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)

L.A. Art Fairs

Art Los Angeles Contemporary

Paramount Ranch

ArtBandini

January 28–31, 2016

Alison O'Daniel, Centennial Marching Band Forwards, Backwards, Pause, Silent, (documentation of performance) (2016). Organized by JOAN, Los Angeles, for Art Los Angeles Contemporary, January 28, 2016, Photo: Gina Clyne.

Alison O’Daniel, Centennial Marching Band Forwards, Backwards, Pause, Silent (documentation of performance) (2016). Organized by JOAN, Los Angeles, for Art Los Angeles Contemporary, January 28, 2016, Photo: Gina Clyne.

Though Los Angeles may not be the most convenient art marketplace for the old-school collectors of New York and Europe, it has nonetheless entered the saturated global art fair game. Now firmly established as a major artist enclave, L.A. has done so (at its best moments) with the city’s own brand of sprawl and aesthetic twists.

Three simultaneous fairs sprouted across town the last weekend of January, the largest of which was Art Los Angeles Contemporary (ALAC), now in its seventh year at Santa Monica Airport’s Barker Hangar. Not only did ALAC’s participating galleries hail from more diverse locales than ever (Spain, Argentina, New Zealand, and Korea, among others), this year the fair inaugurated a new section, subtitled “Freeways,” for galleries under four years of age. Did this inject a different vibe into ALAC’s somewhat predictable offerings of mainly large paintings and manageably sized sculptures? Not really.

None of the Freeways booths—though smaller in scale—would have looked out-of-place in the main space, which begs the question of why they were set apart in the first place, and highlights a missed opportunity to shake up tradition, perhaps with a wider variety of mediums and political angles.

Across ALAC were an abundance of vibrantly colored objects, punctuated by works such as Loie Hollowell’s modest canvases (Feuer/Mesler), whose muted palettes and sinuous lines were intriguing in their intimate eroticism. Laure Prouvost’s evocative phrases invoking sweat and the sea (MOT International) were painted in stark white on black. They inspired uneasy daydreams of the hangar, submerged.

Paramount Ranch III, courtesy Freedman Fitzpatrick and Paradise Garage, Los Angeles, photo by Michael Underwood.

Paramount Ranch III. Image courtesy of Freedman Fitzpatrick and Paradise Garage, Los Angeles. Photo: Michael Underwood.

Certain galleries tinkered with their allotted real estate. New York’s The Hole papered its walls with a reproduction of Photoshop’s moiré background pattern, treating the art objects hung atop it like so many interchangeable JPEGs. L.A.’s own Various Small Fires adopted a beach theme, with works in pastel and neon hues, and surfing-related text by Andrea Longacre-White strewn across the walls graffiti-style.

Of course the hot spot for unconventional fair presentations for the last three years has been Paramount Ranch. Named for its site—a former Old West set—it was founded by galleries Freedman Fitzpatrick and Paradise Garage, the latter run by artists Liz Craft and Pentti Monkkonen. Equally ambitious as ALAC in the internationalism of its participating venues, Paramount Ranch’s venue forces galleries to adapt to awkward spaces (the jail, the engulfing barn), and in doing so, gives off an anything-goes aura amidst wooden cabins and dusty walkways. One feels something like a trespasser; a sensation promoted by the park rangers warily patrolling their transformed stomping ground.

The most memorable installations here usually fall into two opposing categories. In the first, unconventional objects occupy the ranch’s more conventional-looking spaces—as was the case with Paulo Monteiro’s quirky painting-sculptures (Mendes Wood DM), which transformed a plain, four-walled room into a poetic minefield of color and form. On the other end of this spectrum are typical-seeming objects placed in unexpected settings, such as Eirik Senje’s gouache paintings (1857 gallery), hung outdoors on a cluster of makeshift plaster walls that recalled portals or large tombstones. Paul McCarthy’s imposing inflatable buttplug (Tree, 2014) belonged to this latter group on a grandiose scale; its green inflated tip rose above the tree line, a beacon to approaching visitors.

Opening of ArtBandini (installation view), January 29, 2016. Courtesy of Arturo Bandini, Los Angeles.

Opening of ArtBandini (installation view) (2016). Image courtesy of Arturo Bandini, Los Angeles.

Despite its popularity—or in fact because of it—this was the final year of Paramount Ranch, as its organizers want to end on a high note. This lends bittersweet irony to the fact that strong rains nearly shut down the event on its last day. The same storm canceled completely the final day of ArtBandini, a third concurrent (and one-time-only) fair organized by artists Isaac Resnikoff and Michael Dopp. The fair was the logical progression of their coltish enterprise, Arturo Bandini, a gallery-in-a-shack-in-a-parking-lot in Cypress Park. Over two-dozen entities—some real galleries, and others invented for the occasion­—shared only a handful of walls, but brought carloads of supporters. Participants reveled in the common knowledge that Los Angeles is the ideal city for such shenanigans: it (still) has enough affordable spaces for larger experimental efforts, but enough cred as an art center for such diversions to be taken seriously.

Most enjoyable as a mini-installation was that by newly minted Animals With Human Rights Humans With Animal Rights (Nick Kramer), in which an intimate assortment of works by fellow L.A. artists was propped unceremoniously atop aluminum grids and a folding table; the work ready to be hawked as salable wares. Nearby a collaborative enterprise called L.A. Ashtrays (Edgar Bryan and Scott Reeder) presented malformed but useable ceramic receptacles upon a lilac-colored coffin. Their crisp, attractive posters provided only hazy hints as to the trademark’s raison d’être.

Animals With Human Rights Humans With Animal Rights booth at ArtBandini (installation view), January 29­-31, 2016. Courtesy of Arturo Bandini, Los Angeles.

Animals With Human Rights Humans With Animal Rights booth at ArtBandini (installation view) (2016). Image courtesy of Arturo Bandini, Los Angeles.

The relationship between the larger, traditional fair and its more provisional offshoots has been symbiotic: ALAC offered the preliminary impetus for art-viewers to spend a weekend perusing aesthetic wares (whether traveling crosstown or cross-country to do so); which Paramount Ranch took advantage of in organizing its first iteration; whose success in turn generated more enthusiasm for ALAC’s subsequent annual presentations. ArtBandini fed upon this cycle as well, drawing fair-goers Eastward for further, and more affordable, artistic encounters.

Since Paramount and ArtBandini will not be returning, however, it remains to be seen whether ALAC drew its largest crowds and collectors this year on the strength of its own offerings, or whether the light-hearted irreverence of the satellite presentations provided a crucial attractive balance. Signs such as ALAC’s inclusion of a lively performance by Compton’s Centennial High School marching band—orchestrated by artist Alison O’Daniel with the non-profit, JOAN—as well as a marvelously convoluted “three way” rotating installation organized by Dave Muller (Blum & Poe), Brian Sharp (ROGERS), and Jon Pylypchuk (Grice Bench), imply that the now-disappeared sideshows have indeed left their mark.

Alison O'Daniel, Centennial Marching Band Forwards, Backwards, Pause, Silent, (documentation of performance) (2016). Organized by JOAN, Los Angeles, for Art Los Angeles Contemporary, January 28, 2016, Photo: Gina Clyne.

Alison O’Daniel, Centennial Marching Band Forwards, Backwards, Pause, Silent (documentation of performance) (2016). Organized by JOAN, Los Angeles, for Art Los Angeles Contemporary, January 28, 2016, Photo: Gina Clyne.

Alison O'Daniel, Centennial Marching Band Forwards, Backwards, Pause, Silent, (documentation of performance) (2016). Organized by JOAN, Los Angeles, for Art Los Angeles Contemporary, January 28, 2016, Photo: Gina Clyne.

Alison O’Daniel, Centennial Marching Band Forwards, Backwards, Pause, Silent (documentation of performance) (2016). Organized by JOAN, Los Angeles, for Art Los Angeles Contemporary, January 28, 2016, Photo: Gina Clyne.

2016-07-12 (3)Originally published in Carla Issue 4.