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 Puppies Puppies

Puppies Puppies, Banana Cone with Spill (2014). Image courtesy of the artist and What Pipeline.

Visitors to Puppies Puppies’ recent exhibition, Green (Ghosts) at Overduin & Co. could not see the artist but they could examine her wrinkled bedsheets and pillows, her clothes, her shampoo and razors, her panties and vibrator, her dog’s bowl and bed, and her estrogen pills. For the course of the exhibition, Puppies and her husband Forrest had transferred the entire contents of their apartment into the gallery and were sleeping there, slipping out each morning before visitors arrived.

The gesture (if such an elaborate operation can be called that) was at once disarmingly candid and fastidiously staged. For one thing, virtually all of the objects in the gallery were either green, blue or yellow, as reportedly is the case in the couple’s apartment. For another, they were arranged in such a way as to transform even the most mundane items (an empty Sprite can, a pair of green stools, or his-and-hers blue and yellow toothbrushes in a mug) into readymade sculptures, most of which were titled as such. A number of the objects in the gallery were what the artist refers to as “bootlegs” of well-known artworks: a green version of a Willem de Rooij “Bouquet” sculpture, a scanned Thomas Struth photograph of jungle foliage blown up into low-res wallpaper, or a remake of Felix Gonzalez-Torres’ twin clock sculpture Untitled (Perfect Lovers) (1991). Fakeness, here, does not detract from the sincerity of these meticulous “fan art” homages, but instead points to their devotional significance: before they were gallery art, they were simply things that the artist and her husband ardently desired to live with.

Most impactful, perhaps, were the wall texts posted around the gallery, written by Forrest in place of a press release. Though he admits to being entirely partial in his view of Puppies’ work, Forrest states that the texts are an artwork authored by Puppies, and that his intention is not to explain or interpret the show (though they do both admirably) but to complicate it, to hint at the depth of meaning sequestered within the work that will inevitably be missed by—or be out of reach to—the viewer.

Given this artistic generosity but also this tantalizing feeling of so much being withheld, out of reach, I put some questions to the artist about the show and her work in general, aware that disclosing anything further about her project might well be the last thing on her mind.


Jonathan Griffin: Hi Puppies. I normally prefer to do these things face to face, or at least over the phone. You tell me you never speak on the phone, and only meet face to face after an initial, orchestrated studio visit, so you prefer to be interviewed over email or instant messaging. Why the reticence?

Puppies Puppies: When I was younger I stole a small plastic Santa Claus ring
when my parents weren’t looking
I hid it in my room
They found it and made me go back and return it to the cashier
Spanked and scared shitless
Older than that but still younger I used to go into chatrooms
I met this kid my age and we hit it off
I wanted friends and really didn’t have any
After a while it was his dad who was always on his account talking about him
We stopped talking
I feel naive whenever I think back to that memory I had no idea who I was talking to
I talked to my friends Logan and Rachel on the phone and by AOL.
Convinced them to date
but before that had a sleepover at Logan’s house and we masturbated together
Because he asked me to?
I had never “finished” before
so I just
peed a little into the toilet
and pretended to be done right away
I told Logan over AOL after going to Mexico that I didn’t want to speak anymore

JG: I guess what I find compelling about your work is its twin engines of revelatory candor and disguise. Your recent show at Overduin & Co seemed—like so much of your work—to bravely engage an idea of the “real,” despite its simultaneous sense of mannerist contrivance. What does realness mean to you?

PP: My chest currently
feels super tender
and it started feeling that way
immediately after starting hormones
especially around the nipples
I’m starting to see breasts developing on my chest
Super super faintly
I don’t get spontaneous erections anymore, for that I’m grateful
My pores seem softer
I feel calmer but also more in touch
with a variety of emotions
which probably leads to me fighting or crying more
I don’t feel as shitty today as I felt yesterday
My therapist describes this as a new puberty
with hormonal relationships to my past

JG: Well that brings me to a question I was going to wait to ask, but which we might as well address straight away. How has your transition shaped the ideas about identity and self-presentation, truth and authenticity in your work? I love Forrest’s observation in the show that transitioning is “a creative act, full of calibration and authorship and aesthetics.”

PP: I tried out to be the lion mascot in school
dancing to the Pokémon theme song
I look back on all stages and think I’m so immature for my age
I danced my heart out in that gym
and the weightlifting team passed by
That school had a rule that you couldn’t have long hair if you were a boy
I said I wanted to donate mine
And was allowed to grow out my hair
I shaved my body
and told myself guys
that are swimmers do this
Surfers and skaters have long hair and earrings
One does what one can to get by
This guy Alex R. was super straight
This girl said she liked me
To him
We were all quite young
and in front of everyone
Alex said
I think this guy swings the other way
It took me forever to figure it out but I cried all night
once I did
One day my science teacher Mr. F.
was talking about homosexuals and then after class asked me to come up to his desk
He apologized to me if what he said offended me
I didn’t quite get why but when I did
I cried the entirety
of study hall in the bathroom
My second Bio teacher
decided to overlook evolution as a topic
One day Amanda asked about anal stimulation and what that’s about
She said
it’s all in the person’s head
It’s not real
We read Dubliners one year
I thought to myself how do I before ever having had alcohol
feel so connected to utterly depressed alcoholics
One character described suicidal thoughts in the most beautiful way
Imagining themselves on a bridge turning to liquid and being subsumed by the earth
It didn’t sound half bad at the time

Puppies Puppies, Green (Ghosts) (2017) (installation view). Image courtesy of the artist and Overduin & Co., Los Angeles.

JG: So is Puppies Puppies a persona? Does it equate to self-annihilation? Or is it self-realization? Is it just a pseudonym?

PP: I don’t know.

JG: To my knowledge, you’ve never appeared in your work without a disguise. Do you deliberately encourage the possibility that you might not actually be real? And if, let’s say, the person behind the disguise and the pseudonym turned out to be a fabrication by someone else (your husband, or another artist, or your gallerist), would that invalidate your work?

PP: I’ve never liked the time before falling asleep.
I used to wet the bed. I was always worried I would soak it and before I slept I prayed this curse was over.
Sometimes I would vomit in my sleep due to acid reflux.
I remember one night falling asleep wishing I had been born a girl with different parts from my own
Just praying
At that time I thought it was because I was a man attracted to men
And it would make it normal if I had
Been born a woman
At that time I thought I was speaking to god
I thought to myself that I could be a flight attendant
Almost like an angel in the sky

JG: Puppies Puppies, are we ever not performing?

PP: Played Bill in Cheaper by the Dozen
This was in middle school
I needed extra makeup to look like the other kids in the family
There was some bizarre flashback scene where
I got cut in half by a metal saw
It was some sort of dream
I was supposed to scream on stage
But I couldn’t
I thought it would reveal something
about me
I didn’t know what
They had an actor scream off stage as I
made my mouth into an O shape
As if my scream emitted from
the entirety of the
gymnasium with
no clear source

Puppies Puppies, Green (Ghosts) (2017) (installation view). Image courtesy of the artist and Overduin & Co., Los Angeles.

Puppies Puppies, Green (2015) (installation view). Image courtesy of the artist and What Pipeline.

Puppies Puppies, Green (2015) (installation view). Image courtesy of the artist and What Pipeline.

Puppies Puppies, Green (Ghosts) (2017) (installation view). Image courtesy of the artist and Overduin & Co., Los Angeles.

Puppies Puppies, War Of The Worlds Stunt Body 002 (self portrait) (floating down river) (2017). Image courtesy the artist, Queer Thoughts and What Pipeline.

Originally published in Carla Issue 11