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
by Aaron Horst

Paul Mpagi Sepuya
at team bungalow
by Ikechukwu Casmir Onyewuenyi

Ravi Jackson
at Richard Telles
by Hana Cohn

<em>Tactility of Line</em>
at Elevator Mondays
by Angella d'Avignon

<em>Trigger: Gender as a Tool as a Weapon</em>
at the New Museum
(L.A. in N.Y.)
by Laura Brown
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
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
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

<em>Broken Language</em>
at Shulamiit Nazarian
by Angella d'Avignon

<em>Artists of Color</em>
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 May 13, 2017
at Commonwealth and Council
Reviews Alessandro Pessoli
at Marc Foxx
by Jonathan Griffin

Jennie Jieun Lee
at The Pit
by Stuart Krimko

Trisha Baga
at 356 Mission
by Lindsay Preston Zappas

Jimmie Durham
at The Hammer
by Molly Larkey

<em>Parallel City</em>
at Ms. Barbers
by Hana Cohn

Jason Rhodes
at Hauser & Wirth
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 February 18, 2017
at Shulamit Nazarian
Exquisite L.A.
Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews <em>Creature</em>
at The Broad
by Thomas Duncan

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

Karl Haendel
at Susanne Vielmetter
by Aaron Horst

Wolfgang Tillmans
at Regen Projects
by Eli Diner

at Chateau Shatto
by Claire de Dobay Rifelj

<em>The Rat Bastard Protective Association</em>
at the Landing
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
<em>Made in L.A. 2016</em>
at The Hammer Museum
by Molly Larkey

Doug Aitken, <em>Electric Earth</em>
at The Geffen Contemporary at MOCA
by Aaron Horst

at Tif Sigfrids
by Keith J. Varadi

Jean-Pascal Flavian and Mika Tajima
at Kayne Griffin Corcoran
by Katie Bode

Mark A. Rodruigez
at Park View
by Stuart Krimko

<em>The Weeping Line</em>
Organized by Alter Space
at Four Six One Nine
(S.F. in L.A.)
by 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 <em>Revolution in the Making</em>
at Hauser Wirth & Schimmel
by Hana Cohn

Carl Cheng
at Cherry and Martin
by Eli Diner

Joan Snyder
at Parrasch Heijnen Gallery
by Claire De Dobay Rifelj

Elanor Antin
at Diane Rosenstein
by Katie Bode

<em>Performing the Grid</em>
at Ben Maltz Gallery
at Otis College of Art & Design
by Molly Larkey

Laura Owens
at The Wattis Institute
(L.A. in S.F.)
by 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 L.A. Art Fairs
by Claire de Dobay Rifelj

Material Art Fair,
Mexico City
by Matt Stromberg

<em>Rain Room</em>
by Hana Cohn

Evan Holloway
at David Kordansky Gallery
by Lindsay Preston Zappas

<Histories of a Vanishing Present: A Prologue</em>
at The Mistake Room
by Simone Krug

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

Awol Erizku
at FLAG Art Foundation
(L.A. in N.Y.)
by 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 <em>Honeydew</em>
at Michael Thibault
by Eli Diner

Fred Tomaselli
at California State University, Fullerton
by Jonathan Griffin

Trisha Donnelly
at Matthew Marks Gallery
by Don Edler

Bradford Kessler
by 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 Mary Ried Kelley
by Benjamin Lord

<em>Tongues Untied</em>
at MOCA Pacific Design Center
by Aaron Horst

<em>No Joke</em>
at Tanya Leighton
(L.A. in Berlin)
by Stephen Kent
Top-Down Bottom-Up Jenny Gagalka
Snap Reviews Martin Basher at Anat Ebgi
<em>Body Parts I-V</em> 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
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 Pierre Huyghe
by Tracy Jeanne Rosenthal

Mernet Larsen
at Various Small Fires
by Catherine Wagley

John Currin
at Gagosian, Beverly Hills
by Keith Vaughn

Pat O'Niell
at Cherry and Martin
by Aaron Horst

<em>A New Rhythm</em>
by Kate Wolf

<Unwatchable Scenes and
Other Unreliable Images...</em>
by Mateo Tannatt

Charles Gaines
at The Hammer
by Evan Moffitt

Henry Taylor
at Blum & Poe/ Untitled
by 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
Ramiken Crucible

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)
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
The Pit
Los Angeles Valley College
Odd Ark LA
1301 PE
Big Pictures Los Angeles
California African American Museum
Chainlink Gallery
Commonwealth & Council
David Kordansky Gallery
Karma International
Kayne Griffin Corcoran
ltd Los Angeles
Marc Foxx
Shoot the Lobster
Ochi Projects
Park View
The Landing
The Underground Museum
USC Fisher Museum of Art
Visitor Welcome Center
Culver City
Anat Ebgi
Arcana Books
Blum & Poe
Philip Martin Gallery
Honor Fraser
Klowden Mann
Luis De Jesus
Roberts Projects
Susanne Vielmetter
Diane Rosenstein
Family Books
Hannah Hoffman
Nino Mier Gallery
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Various Small Fires
South Bay
Grab Bag Studios
The Torrance Art Museum
Elsewhere in CA
Alter Space (San Francisco)
City Limits (Oakland)
Et al. (San Francisco)
Ever Gold Projects (San Francisco)
fused space (San Francisco)
Gym Standard (San Diego)
Helmuth Projects (San Diego)
Interface Gallery (Oakland)
Jessica Silverman (San Francisco)
Left Field (San Luis Obispo)
San Diego Art Institute (San Diego)
Verve Center for the Arts (Sacramento)
Wattis Institute for Contemporary Art (San Francisco)
Non CA
Artbook @ MoMA PS1 (Long Island City, NY)
Editions Kavi Gupta (Chicago, IL)
Good Weather (North Little Rock, AK)
Nationale (Portland, OR)
Skowhegan School of Painting and Sculpture (Skowhegan, ME)
Small Editions (Brooklyn, NY)
Space 42 (Jacksonville, FL)
Spoonbill & Sugartown (Brooklyn, NY)
Ulises (Philadelphia, PA)
Libraries/ Collections
Bard College, Center for Curatorial Studies Library (Annandale-on-Hudson, NY)
CalArts (Valencia, CA)
Cranbrook Academy of Art (Bloomfield Hills, MI)
El 123 (México City, MX)
John M. Flaxman Library at SAIC (Chicago, IL)
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)

Interview with Hamza Walker

Demetrius Oliver, Till (2004). Digital chromogenic print, 27 1/4 x 36 1/4 inches. Image courtesy Private Collection.

Hamza Walker is the Executive Director of LAXART, and he co-organized the Hammer Biennial Made in L.A. 2016: a, the, through, only. For 20 years, Walker was the associate curator at the Renaissance Society at the University of Chicago. Here, Walker discusses his comprehensive approach to curating, how he navigates the density of artists working in L.A., and his feedback on the recent controversy over Dana Schutz’s painting of Emmett Till in relation to his 2008 exhibition Black Is, Black Ain’t at the Renaissance Society.

Julie Weitz: Your shows often resurrect histories or highlight artists whose work has been overlooked. How do you think about the past as a contemporary curator?

Hamza Walker: Contemporary art is a very heterogeneous affair. As a result, I don’t have an agenda. The upshot of an exhibition might be an engagement with history or it might involve working with an “overlooked” artist, but that is never the intent.

As for the past, periodization as it applies to the contemporary, for better or worse is a construction and a necessary one. I’d like to think the divide is not so much the living versus the dead as much as it has to do with what is relevant at any given moment. Picabia is dead! Long Live Picabia! Death is a mere technicality when it comes to Picabia.

Or if we were to think of periodization along the lines of a particular medium, say, photography for example, even though there’s the  internet and new media, you have to ask, is that a difference in kind or a difference in degree. To say that we’re still at the origin of photography is to recognize that a nucleus can have a 150-year diameter. The advent of digital technology is just a continuation of the same narrative that’s already been put into place.

JW: So considering traditional mediums in relation to new technologies, are you suggesting that the playing field is level?

HW: Right, you have to keep it level. I don’t privilege a given medium. You want to see as much of what’s on the cultural landscape as possible and not to just focus on the so called new. What’s the job? Looking at art, surveying cultural production of all kinds. There are different paradigms and separate strands but bundled together they create the field as a whole. A botanist doesn’t simply look at the plants they like. Contemporary art is made up of various narratives, lineages, and trajectories.

JW: Was that something you understood from the beginning or did you have to reshape your notion of how to view art, given the fact that there’s a lot of judgment in academia?

HW: Part of learning is the unlearning of taste.

JW: Do you think there’s an element of, say, careerism that actually limits that broadening of perspective?

HW: The title of curator as a profession is interesting to me. I’m too young to use phrases like, “I’m the last of a generation,” but the advent of curatorial studies programs is relatively new. That wasn’t available to me. Part of the professionalization of curating is that it’s now a discipline that you can learn in school. As opposed to before, when it was something you backed your way into particularly with contemporary art.

JW: Now that you’re in L.A., how do you manage the density of artists working here?

HW: In addition to organizing exhibitions, curators survey cultural production. And in L.A. there’s a lot to survey. It can be intimidating. But to use a quintessential SoCal metaphor, I think of cultural production as a wave, one that you don’t survey as much as you surf. And in L.A. the surf’s always up, so dive in. You have to enjoy wiping out. Then you get up and do it again. You’re either compelled by your own curiosity or not. It’s like going into a record store where you’ve never heard of any of the bands. You can continue buying the same type of records, or you can go in and see what’s there. Curating is largely self-directed.

JW: LAXART recently hosted a conversation between you and Darby English about the Emmett Till case and your 2008 exhibition Black is, Black Ain’t at the Renaissance Society [for which Darby wrote the catalog essay, “Emmett Till Ever After”]. The talk took place within your exhibition Reconstitution, which was a recasting of the 1987 exhibition Constitution originally organized on the 200th anniversary of the U.S. Constitution. Given the recent controversy around Dana Schutz’s painting in the Whitney Biennial, your discussion offered up a very different perspective on the subject of Till.

HW: Totally, that was the whole point. Someone asked me, “What does this talk have to do with the exhibition at LAXART?” My answer was EVERYTHING. The Till case was the catalyst for the Civil Rights Movement proper. The Till case was about equality before the law, which is a fundamental tenet of the Constitution, a tenet of which patriots are all too eager to cite. Martin Luther King Jr. was pointedly aware of this when he said, “America doesn’t have to change, it just has to be what it says it is.”

In terms of the Whitney controversy, it’s great that people want to have this discussion, but no one is talking about any of the other work that was produced about the case. Black Is, Black Ain’t was ten years ago, and it featured two photographs that were radically different takes on Emmett Till. One was by Demetrius Oliver and the other was by Jason Lazarus. So we wanted to have a conversation about Till without recourse to the controversy. To have it be more constructive, more casual, and informal. To redirect the discourse.

JW: You spoke about what the case meant to each of you personally and how your perspective changed over time. That was revealing.

HW: Exactly. Jason Lazarus is a white artist who made a work about Till to which Darby and I are completely beholden. For us, there’s a kind of subjective engagement and entanglement with that piece. There’s no right or wrong, or question of who’s entitled or who owns this subject. The Till case is a sociopolitical event in the past, and we have to ask ourselves where we are generationally with respect to the case. What kind of shadow does the case cast in our lifetimes? I wanted to talk about it on wholly different terms, counter to the kind of militancy the Schutz painting invoked. It’s art. Let’s consider it an occasion to be reflexive about our lives and positions.

JW: For me, until the Coco Fusco article was published, I was at a loss for how the argument was being constructed.

HW: Yes. Did you see the way The View handled it?

JW: I was excited that they took it on.

HW: Yeah, Whoopi Goldberg just being Whoopi Goldberg. You know, one of her early skits was this really beautiful piece on Anne Frank. She’s sensitive to understanding that fascism and racial purity aren’t simply a U.S. thing. Anybody calling for the destruction of an artwork, it’s like, no, you just don’t want to go there. Whoopi would know, she’s got that  ethical orientation. Here’s popular media using the case as consciousness raising. For those of us who remember the cultural wars, where people were like, “Burn this! Burn that!” You may not like a work, but do you really want to burn it?

JW: Right. I was surprised that many younger artists were in support of destroying the painting.

HW: It’s misguided. There’s no context, there’s no perspective. If you have a context or perspective, then Dana Schutz is not the enemy no matter what happens. It’s a painting. I felt bad when she said she wouldn’t sell it. I was like, Dana, sell that shit and drop the money on the NAACP. Oddly enough, not selling it further fetishizes it. I couldn’t understand why the protesters were giving that work so much power when Kerry James Marshall was up at The Met. Jack Whitten recently moved from Alexander Gray gallery to Hauser & Wirth; here’s a senior black artist getting paid. Let’s celebrate that. No need to pay Dana Schutz any mind. I say that as a fan of her work.

The issues raised by the painting and the Till case, in general, are important. Questions about the relation- ship between pain and beauty are at the core of theorizing the construction of African-American identity. Same with ownership. This idea of self-possession, the attempt to own oneself wholly and fully, what does that mean? I find these questions far more engaging than the politics of division.

William Pope.L, Skin Set Drawings (2003). Ink and graphite on paper, 20 parts, 8 1/2 x 11 inches each. Image courtesy of the artist.

Glenn Ligon, Warm Broad Glow (2005). Neon installation, 36 x 192 inches. Image courtesy of the artist and Sender Collection, Levin Art Group.

Jason Lazarus, Standing at the Grave of Emmitt Till, The Day of Exhumation, June 1 (2005). Archival inkjet print, 37 x 50 inches. Image courtesy of the artist and Andrew Rafacz Gallery, Chicago.

Originally published in Carla issue 10.