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

Broken Language
at Shulamiit Nazarian
by Angella d'Avignon

Artists of Color
at the Underground Museum
by Matt Stromberg

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects
by Aaron Horst

Home
at LACMA
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.
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
Baert Gallery
Cirrus Gallery
Château Shatto
Club Pro
Dalton Warehouse
Elevator Mondays
The Geffen Contemporary 
at MOCA
Ghebaly Gallery
ICA LA
LACA
MAMA
Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
BBQLA
Chimento Contemporary
Charlie James
Human Resources
Ibid Gallery
Ooga Booga
Ooga Twooga
Parrasch Heijnen Gallery
Museum as Retail Space (MaRS)
Nicodim Gallery
Venus Over Los Angeles
Eastside
AWHRHWAR
67 Steps
ESXLA
Otherwild
SADE
Smart Objects
Skibum MacArthur
Westside
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
Natural
The Art Gallery @ GCC
Mid-City
1301 PE
Big Pictures Los Angeles
California African American Museum
Chainlink Gallery
Commonwealth & Council
David Kordansky Gallery
H I L D E
JOAN
Kayne Griffin Corcoran
LACMA
ltd Los Angeles
Marc Foxx
Shoot the Lobster
Ochi Projects
Park View
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
Cherry and Martin
Honor Fraser
Klowden Mann
Luis De Jesus
Roberts and Tilton
Susanne Vielmetter
Hollywood
Diane Rosenstein
Family Books
GAVLAK
Hannah Hoffman
LACE
LA><ART
M+B
Nino Mier Gallery
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Various Small Fires
South Bay
DMV
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)

Kahlil Joseph:
Double Conscience

at MOCA

6-11-mAAd-1

1
Kahlil Joseph, m.A.A.d. (2014) (film stills). Two-channel projection. Courtesy of the artist and MOCA. Image: Chayse Irvin.

 

MOCA’s presentation of Kahlil Joseph’s 14-minute film, m.A.A.d. (2014) attempts to validate the cultural importance of this film within a legacy it has been excluded from. The institution’s positing of Joseph’s work as a kind of contemporary version of Jean-Luc Godard does emphasize shared filmmaking techniques (including elements of autobiography, improvisation and atemporal structure), but on the whole the connection seems tenuous and contrived. Part of the struggle discussed in Joseph’s work is the need to treat all culture as complicated, to exist freely, on its own, in its own time, with its own movement. Those wayward alignments with the work of a white European for the purpose of giving institutional context only underlines the implicit whiteness of the museum itself.

Joseph’s recent entry into this white site—first with his music videos in Kara Walker’s 2014 ICA exhibition—has made him an inadvertent image-maker during another critical time for black rights in America. Joseph has been promoted in press as a representative of contemporary African-American culture, someone filling a gap in its iconography. And there is a Manichean dichotomy that preoccupies Double Conscience, evidently inspired by collaborator Kendrick Lamar’s lyrical thematic in his 2012 breakthrough good kid, m.A.A.d city (the album for which this film first appeared as an hour-long version for Lamar’s support act on Kanye West’s 2013 Yeezus tour).

As an autonomous artwork, it communicates as openly as a music video might, with Lamar’s soundtrack constituting a big part of the emotional effect of the images. But what you get here is not a music video. Their portrait of Compton painted on film is an elegiac celebration of the conflict between loyalty and escape: it’s blissfully sad, euphorically melancholy. Affection pours from the screen.

The dialogue with that ongoing conflict in the film’s iconography doesn’t shy away from Compton stereotypes: Joseph shows us gangs, guns, blunts, Hennessey, lowriders, disenfranchised youths. But the standout quality in his treatment of these portraits is a kind of innocence that saves the film from succumbing to cliché: there’s no blood, no sex, and no desire to linger on brutality or violence. Instead, we get deeper sensations from home videos of family gatherings, good kids doing normal activities, gangs fooling around—yet always with a suggestion of fragility—that says as much about collective prejudice as it does about individual choice.

The uneasy feeling that arises from these apparently inconsequential moments is built carefully, through a series of crescendos that are suddenly shattered each time—often by gunshots—before they peak and circle back to start over, never culminating or ending. Multiple voices overlap, characters pass in and out of the frame, then later reappear. Night and day intertwine. As a two-screen projection, the film has some technically astounding moments: parallel panoramas of Los Angeles remind of Gaspar Noe’s pans over Tokyo in Enter The Void.

Subliminally, this doubling effect reminds us of the film’s position, a literal double perspective to reflect this ‘double conscience’. But that perspective isn’t shown to us as an object-spectacle. Joseph’s camera angle throughout puts you inside the frame; riding in the back of a car, standing on the street watching someone dance; waiting in line in a store; diving underwater in a swimming pool with a bunch of adolescents. But then characters look through you and you’re again not quite a part of it: you’re an inside observer, complicit but voiceless, a prescient ghost. Like a good kid in a mad city.

It’s a dissociative feeling like a hard drug experience; perhaps in reference to Lamar’s encounter with PCP, one of two meanings of the acronym m.A.A.d. (“My Angels on Angel Dust”). Joseph’s involvement in the hallucinogenic Hip Hop and LSD rap movement of recent years has clearly left a mark on this film. It is here, in its ethereality, where Joseph finds the most genuine and open expression of a dichotomous feeling of cultural confusion in our generation. It’s an artwork that gives you a vibe; only once experienced, you realize how surprising and rare that is. Despite all the hype this show has received, it does dissolve cynicism, if only for a moment. I walked out feeling the imprint of a warm California sunset felt through a car window.

 

Kahlil Joseph: Double Conscience runs from March 20–August 16, 2015 at MOCA Grand Avenue (250 South Grand Avenue, Los Angeles CA 90012).

 

6-11-mAAd-2

2
Kahlil Joseph, m.A.A.d. (2014) (film stills). Two-channel projection. Courtesy of the artist and MOCA. Image: Chayse Irvin.

 

 

6-11-mAAd-6

3
Kahlil Joseph, m.A.A.d. (2014) (film stills). Two-channel projection. Courtesy of the artist and MOCA. Image: Chayse Irvin.

 

 

6-11-mAAd-5

4
Kahlil Joseph, m.A.A.d. (2014) (film stills). Two-channel projection. Courtesy of the artist and MOCA. Image: Chayse Irvin.

 

 

6-11-mAAd-4

5
Kahlil Joseph, m.A.A.d. (2014) (film stills). Two-channel projection. Courtesy of the artist and MOCA. Image: Chayse Irvin.

 

 

6-11-mAAd-3

6
Kahlil Joseph, m.A.A.d. (2014) (film stills). Two-channel projection. Courtesy of the artist and MOCA. Image: Chayse Irvin.