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)

Kerry Tribe
at 356 Mission

Kerry Tribe, The Loste Note (installation view) (2015). Image courtesy of the artist and 356 Mission. Photo: Fredrik Nilsen Studio.

My gym, like many, is lined nearly wall-to-wall with mirrors. While encouraging a kind of practical vanity (checking one’s form, in both senses), mirrors in this context also move one’s mind in an existential direction, particularly those of us who swallowed whole tomes by Merleau-Ponty in graduate school. On a Stairmaster recently, I found myself facing one of many mirrored corners and noticed something peculiar: that my own reflection was doubly mirrored, reflecting back towards me while a second mirror flipped this image like one might flip a film negative. Beyond the ticker text of CNN reading correctly behind me, I realized that I was seeing myself as others see me.

Our reflections’ high level of accuracy comes at the cost of portraying the reverse as our proper front: a visual dyslexia memorably lost on Karen Smith in Mean Girls. I thought of this phenomenon while making my way through Kerry Tribe’s The Loste Note at 356 Mission. Tribe’s work here focuses on aphasia, a term referring to a range of language disorders that result from brain damage (i.e., a stroke). We first encounter two teleprompters: one spelling out the text of a speech, the other the softly garbled interpretation we hear spoken over headphones by a person with aphasia. The spoken words break and transpose, warbling about the original formations that follow along the aphasic’s difficult speech: an irresonance between text and text, and text and sound.

Continuing in this vein, the subjects of Tribe’s three-channel video centerpiece, The Aphasia Poetry Club, struggle to reflect accurately what they are reading, seeing and recalling. Refraction, rather than reflection, is the order here: words splitting, realigning or re-associating like light scattering in a crystal, each spoken with great difficulty. The effect induces headache as often as hypnosis; that it is experienced as an effect at all is the troubling heart of this exhibition.

Tribe, to her credit, goes some distance towards mitigating the aestheticization of a medical disorder in the overall instructive tone throughout the exhibition. Particularly in the teleprompter piece and a series of prints showing words for color (Green, Blue, Salmon, etc.) spelled out in letters of color different than each term describes, Tribe enacts a paired down version of an aphasic’s everyday. These potent, Nauman-esque exercises reduce complexity to maximum instructive concentration, even while brushing up against the pedantic. From there, Tribe’s exhibition splits between aesthetics both immersive and coolly medicinal.

The curving, polished aluminum tubes filling much of the main room act as armatures for a small variety of objects (apple boxes, house plants) and blown-up images (lemons). These pieces carry the air of apparatuses meant to assess or correct through display, as does a sheet posted on the wall containing geometric images and written instructions divorced from their original context. They also bore to tears, particularly an arrangement consisting of tasteful wooden boxes, a house plant and overhanging lamp, which reads like something out of Design Within Reach. Tribe’s high-definition prints of everyday objects seem either curiously uninvolved or too subtle for their intentions to be detected, unless we are to read the aluminum tubing as neurons connecting key concepts across a fractious brain. Either way, this trip through the tastefully clinical comes across as an evocative kind of marketing, underscoring many of the unfortunate and unavoidable problems of exploitation in the name of documentary (to say nothing of the obnoxious art world trend of banal found objects).

The Aphasia Poetry Club consists of repeating tableau (the courtyard of an apartment building, the edge of a doorway, focal rolls along rock and crystal formations) accompanied by the voices of three aphasics. Here Tribe comes closest to figuring an art form composed around a concrete sense of its subjects’ agency in her use of their actual voices. Like that of Laura, strange and powerfully resonant as she describes in halting, circling sentences an indescribable experience in speech permanently altered by that experience. The video reaches a high point with a forest-and-animals children’s cartoon sequence, complete with a mesmerizing and incredibly sad theme song. Yet it is these durational engagements with Laura and another aphasic (identified as Chris) that truly tease out the unique and disquieting loops that the condition creates in those afflicted.

Tribe’s enacted disconnects and fissures within communication pose as an allegory for the contemporary condition of information overload: an experience that we share leeching its own likeness out of one that many of us do not. Unfortunate and tone-deaf though this may be, Tribe’s rich and often beautiful deployment in The Loste Note acts to dutifully obscure it while genuinely capturing aspects of the aphasic’s experience (I think). Beyond this, the problem at the heart of the documentary impulse is the giving of voice to a particular group rather than developing strategies by which members of that group might go about finding voices of their own. The problematic graspings of Tribe’s subjects in The Loste Note belong neither to us nor the artist, in spite of the exhibition’s byline, making for an uneven, aesthetically striking and morally murky experience.

Kerry Tribe: The Loste Note runs April 10-May 31, 2015 at 356 Mission (356 Mission Road, Los Angeles, CA 90033).

Kerry Tribe, The Loste Note (installation view) (2015). Image courtesy of the artist and 356 Mission. Photo: Fredrik Nilsen Studio.

Kerry Tribe, The Loste Note (installation view) (2015). Image courtesy of the artist and 356 Mission. Photo: Fredrik Nilsen Studio.

Kerry Tribe, The Loste Note (installation view) (2015). Image courtesy of the artist and 356 Mission. Photo: Fredrik Nilsen Studio.