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

Baert Gallery
2441 Hunter St.
Los Angeles, CA 90021

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

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

2245 E. Washington Blvd.
Los Angeles, CA 90021

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

Monte Vista Projects
1206 Maple Avenue, #523
Los Angeles, CA 90015

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
Koreatown / Pico-Union
Commonwealth & Council
3006 W. 7th St., #220
Los Angeles CA 90005

Dalton Warehouse
447 E. 32nd St.
Los Angeles, CA 90011

Elevator Mondays
1026 Venice Blvd., Suite E
Los Angeles, CA 90015

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

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

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

Visitor Welcome Center
3006 W. 7th St., #200 A
Los Angeles, CA 90005
A.G. Geiger
502 Chung King Ct.
Los Angeles, CA 90012

Charlie James
969 Chung King Rd.
Los Angeles, CA 90012

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
6150 Wilshire Blvd.
Los Angeles, CA 90048

Big Pictures Los Angeles
2424 W Washington Blvd.
Los Angeles, CA 90018

California African American Museum
600 State Dr.
Los Angeles, CA 90037

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

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

4727 W. Washington
Los Angeles, CA 90016

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

Ms. Barbers
5370 W. Adams Blvd.
Los Angeles, CA 90016

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

Praz Delavallade
6150 Wilshire Blvd.
Los Angeles, CA 90048

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

5900 Wilshire Blvd.
Los Angeles, CA 90036

The Underground Museum
3508 W. Washington Blvd.
Los Angeles, CA 90018
Culver City
Anat Ebgi
2660 S. La Cienega Blvd.
Los Angeles, CA 90034

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

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

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

1034 N. Highland Ave.
Los Angeles, CA 90038

Hannah Hoffman
1010 Highland Ave.
Los Angeles, CA 90038

7000 Santa Monica Blvd.
West Hollywood, CA 90038

612 N. Almont Dr.
Los Angeles, CA 90069

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
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
67 Steps
2163 Princeton Ave.
Los Angeles, CA 90026

2939 Denby Ave.
Los Angeles, CA 90039

602 Moulton Ave.
Los Angeles, CA 90031

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

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

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

15168 Raymer St.
Van Nuys, CA 91405

The Pit
918 Ruberta Ave.
Glendale, CA 91201

Interview with Jenni Sorkin

The Feminist Studio Workshop, lead by Faith Wilding. Photo: E.K. Waller.

Before I ever met Jenni Sorkin, I encountered her work from afar. After reading her essay on the legacy of the radical, Marxist feminist Shulamith Firestone for a 2015 issue Frieze magazine, I wrote her a cold email about the ways that her writing had moved me. She wrote back right away, and we have been in touch—in person and over email—ever since. As I came to know Jenni better, I also discovered more of her work, reading essays she’s written on re-performance, stained cloth, and most recently, her 2016 book Live Form: Women, Ceramics, and Community, a project that focuses on the lives and practices of three American, female ceramicists working in the 20th century. Through each of her projects, I’ve become more sensitive to the interconnectivity of gender, embodied performance, alternative pedagogy, and craft work as community engagement. Here, we discuss that recent book, as well as Sorkin’s role in the seminal L.A. exhibitions WACK! Art and the Feminist Revolution at MOCA Geffen (2007), Leap Before You Look: Black Mountain College 1933–1957 at the Hammer Museum (2016), and Revolution in the Making: Abstract Sculpture by Women, 1947–2016 at Hauser & Wirth (2016).

Carmen Winant: As a place to start, will you talk a little bit about your background as an artist? As an undergraduate student you were focused in the material and fiber department at SAIC.

Jenni Sorkin: I started in the photo department and quickly moved on to fiber. The department was full of women. That education introduced me to an alternative canon and an alternative modernism. I only realized that was the case when I arrived at Yale as an art history doctorate student, actually.

But there was a very strong Americanist program at Yale, and wonderful collections and decorative arts and crafts objects. Because I had a foothold already, I could bring along the hands-on knowledge with me, and use it to bracket the canonical modernism to which I was being introduced.

At SAIC I had a handful of amazing faculty mentors—all women, such as the art historian Kelly Dennis, and the artists Anne Wilson, Joan Livingstone, and Barbara DeGenevieve. Still, this was a BFA program in the late ’90s—there was no dedicated “critical” focus. It was haphazard; I graduated from that program never having written a paper.

CW: Did you come to miss art making as you shifted focus from it?

JS: I actually found it arduous, and tedious, even as I was doing it. I never liked being in a studio by myself. I tried social practice work; I tried lots of things. But what I really liked doing was talking about other people’s work. You can imagine: people hated me in critiques! I was always hyperarticulate and hyper-critical of other people’s work. I felt out of sorts in art school.

CW: You moved from there into curating, not directly into art history.

JS: From SAIC, I got an MA at the Center for Curatorial Studies at Bard College. That education exposed me to a different history and politics. There were many international students and curators who passed through that program, in particular,  many Latin Americans. After that I accepted a position at MOCA, Los Angeles, working with Connie Butler on WACK!. I had no friends in L.A. at the time; I knew no one. Instead, I spent a lot of time doing studio visits with artists in that show, listening to them talk about their own histories.

CW: What a unique experience, meeting with those women. How many curators have access to so many of their living subjects?

JS: Nobody cared about them at the time. This was directly after 9/11 [2001]; people did not give a shit about feminism. Barbara T. Smith, for instance, had no gallery; she hadn’t had encounters with curators for 10 or 15 years. There was very little knowledge about the history of the Woman’s Building, or the Feminist Art Program at CalArts. The history of feminist activity was mostly overlooked and ignored. Pacific Standard Time, which helped shine a light, had not yet happened. It was a serious process to bring it all together—the show opened in 2007, and I started working on it in 2001.

WACK! Art and the Feminist Revolution (installation view) (2007). Image courtesy of MOCA, Los Angeles.

CW: At UC Santa Barbara, you have an appointment in art history and are affiliated with both feminist studies and the art department. Do you find that these disciplines—and their coursework—compete with one another, or inform each other’s projects?

JS:  It’s all a part of the same project. As a contemporary art historian, my work always takes on a bifurcated role: both forward and backward-looking. I am what I consider a first responder to artwork—the first person to write on work as it’s first being shown, the first person to publish on an emerging artist, etc.—and a responder to  the past, writing archivally-driven histories like (my book project) Live Form that are very much bound up in the longer 20th century.

Art historians and artists have different purviews in the work. Artists are always driving forward in their work; they get bored or anxious if they are asked to spend too much time looking back. It is one of the amazing features of being artists. They are over the series they did one year ago, ten years ago.

CW: Revolution in the Making, a show that you co-curated with Paul Schimmel at Hauser & Wirth, veered toward the latter: it was a more historic project. The exhibition has had a major impact, and continues to echo in conversations I have with friends and artists. Can you describe the process of putting it together?

JS: It was the inaugural show of Hauser & Wirth [then Hauser, Wirth & Schimmel]. Paul [Schimmel] approached me, and invited me into that space to work together; we knew each other from my time at MOCA, and he was aware of my commitment to feminist art, and art made by women. It was a wonderful invitation, and one that totally overtook my life for two years.

The experience of working with a commercial gallery budget was totally transformative, I have to admit. Museum budgets are often quite pinched—things move a lot slower to keep up with fundraising efforts. We got to do in two and half years what would have taken six or seven years  at a major museum. The show wasn’t as historically minded at WACK!, though they were, of course, related. I was able to work less within a tightly constructed framework and more toward an aesthetic preoccupation with abstraction.

CW: It was a big show, in multiple senses of the word.

JS: Well, the work had to be large in scale, in some obvious sense, to hold the enormity of the space. But more importantly, women often work on a small scale out of necessity, not out of desire. Their practices are often not supported economically through galleries and museums. We found so much work by women sculptors responding to this in a long-term way: for instance, responding to the scale of their male counterparts, like Richard Serra, responding to minimalism. It was a fascinating pattern.

CW: WACK! and Revolution in the Making were women-only projects, as is your book, Live Form, which examines the lives and work of three ceramic artists working in the 1950s: M.C. Richards, Marguerite Wildenhain, and Susan Peterson. Are you…

JS: A happy separatist? Yes! [Laughs.] I do write about men. But I feel compelled to write about women; I am not apologetic about that.

CW: All-women exhibitions have drawn criticism lately for perpetuating some ghettoization of the already marginalized in the art world.

JS: Why don’t we understand them instead as bringing much needed attention? Why does the language need to be continually framed in such  a negative way? We still have the problem of the default to address. When you say the term “artist”—and this is a notion that Griselda Pollock, the feminist art historian, first wrote about—it is additive to have to put “woman” in front of that. That adjective—the African-American artist, the Asian-American artist, the gay artist, the trans artist—becomes the means of making everyone non-white or male into a secondary addition. We cannot fully unseat the white male artist, which is why these projects are so necessary.

Projects like Live Form work to force a different viewpoint. Making people aware of alternatives is a deliberate revisionist art historical or curatorial strategy. Listen, there is no such thing as feminist curating. There is only curating by feminists.

Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 (Installation view) (2016). Image courtesy of the artists and Hauser & Wirth. Photo: Brian Forrest.

CW: How did you elect to focus on these three particular artists— M.C. Richards, Susan Peterson, and Marguerite Wildenhain—for Live Form?

JS: All three of these women left their most important work in print. Each consistently published, each left an impressive written archive. Their words, devalued in their own lifetime, contained germs of wisdom that I thought could be really applicable today. Also, each of these artists worked to pioneer some sense of alternative spaces and alternative pedagogy. They offer an alternative model for an artist working outside of the boundaries of the art world. This is compelling to the present moment; there are so many people at that margin now. My job as a historian is to go back to the record and see what lessons can be taken from these women, all of whom lived in a far more sexist and repressive social era.

CW: And, of course, each worked in ceramics.

JS: Ceramics has been completely undervalued and overlooked. My work tries, always, to consider it in a more constructive and theoretical way. I aim to reclaim it as a performative— and non-utilitarian—medium, in which the maker is not only performing skill and mastery, but also the making of the self.

CW: You describe your subjects several times as proto-feminists. What exactly does that mean in this context? Would they have referred to themselves that way?

JS: These ceramists would have vehemently rejected the term “feminist.” Frankly, they could not have been asked to accept that term in the time they came of age. Each of these women supported their male colleagues more than they supported their female colleagues. This has to do, I think, with self-identifying with a masculine way of being in the world which still persists. Only one of the three women in this book (Susan Peterson) had children. All three of them married and divorced multiple times; in that historical moment, such a practice was quite uncommon. For a woman to of be self-supporting during the 1950s, to lead a hand-to-mouth existence, was very rare. It meant giving up the more comfortable, social privileges of being married, having a man in your life, owning property, being settled in some way. This offers a real lesson for artists in trying to figure out new ways of living now.

Andrea Zittel, for instance, forging new designs for living in Joshua Tree is really no different than Marguerite Wildenhain establishing Pond Farm. Forging new, outsider  models is not new; part of my work is demonstrating that such a legacy exists. And, this is important, it is a legacy of craft. Craft is really where it’s at when thinking about a history of social practice work, non-object based work, performance work, and alternative world-making.

CW: Speaking of new models of teaching and living as an artist, you contributed several shorter essays to the Black Mountain College show catalog. Maybe we could end on this note; can you speak a little about notions of “alternative world-making” in relationship to schools?

JS: Right. The history of art schools, like CalArts and so many others, is one of community building. Of learning, in some real sense, how to live and be an engaged citizen of the world, rather than learning how to make artwork. Helen Molesworth’s Black Mountain show is very much engaged in this project—this interest in cultivating utopian values, in collectivity. Los Angeles, and its legacy of art schools, is the city most devoted to this practice. It really differs from a city like Chicago in that way: there is one major art school in that city, which provides a less sustainable context. Here, people move, attend, graduate, and stay. There is a network to enter and build from. And it feels endless.

Jenni Sorkin is an associate professor of Art History at UC Santa Barbara. She writes on the intersection between gender, material culture, and contemporary art. Sorkin’s new book, Live Form: Women, Ceramics and Community was published in July of 2016.

Faith Wilding in her studio, 1980. Image copyright the LA Daily News. Photo: Lori Valesko.

Harmony Hammond in her studio. Photo: Sydney Brink.

WACK! Art and the Feminist Revolution (installation view) (2007). Image courtesy of MOCA, Los Angeles.

Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 (Installation view) (2016). Image courtesy of the artists and Hauser & Wirth. Louise Bourgeois: Art © The Easton Foundation/Licensed by VAGA, New York, NY. Photo: Brian Forrest.