A. in S.F.)

Awol Erizku
at FLAG Art Foundation
(L.A. in N.Y.)
Letter from the Editor Lindsay Preston Zappas
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 Honeydew
at Michael Thibault

Fred Tomaselli
at California State University, Fullerton

Trisha Donnelly
at Matthew Marks Gallery

Bradford Kessler
at ASHES/ASHES
Letter from the Editor Lindsay Preston Zappas
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 Mary Ried Kelley
at The Hammer Museum

Tongues Untied
at MOCA Pacific Design Center

No Joke
at Tanya Leighton
(L.A. in Berlin)
Snap Reviews Martin Basher at Anat Ebgi
Body Parts I-V at ASHES ASHES
Eve Fowler at Mier Gallery
Matt Siegle at Park View
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
Letter from the Editor Lindsay Preston Zappas
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
Launch Party Carla Issue 1
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
Reviews Pierre Huyghe
at LACMA

Mernet Larsen
at Various Small Fires

John Currin
at Gagosian, Beverly Hills

Pat O'Niell
at Cherry and Martin

A New Rhythm
at Park View

Unwatchable Scenes and
Other Unreliable Images...
at Public Fiction

Charles Gaines
at The Hammer Museum

Henry Taylor
at Blum & Poe/ Untitled
(L.A. in N.Y.)
Distribution
Downtown
ARTBOOK @ Hauser & Wirth
Baert Gallery
Cirrus Gallery
Central Park
Château Shatto
Club Pro
Elevator Mondays
The Geffen Contemporary 
at MOCA
Ghebaly Gallery
ICA LA
JOAN
LACA
Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
BBQLA
Charlie James
Good Luck Gallery
Human Resources
Ibid Gallery
Ooga Booga
Parrasch Heijnen Gallery
Museum as Retail Space (MaRS)
Nicodim Gallery

Eastside
AWHRHWAR
67 Steps
ESXLA
Odd Ark LA
Oof Books
Otherwild
SADE
Smart Objects
Women's Center for Creative Work
Westside
18th Street Arts
Ben Maltz Gallery at Otis 
College of Art and Design
Christopher Grimes Gallery
DXIX Projects
Five Car Garage
Labland Art Gallery at LMU
Team (Bungalow)
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
The Pit
Los Angeles Valley College
Mid-City
1301 PE
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California African American Museum
Chimento Contemporary
Commonwealth & Council
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H I L D E
Karma International
Kayne Griffin Corcoran
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ltd Los Angeles
Shoot the Lobster
Ochi Projects
Praz-Delavallade
the Landing
SPRÜTH MAGERS
The Underground Museum
USC Fisher Museum of Art
Visitor Welcome Center
Culver City
Anat Ebgi
Arcana Books
Blum & Poe
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Susanne Vielmetter
Hollywood
AA|LA
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Family Books
GAVLAK
LACE
LA><ART
M+B
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Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Various Small Fires
Mobile
Gas Gallery
@gasdotgallery

Hand and Rose
@handandrose
Elsewhere in CA
CLOACA (San Fransisco)
Curatorial Research Bureau @ the YBCA (San Fransisco)
Et al. (San Francisco)
Ever Gold Projects (San Francisco)
fused space (San Francisco)
Gym Standard (San Diego)
Interface Gallery (Oakland)
Jessica Silverman (San Francisco)
Left Field (San Luis Obispo)
Minnesota Street Projects (San Fransisco)
San Diego Art Institute (San Diego)
Verge Center for the Arts (Sacramento)
Wattis Institute for Contemporary Art (San Francisco)
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Non CA
Artbook @ MoMA PS1 (Long Island City, NY)
Good Weather (North Little Rock, AK)
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Libraries/ Collections
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CalArts (Valencia, CA)
Cranbrook Academy of Art (Bloomfield Hills, MI)
Emerging Leaders of Arts at MCASB (Santa Barbara)
Fisher Fine Arts Library, University of Pennsylvania (Philadelphia, PA)
Los Angeles County Museum of Art, Research Library (Los Angeles, CA)
Los Angeles Contemporary Archive (Los Angeles, CA)
Marpha Foundation (Marpha, Nepal)
Maryland Institute College of Art, The Decker Library (Baltimore, MD)
Metropolitan Museum of Art, Thomas J. Watson Library (New York, NY)
Midway Contemporary Art (Minneapolis, MN)
Pepperdine University (Malibu, CA)
Point Loma Nazarene University (San Diego, CA)
School of the Art Institute of Chicago, John M. Flaxman Library (Chicago, IL)
Scholes Library, NYS College of Ceramics at Alfred University (Alfred, NY)
Skowhegan Archives (New York, NY)
Sotheby’s Institute of Art (New York, NY)
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)

Generous Structures

5

Tarot Class (2016). Image courtesy of The Golden Dome. Photo: Natalia Molina.

We were sitting in a circle in a window filled living room on a hill in Mt. Washington, holding barely filled cups of mugwort tea. We’d distributed the tea sparingly. It had been made under the assumption that no more than 20 people would attend this workshop, called Tactical Magic. Now 32 of us were squeezed into the room, here six days before the 2017 presidential inauguration. “We’re going to take our power back,” said artist Eliza Swann at the workshop’s start, simply setting the agenda. We would “build up to working on the government,” she said, hopefully by year’s end, using marginalized, spiritual, intuitive skill sets as a means of resisting formalized, mainstream authority. This didn’t seem far-fetched. Isn’t the undetermined anathema to the formal?

Saewon Oh, an herbalist and artist co-running this workshop with Swann, had made the tea and now guided us through our experience of it: we smelled it, introduced ourselves to it, slowly drank it, willed ourselves to be carried away by its qualities and then wrote about where our minds went. Mine went to a spare, sun-lit room. It vaguely resembled a lot of things, including a room I stayed in 100 miles north of Paris last summer, on a different kind of search for collective power.

For those who see art as a tool for living and probing, a commodity only circumstantially, the established art world has become an exhausting place. Galleries, academies, and museums seem in cahoots, together fueling the “hyper-professionalization” that Daniel Palmer decried in ARTNews last year. Success means learning to participate in a system of scarcity, branding yourself to appeal to those with the power to pull you onto a gallery roster or award you in other ways (teaching positions, institutional acquisitions, etc.).
 The obfuscating conditions of elite capitalism seem to have soaked through everything. The fact that Steven Mnuchin, who keeps forgetting to disclose additional assets to the Senate on his way to becoming Trump’s Secretary of Treasury, belonged to MOCA’s board is indicative, not anomalous.

“In a moment of monotony and conformity, artists must reclaim their freedom,” wrote Palmer. (1) Except, what good does it do to “reclaim” from a system indifferent to your unmarketable expressions? Instead, it seems, we need to build platforms for protecting, empowering, and sustaining one another’s non-conformity—not just alt exhibition spaces; something more than that. Even if I don’t know how to build them, exactly, I do know such platforms must have intellectual, emotional, and economic dimensions, and communities behind them ready to do the work. A desire for such communities led me to a conference in that small town in northern France.

4

Tarot Class (2016). Image courtesy of The Golden Dome. Photo: Natalia Molina.

The conference called Elsewhere & Otherwise—held at Paf, a cavernous former convent that, as of last year, is collectively owned by 50 people (artists, philosophers, writers, dancers)—started under dim lighting, with conversation aided by champagne. The more comfortable among us offered ideas for how the week could go; the organizers took notes. A casual misunderstanding shaped the second evening. The artist Eroca Nichols said she would be doing Pussy Readings in the Peacock Room (she meant she’d be giving tarot readings for people’s astral pussies and intimate relational lives). But, artists Corazon del Sol and Milena Bonilla thought she meant it literally—and thought, well wouldn’t that be worth while? To read vaginas as if reading palms or tea leaves? And then, somehow we were doing it, me going first because someone had to and because I trusted del Sol and Bonilla to be gentle as they made their first, semi-public foray into vagina-reading.

We wouldn’t be the first to do this—feminists consciousness-raising groups, among others, experimented similarly in the 1970s—though for us
it felt new and impulsive. The readers had been drinking, which made them less inhibited and maybe better at riffing about empowerment, hegemony, and vulnerability, collapsing space between the theoretical and personally sensual in a generous way. It took about 30 minutes for pussy reading
 to somehow become an electric thing, more women volunteering to sit on the shabby chic sofa with legs spread, more participating as readers.

I remember mixing vodka and lavender syrup in the kitchen with a group of men wondering if pussy reading excluded them—it wasn’t meant to, and there was talk of the ethereal pussy and fluidity of the feminine, but no one with non-female genitals volunteered to be read.

Later, there would be a charged discussion about whether the performance had alienated members of the group, those without conventional anatomical pussies specifically, and this would be uncomfortable but worth navigating. It seemed fitting to start off in something of a tangle, with theory, body, language, and sincerity blurred. None of us were experts in this tangle, and uncertainty helps if you really want to form something else.

“It is time for a more radical approach in which the knowledge that is already there can take enough time and space to be rehearsed, shared, articulated, transformed or even discarded,” wrote co-organizers Valentine Desideri and Daniela Bersham in describing the conference. (2)

6

Performance class. Image courtesy of The Golden Dome. Photo: Angel Lauren.

The word radical can sound clear and directed, but what we were doing was more like informed groping. With no designated moderator, the week, full and amorphous, would end up changing as attendees realized what they wanted to contribute. 
Our knowledge pooling would feel 
like an attempt to have something of a shared foundation. It worked as well as it did because the convent was an affordable space, untethered to anything bigger and more established. But part of why we need a “more radical approach” is so spaces 
like this can spread and persist in many elsewheres.

“I want to create a structure
 for life that is in revolt through its generosity,” Eliza Swann said this past October, in an interview for Vice’s Creator’s Project,(3) reminding me of a passage she introduced me to, from Monique Wittig’s relentless novel about foraging feminists: “Every gesture, act, deed, is overthrow, reversal.” (4) How can we afford to
make that true?

When I first met Swann, during consciousness-raising sessions held in a Silver Lake garage in 2014, she was half a year into running her school, The Golden Dome, and struggling with how to fund it. The school, in its aims, in some ways parallels the launch of Black Mountain College and Feminist Art Program—learning together differently in order to support each other and make art differently. It also exists to be non-hierarchical and thus collaborative. “A spiritual organization with a hierarchical structure can convey only the consciousness of estrangement,” says activist Starhawk, quoted on the school’s website.

The Golden Dome, which functions more like an artist-run residency than an actual school, meets twice annually, each session exploring the relationship between art, metaphysics, and spirituality. Swann plans to make it free, if she can. But building an autonomous, alternative platform has practical costs. Ten-day sessions can cost between $450-650, for room and board (in the Mojave desert, or upstate New York). The Mail Order Mystery School costs $125 for a year, relatively reasonable but still an investment for many artists.

The economic conundrum, present everywhere, has its own textures in the realm of art and artists. The art world is an exaggerated microcosm of the wealth gap, the one percent playing an outsized role in keeping institutions and galleries running. Few artists support themselves on their work; many gig, or adjunct, stretched thin. The fantasy that elusive gallery representation 
can save you from economic precarity is more widespread than makes sense, since many artists with galleries 
rarely sell enough to subsist. In the United States at least, where state support for artists barely exists, this fantasy probably represents just one more version of the capitalist American Dream, ingrained so deeply even if we know better.

9

Grace Kredell as “She Who Must Be Obeyed”, Emperor Artist Intensive, Joshua Tree (2016). Image courtesy of The Golden Dome. Photo: Angel Lauren.

There has been a fixation recently, in communities in which
 I traffic, on Italian-born, New York-based scholar Silvia Federici’s book Caliban and the Witch, originally published in 2004 and based on research Federici began alongside her friend Leopoldina Fortunati in the 1980s. Sarah Williams, co-founder of the Women’s Center for Creative Work (another attempt at a sustainable something else), was reading it; an artist friend texted from a bar in Massachusetts that she’d started a Caliban book club; during Elsewhere & Otherwise, we discussed it; at the start of Tactical Magic, Swann paraphrased it; and more. This surge in interest does not make chronological sense—Federici’s book has not been reprinted, nor is it at all an easy read. But it isn’t accidental. I devoured it for the second time in the days after the November election, as if nothing could be more relevant.

Federici, in exquisitely well-researched detail, depicts the transition to capitalism in Europe,
 the Americas, and the colonies as coinciding with a slaughter of alternative sensibilities, particularly those deemed feminine. Women
 who led food revolts, held procreative knowledge, healed, or encouraged community co-dependence: all threatened reproductive and productive labor, and were particularly vulnerable when witch trials began 
in earnest. Federici aimed in writing Caliban “to revive among younger generations the memory of a long history of resistance that today is in danger of being erased.”(5) Younger generations are listening, wanting communitarian models more desperately as nationalist and autocratic leaders rise in misguided response to the estrangements neoliberalism causes.

A week after Donald Trump became president-elect, I received a chain of emails from the group of artists I had met at Paf. The emails had urgency to them. They discussed war against eroticism, intelligence, or any idea of self that defies capitalist drive, and using emotional resilience and spiritual power against hate. “Please let’s imagine and create all the tools we can in these next days,” wrote my friend, Corazon del Sol. (6)

It’s some sick joke that the new U.S. administration moved so quickly toward cutting NEA and NEH funding, potentially killing the little publicly available to support non-product-oriented thinking, making the arts even more dependent on the market. The reductive language of new regimes, here and in Europe, seems poised against historical memory and disinterested in nuance. Forming and preserving spaces for unmarketable experimentation, uncertainties, and close attention to past and present possibilities falls to those of us who believe that art and life bear on each other. This work is already happening, has been happening. But now, liberated from whatever comfort zones we thought we had left, we should be more primed to lean on and glean from each other—or impel ourselves to be primed.

10

Mollie McKinley leading a “Every Day Rituals” class (2014). Image courtesy of The Golden Dome. Photo: Eliza Swann

 

issue-7-cover-icon-web

Originally published in Carla issue 7

(1) Daniel Palmer, “Go Pro: The Hyper-professionalization of the Emerging Artist,” ARTNews, March 9, 2016, http://www.artnews.com/2016/03/09/go-pro-the- hyper-professionalization-ofthe-emerging-artist/.

(2) E-mail to the author and others, January 19, 2016.

(3) Tjana Laden, “A Modern Mystery School Unites Art and Soul in LA,” Vice Creator’s Project, October 28, 2016, http://thecreatorsproject.vice.com/en_au/blog/golden- dawn-mystery-school-los-angeles.

(4) Monique Wittig, Les Guerilleres (Boston: Beacon Press, 1985), 5.

(5) Silvia Federici, Caliban and the Witch: Women, the Body and Primitive Accumulation (New York: Autonomedia, 2004), 9.

(6) E-mail chain forwarded to the author, November 12, 2016.