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
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
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
Exquisite L.A.
Featuring:
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
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
Doug Aitken Electric Earth
Mertzbau

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
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 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
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 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
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 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
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
VESSEL // CINS and
VESSEL // PERF
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
Distribution
Downtown
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

Fahrenheit
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

LACA
2245 E. Washington Blvd.
Los Angeles, CA 90021

MAMA
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

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

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

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

EMBASSY
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
Mid-City
1301PE
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

HILDE
4727 W. Washington
Los Angeles, CA 90016

JOAN
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

SPRÜTH MAGERS
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

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

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

GAVLAK
1034 N. Highland Ave.
Los Angeles, CA 90038

Hannah Hoffman
1010 Highland Ave.
Los Angeles, CA 90038

LAXART
7000 Santa Monica Blvd.
West Hollywood, CA 90038

M+B
612 N. Almont Dr.
Los Angeles, CA 90069

Mier
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
Westside
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
Eastside
67 Steps
2163 Princeton Ave.
Los Angeles, CA 90026

ACME.
2939 Denby Ave.
Los Angeles, CA 90039

ESXLA
602 Moulton Ave.
Los Angeles, CA 90031

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

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

Ibid.
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

Natural
15168 Raymer St.
Van Nuys, CA 91405

The Pit
918 Ruberta Ave.
Glendale, CA 91201

Jason Rhoades
at Hauser & Wirth

Jason Rhoades, My Madinah. In pursuit of my ermitage… (2004). Mixed media, dimensions variable. Image courtesy of the estate, Hauser & Wirth and David Zwirner. © The Estate of Jason Rhoades. Photo: Fredrik Nilsen.

Jason Rhoades was a quintessentially L.A. artist, whose sprawling, dense, visually cacophonous installations reflected Los Angeles’ hodgepodge urban aesthetics and consumer culture. Despite this, he was always more popular in Europe—exhibiting widely in Germany, Austria, and Switzerland—than in the city where he lived and worked. Presented 11 years after his untimely death at the age of 41, Hauser & Wirth’s career spanning survey Installations, 1994-2006 is something of a homecoming; the artist’s first major retrospective in his adopted hometown. It offers an opportunity to re-visit (or introduce) the work of an artist who has more often been talked about—lauded as heir to the lineage of Chris Burden and Mike Kelley—than seen in the United States.

The show opens with the earliest and tamest work on view, which caught the art world’s attention, setting Rhoades on his meteoric rise to art stardom. Produced the year after receiving his MFA from UCLA, Swedish Erotica and Fiero Parts (1994) established Rhoades as a master practitioner of what Jerry Saltz termed “clusterfuck aesthetics.” Piles of mundane objects litter the room: styrofoam, cardboard, pieces of wood, legal pads, and a recurring motif—the ubiquitous five gallon plastic bucket, Rhoades’ signature readymade. The unifying element in the work is the color yellow, which, in the original installation at Rosamund Felsen’s gallery, was based on the color of the building’s façade. The installation serves as a celebration of American consumerism, not based on luxury or wealth, but a kind of populist, big box materialism à la Ikea and Home Depot, one attainable to everyone. As with many of Rhoades’ works, Swedish Erotica has no center, no focus. It is up to viewers to find their way through the aisles between stacks of goods, attempting their own connections. You don’t so much look at the artwork as inhabit it, even if inhabiting proves somewhat futile.

My Brother / Brancusi from the following year revels in the kind of high/low dichotomy that was another common theme for Rhoades. A central assemblage combines wooden crates, small motorbikes, toy trucks, and industrial items, with stacks of donuts referencing Constantin Brancusi’s Endless Columns: icons of high modernism re-cast as junk food. The donuts also reference Rhoades’ brother’s desire to become rich from a donut business: Henry Ford by way of Homer Simpson. The walls are lined with photographs pairing Constantin Brancusi’s studio with the bedroom of Rhoades’ brother—one filled with modernist sculptures, the other with weight benches and aquariums, symbols of adolescent masculinity. It is a playful jab at the 20th century archetype of the heroic, male artist, proposing in its place a slacker, man-boy juvenility. Despite Rhoades’ ambition, it is a characterization that fits him, with his sophomoric enthusiasm, as well.

Jason Rhoades, My Madinah. In pursuit of my ermitage… (2004). Mixed media, dimensions variable. Image courtesy of the estate, Hauser & Wirth and David Zwirner. © The Estate of Jason Rhoades. Photo: Fredrik Nilsen.

Rhoades ratchets up his freewheeling, omnivorous exuberance with The Creation Myth (1998), a messy, orgiastic panorama of human thought and invention. Subtitled The Mind, the Body and the Spirit, the Shit, Prick and the Rebellious Part, the installation loosely resembles a figure composed of stacked tables, overhead projectors, video monitors, lights and all manner of detritus, generously decorated with pornographic images. On one end, a snake riding a toy train stands in as the figure’s scattered brain. On the opposite end, a large contraption representing an anus blows a smoke-ring every 15 seconds or so, the work’s only true site of production. The once noble act of creation is reduced to a fart joke.

These works confront the notion of the masterpiece, presenting instead an environment of everyday materials for the viewer to wander through—though the question remains whether they dismantle previous hierarchies, or simply shift them around. Is it really any less grandiose to pack a room with ephemeral objects than to craft a monument out of steel or concrete? Saltz’s “clusterfuck aesthetics” could be considered an artistic form of manspreading, and it’s not insignificant that most of its adherents were white male artists, challenging a previous generation’s hallowed works with their own brand of grand gestures.

The final three works included in the exhibition escalate Rhoades’ irreverence and repudiation of good taste, mixing sex, religion, and culture in a cheekily profane fusion that thumbs its nose at convention. In My Madinah. In pursuit of my ermitage… (2004), he creates a mosque-like setting, with a patchwork of towels on the floor in place of prayer mats, which viewers can only walk on once they have removed their shoes. As they gaze heaven-ward, they are confronted with a web of 240 neon signs overhead, each spelling out a slang word for female genitalia: Crotch Cobbler, Cock Alley, Woo-Woo. It reads like a blown-up, electric version of Courbet’s L’Origine du Monde—the 1866 painting of female genitalia—made by a puerile obsessive. It is indeed dazzling, at least in its execution, the scale of which is revealed by scores of orange power cords cascading down one wall, but it raises the question, as does so much of Rhoades work, of whether or not this smashing of taboos serves to challenge dominant systems or reinforce them. Work that was once perhaps seen as a liberating rebellion against staid mores, now seems retrograde in retrospect, simply enforcing patriarchal norms under a new guise.

Jason Rhoades, Tijuanatanjierchandelier (2006). Mixed media, dimensions variable. Image courtesy of the estate, Hauser & Wirth, David Zwirner and lender. © The Estate of Jason Rhoades. Photo: Fredrik Nilsen.

The last two works combine Rhoades’ linguistic, yonic obsession with his interest in consumerism, this time expressed on a global scale. Tijuanatanjierchandelier (2006) and The Black Pussy…and the Pagan Idol Workshop (2005) combine knick-knacks and tchotchkes from Mexico and Morocco with his jungle of neon signs. These are not “authentic” forays into other cultures—they’re not trying to be—but they showcase the marketplace crafts, hookahs, and cheap figurines that represent cultural collision in a way that museum artifacts cannot. To some, this smacks of a sort of superficial cultural appropriation, yet it reflects the same wide-eyed appreciation for mass-market material culture seen in all Rhoades’ work, here applied to the vaguely ethnic, off the shelf readymades of the tourist bazaar instead of Wal-Mart.

Despite his juvenile exuberance and sophomoric sense of humor, Jason Rhoades’ maximalist installations are not simple, easy works. At their best, they’re intensely personal and sincere epic constructions, drawing from a range of sources across the visual and material spectrums, dismissive of hierarchical distinctions. When ambition outpaces curiosity, however, they run the risk of simply being new manifestations of the old guard.

Jason Rhoades, Tijuanatanjierchandelier (2006). Mixed media, dimensions variable. Image courtesy of the estate, Hauser & Wirth, David Zwirner and lender. © The Estate of Jason Rhoades. Photo: Fredrik Nilsen.

Jason Rhoades, My Brother / Brancuzi (1995). Mixed media, dimensions variable. Image courtesy of Private Collection, Switzerland. © The Estate of Jason Rhoades. Photo: Fredrik Nilsen.

Jason Rhoades, The Creation Myth (1998). Mixed media, dimensions variable. Image courtesy of Friedrich Christian Flick Collection im Hamburger Bahnhof, Berlin. © The Estate of Jason Rhoades. Photo: Fredrik Nilsen.

Jason Rhoades, The Creation Myth (1998). Mixed media, dimensions variable. Image courtesy of Friedrich Christian Flick Collection im Hamburger Bahnhof, Berlin. © The Estate of Jason Rhoades. Photo: Fredrik Nilsen.

Jason Rhoades, Swedish Erotica and Fiero Parts (1994). Mixed media, dimensions variable. Image courtesy of the estate, Hauser & Wirth, Private Collection, Switzerland and lenders. © The Estate of Jason Rhoades. Photo: Fredrik Nilsen.

Jason Rhoades, Swedish Erotica and Fiero Parts (1994). Mixed media, dimensions variable. Image courtesy of the estate, Hauser & Wirth, Private Collection, Switzerland and lenders. © The Estate of Jason Rhoades. Photo: Fredrik Nilsen.

Originally published in Carla Issue 8