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
Big Pictures Los Angeles
California African American Museum
Chimento Contemporary
Commonwealth & Council
David Kordansky Gallery
H I L D E
Karma International
Kayne Griffin Corcoran
LACMA
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
Honor Fraser
Klowden Mann
Luis De Jesus
Philip Martin Gallery
Roberts Projects
Susanne Vielmetter
Hollywood
AA|LA
Diane Rosenstein
Family Books
GAVLAK
LACE
LA><ART
M+B
Nino Mier Gallery
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)
Wolfman Books (Oakland)
Non CA
Artbook @ MoMA PS1 (Long Island City, NY)
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)
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)

Interview with Penny Slinger

Penny Slinger, The Web (1973-74). Photo Collage. Image courtesy of Broadway 1602.

Penelope Slinger was born in London in 1947 and graduated from Chelsea Art College in 1969 with a body of work made as a feminist reaction to Max Ernst’s collages. Since then, Penny’s art practice has constantly shifted mediums and viewpoints irrespective of art world trends, or profitability—as a result, decades worth of work remain unseen by the art world. In all of its iterations, Penny Slinger’s body of work is mutable, erotic, confrontational, mystical, and unapologetically Goddess-worshipping.

This past summer I went to visit Penny at her home and studio, The Goddess Temple, a sprawling group of buildings constructed in honor of the Divine Feminine. The Goddess Temple is hidden deep in a grove of redwood trees in the Santa Cruz Mountains, with the word Resurgam emblazoned on the awning of the main building. Resurgam is Latin for “I shall rise again”—a bittersweet sentiment, as the Goddess Temple currently faces financial hardship and possible closure. I kept repeating the word under my breath during my visit, like a prayer or a spell.

Eliza Swann: Let’s talk about this place, your home and studio. It’s amazing here! Tell me about The Goddess Temple—what’s the story?

Penny Slinger: [My husband] Christopher Hills built this place as his retreat property—he was guided to it by divination. He built it to be a safe place on the planet to take the limits off and experience the Goddess’ energy direct. He built this place on the principles of sacred geometry and connected it to the sacred energy of the redwood groves. After he passed I have held it in that way. This place has been known as The Goddess Temple—I’m Reverend of The Goddess Temple, which I established here under the umbrella of the Universal Church of the Master.

ES: She needs strong reps these days. So, what kinds of work do you do for the Goddess here?

PS: Right (laughs). There’s an amazing energy here and I want to share it as much as possible. We’ve had performances and multimedia video recordings and parties on key dates like the solstices and equinoxes. It is all dedicated to Her. It’s like a healing circle between The Divine and the Earthly realms. When I invite people here it’s to be part of this sort of blessing, really.

For the last few years we’ve been trying to see what’s going to happen to the next phase of the evolution here. This space really needs to have some financial support beyond ourselves in order to be able to continue. Once it’s had some upgrades done that it needs, it can be offered back out to share again in the form of retreats, gatherings, salons, and bringing artists here for sabbaticals. We need to make it more of a busy heart center for the new paradigm, which is what Christopher said it should be.

ES: For me, holding space for Goddess worship is a way of accessing stories and tools for resistance and renewal that are in danger of being erased. We need to share human histories that took place before widespread patriarchy and capitalism to let us know what is possible for humanity. Have you noticed an upswing in interest or support for the Goddess Temple under our new presidential administration?

PS: No, I haven’t yet. One of the most upsetting things about the current regime is that they seem to [be] going backwards in the raising of consciousness that has been evolving about the impact that human life is having on the rest of the ecosystem. I love and embrace all life as part of myself and feel as if my very body is being ripped apart when assaults to the environment occur. If indeed our consciousness makes us the top of the life chain, we sacrifice that position when we plunder earth’s body.

I am not sure at this point what the future holds. I am ready to move on from the Goddess Temple if that is what the Universe requires. If support comes and I am enabled to stay here, I will continue and advance the program. That consists of using the facilities to gather those who are the change makers, the visionaries, and give them the opportunity to experience the pure flow of Goddess energy available here.

The beacon of light that the Goddess Temple is will continue to transmit, come what may.

ES: Do you find that the fine art world is uncomfortable with mystical work that isn’t made in the minimalist tradition? I’ve personally had a hell of a time being taken seriously. It’s a little easier here in Los Angeles, but not much.

PS: I’ve found that. In fact a couple of my galleries told me I had to redo my website, which I did do. And I made it, I hope, much more art-world friendly. They said “you mentioned Goddess too much and it’s putting our buyers off.”

ES: It seems like the art world has been more interested in classifying you as a 1970s feminist. I’ve always wondered why the academic and psychological aspects of feminism might be palatable for art world folks, but you can’t say the word “Goddess” if you want to be taken seriously. Why do you think the art world isn’t ready for representations of the divine feminine?

PS: This is quite a complex question. The Goddess movement has picked up a lot of steam since I discovered Her in the early 1970s and when I started doing events and gatherings in Her honor at the end of the 1990s. On the one hand I could reflect that this is great news; that the things I believe hold the keys to evolution are percolating into the social fabric. However, as tends to be the case with any popularization, there is also a diminution of essence, a trivialization, a tendency to take things at face value and face glamor, rather than penetrating to the heart and core of what these things really represent.

To embrace the Goddess in one’s life is so much more than putting on a crown and dressing up like one! It is about cultivating all the qualities the Divine Feminine represents in one’s heart and consciousness and having these principles be the guiding light of all one’s actions. This is profound spiritual and psychological work, demanding an absolute kind of commitment. In this society, so addicted to instant gratification, many who receive a taste of this rarefied domain are suddenly teachers, without putting in the kind of self-work required to earn and own that position.

In a lot of the art these days dedicated to the Goddess I also find the kind of honed and refined aesthetic that I respond to is missing. In this way, I can understand why the ne art world may be leery.

Be this as it may, there must be a place for the Goddess in the field of fine art, for it is Her time and those on the cutting edge of social and cultural change know that. My dedication to intense self-scrutiny has brought me here. And I have been schooled in fine art as well as my own direct experience.

Penny Slinger, I Hear What you Say (1973). Collage. Image courtesy of the Roland Penrose Collection.

ES: I am really moved by your collage book trilogy: The 50% The Visible Woman (1971), An Exorcism (1977), and Mountain Ecstasy (1978).

PS: The 50% The Visible Woman was made while I was still a student at Chelsea College and I discovered Max Ernst and his collage books. I did my thesis in response to those books and made a film and my own collage book. I hadn’t seen anyone really using the tools that Surrealism provided to explore the depths of the feminine psyche and to lay that bare. I collaged pictures of myself and then I wrote poems to go over them. I was very dedicated to the idea of being my own muse, and not being seen through the lens of a male artist, but seen through my own lens. I’ve done that all my life in work—being the seen and the seer.

So in that space I plunged into this book, An Exorcism. And one of the very first images in the book is called The Brick Wall Behind The Door, and to me that was a really shocking image of when you open the door to the imagination to go through to your magic world, and it’s got a brick wall behind it and you can’t get in! And in front of it, Peter (an ex of mine) as the man, the male archetype in the book, he’s holding the key. The question was “why has the man got the key?” What are the things that are projected on to me by my whole cultural milieu? What are the things projected on to me by my partner? And what are my things? Who am I in all this?

I worked on it for seven years. I mean it was a big work. I didn’t only do the collages; I did a lot of writing. I did a whole film script about it.

After that, I discovered Tantra. I discovered Tantra at an exhibition of Tantric art, the first one in the UK back in 1973. When I was nearly complete with The Exorcism, I met Nik Douglas and I went to India for the first time—Thailand, Nepal, all these places.

Mountain Ecstasy was really just our playing and coming together, me teaching Nik how to do collage. We were doing these pictures for our own pleasure. Everything was just juicy and erotic and full of bliss and the divine and the profane. Everything all at once.

And they put it out as a book— it did get into trouble. Thousands of copies got seized by British customs and burned as pornography. I had a show in London, and I had a show in New York after. It was too rich really for the British palate, too colorful.

ES: Your description of working on The Other Side of the Underneath (1972) is super intense. The film is built around a long sequence that is a sort of group therapy on acid, right? The melt-downs sound horrific. The emotional pain, psychic death, crucifixion. You were doing feminist work with Jane Arden and theatre group, Holocaust: A New Communion for Freaks, Prophets and Witches…

PS: Well, you know, I had never liked to label myself a feminist because of the flavor that feminism had at that time. Of late I’ve been much more willing to take on that mantle because feminism is now a lot more inclusive— for instance of sexuality, sensuality, and spirituality.

In England in the ‘60s, women hardly owned their sexuality at all. In those nascent years it didn’t feel like it was a very full body experience let’s put it like that. It seemed to be much more like, we want the power that men have had and we’re gonna get in that world and fight for it. I didn’t resonate with the feminist scene because I felt that female qualities needed to be recognized and empowered in their own right too. I have a body and I want to own that body. I want women to be seen for all of ourselves, as full psycho-sensual emotional beings.

Eventually I did become part of this all-women’s theater group, Holocaust. And that was because when I went to that first meeting and met Jane Arden, she talked about how she wanted to create artwork that was from a political and an embodied perspective.

With The Other Side of the Underneath, we were trying to shake out all the sacred cows and really get in people’s faces. We wanted to present the blood and guts of feminism, not just the intellectual and political and more heady kind of side of it.

ES: What’s your relationship to feminism now in your work?

PS: I got the opportunity to connect back into the fine art world in England with a couple of exhibitions—at The Tate with The Angels of Anarchy (2009) show and then at Riflemaker Gallery (2015). The recognition I’ve been getting has all been around the work that I was doing in the ‘60s and ‘70s and hasn’t gone past my discovery of Tantra. At this point it doesn’t seem like the fine art world is ready yet for the divine feminine work, which is where I’ve been all these last years since. This year I worked for awhile on a project called Reclaiming Scarlet with a young woman who’s very much part of this whole wave of feminism that’s happening now with The Red Tent movement.

I haven’t yet got an outlet for that even though it’s in a more proto-feminist surrealist style. My gallery in London just wrote to me and said, “It’s very strong and it’s very real, but I don’t know that there’s a market for it.” I want to do something that shows that I’m not just a historical gure. I want people to recognize that someone in her later years can be totally relevant and do something in society rather than being cast aside as no longer of use. I would like to have some success and some recognition this time not only for the old work, but for what I’m doing now. I want to put a stake in the ground for all women of this age whose wisdom hasn’t been percolated back into the world.

This is why we have such an immature, materialistic society; the wisdom of older women is not being put back into the energy cycles. People are going off into old people’s homes filled with drugs to veg them out.

ES: Are you still using your body as the main vehicle for your collages and life casts?

PS: Yes, I am using my body in my latest work. I’m 68 and my body has changed somewhat, but it hasn’t changed that much since I was 28. So I am wanting to use that as my vessel and to bring that forward to make this statement about it not being over. I’m still embodied!

ES: Do you have any advice for young artists and activists trying to cope with the Trump presidency?

PS: Art is the instrument we use to lift the veils and give insight into what is otherwise invisible. At this time I fully believe that awareness needs to come through an opening of the heart. Any work that an artist can do to help do this, even if it means ripping the heart open, is where it’s at. We need to melt the deep freeze of the collective numbness. And it starts with the self. I believe only that which is deeply felt can be in the politics of self, that there can be no political change without inner revolution.

Penny Slinger, Transmutation of Equatorial forest – The Hermaphrodite, (1969). Photo collage. Image courtesy of the artist.

Penny Slinger, A Difficult Position (An Exorcism) (1970-77). Photo collage on card. Image courtesy of the artist.

Penny Slinger, No Return (An Exorcism) (1970-77). Collage. Image courtesy of Broadway 1602.

 

 

Penny Slinger, Bride’s Book (Page 2) (1973). Photo collage in card vignette. Image courtesy of the artist.

 

Eliza Swann is an interdisciplinary artist, intuitive, writer, educator, and community organizer based in Los Angeles. Eliza received a BFA from SFAI, trained in hypnotherapy at the Isis Centre, Hindu cosmology with Dr. Vagish Shastri in India, Tarot and Western Magical Practice with the B.O.T.A. Western Mystery School, and received an MFA from Central St. Martins. Eliza is the founder of The Golden Dome School.

Penny Slinger is (born London 1947), graduated with a first class honors degree from Chelsea College of Art 1969. In the 1970s she was known for her pioneering Feminist Surrealist collage work. She has published several book including An Exorcism, Sexual Secrets, The Alchemy of Ecstasy, and The Secret Dakini Oracle. Penny lived in the Caribbean for 15 years where her work focused on the Arawak Indians. In 1994 she came to California. She is represented by Riflemaker Gallery (London), and Blum & Poe (LA, New York & Tokyo).

Originally published in Carla issue 8