Poetic Energies and
Radical Celebrations:
Senga Nengudi and Maren Hassinger
Simone Krug
Interior States of the Art Travis Diehl
Perennial Bloom:
Florals in Feminism
and Across L.A.
Angella d'Avignon
The Mess We're In Catherine Wagley
Interview with
Christina Quarles
Ashton Cooper
Object Project
Featuring Suné Woods, Michelle Dizon,
and Yong Soon Min
Lindsay Preston Zappas
Photos: Jeff McLane
Launch Party May 19, 2018
at Karma International
Reviews Meleko Mokgosi
at The Fowler Museum at UCLA
-Jessica Simmons

Chris Kraus
at Chateau Shatto
- Aaron Horst

Ben Sanders
at Ochi Projects
- Matt Stromberg

iris yirei hsu
at the Women's Center
for Creative Work
- Hana Cohn

Harald Szeemann
at the Getty Research Institute
- Olivian Cha

Ali Prosch
at Bed and Breakfast
- Jennifer Remenchik

Reena Spaulings
at Matthew Marks
- Thomas Duncan
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)

L.A. Povera

Bernadette Corporation, The Gay Signs (installation view). Image courtesy of House of Gaga.

Sunbeams shuffled through the gallery’s dust-colored windows on gangrenous feet. Between wooden columns and around white plinths, past sutured metal and ceramified condoms, a black plastic bag dragged itself across the concrete floor, as slow as the changing light. The piece was Tucson Rug (2009), one of Robert Breer’s more trashly kinetic sculptures—a squashed and abject version of his droidlike domes. Here, at 356 Mission, in a show curated by Mitchell Algus and Olivia Shao and called Sunlight Arrives Only at Its Proper Hour, the creeping sculpture fit the mood.

What mood was that? Uneven and post-industrial. Clean surfaces intersecting grimed. Warmly lit, trans- lucent, and crisp. Objects seemed to drift, if not crawl, between being art and being trash. There, on a little shelf, rested a resin model of a rodential severed head—a piece by Matt Hoyt. Up on the wall was Michael E. Smith’s Untitled (2015), a lengthy sunflower stalk angled just so and fixed to a plastic “prisoner transport seat” like a relief. These objects felt casual and found, yet piercingly, obsessively sure. It wasn’t just any trash: it had to be this way. Near Smith’s piece were 30 cigarette cellophanes filled with tiny refuse, trash-world terrariums by Yuji Agematsu, who famously makes one a day, every day, on his daily walk.

It’s as if to know a place, you need to root through its trash. Or else, in certain unfinished circumstances, such as 356 Mission’s roughly refurbished warehouse, on a block trenched with old rail sections and puddles of sewage, the trash on the inside recalled that in the gallery’s surroundings. This, perhaps, to con- tradict art’s tendency to grow aloof in its sunstreaked white boxes. Found materials seem to signal a kind of local awareness, even a claim to localness. This despite the fact that both Smith and Agematsu are from New York, and their work probably is too.

For The Great Indoors, Klara Liden’s recent show at House of Gaga // Reena Spaulings Fine Art, the artist made a point of locally sourcing her materials. Several pieces of “furniture” consisted of benches that double as stands for salvaged plywood construction barriers from the Los Angeles area. Liden’s act of reuse amounted to a kind of site-specificity that was less invested in the building itself than the city around it. The barriers were painted with rectangles of a custom whitewash. Playing in their shadows were two videos: one of a pigeon in New York City, the other of ducks in MacArthur Park Lake, visible through the gallery’s mission-style windows, swimming around a drowned shopping cart.

 

Kara Linden, The Great Indoors (installation view). Image courtesy of Reena Spaulings Fine Art.

This take on urbanism, part vampiric, part critical, carried over to the gallery’s very next show, Bernadette Corporation’s The Gay Signs. Among some custom beer pong tables, lit from within by LEDs and variously etched and printed with quotes from Sylvere Lotringer, was another that doubled as a vitrine filled with garbage from the surrounding streets. And, to match Liden’s birds, BC fashioned a seagull sculpture crafted from a “locally sourced” styrofoam cup, disembodied feathers, and bits of plastic. In BC’s hands the use of found materials took on the aura of  disaster—the sort that formed the backdrop for their “collectively authored novel” Reena Spaulings (from which the gallery drew its name). At the story’s climax, a tornado savaging Manhattan skyscrapers is a crude realization of New York’s enduring millennial disaster—not 9/11, but the real-estate boom that would follow. As with the galleries on the edge of Boyle Heights, the neighborhood’s unfinished feel is its appeal. In rooting through its garbage, Gaga // Reena nods to the working-class neighborhood which it has a part in gentrifying—and while Gaga // Reena was not the first gallery to move to MacArthur Park, it did so with aplomb.

Indeed, is there something about galleries in “transitional” L.A. neighborhoods that makes them interested in trash-based, trash-like art? 356 Mission finds itself at the center of heated protests against the gentrification of Boyle Heights; activists have fingered the galleries there as prime suspects. In 2016, the NAH Fair (an off-site alternative to Los Angeles Art Book Fair) printed a map of the district and described each business with brevity and wit. “They got a fire pit outside,” says the guide of the now-defunct Harmony Murphy Gallery. “They often show art of found trash.” It’s meant as an insult—your precious art —but it’s no accident that several recent shows have been proud to feature found trash. Perhaps this is partly to absorb that very criticism: galleries in gentrifying parts of town might say as much by invoking a trashly site specificity—a conceptual retrofit, if not camouflage. Perhaps this is also part of the process by which what resists today sells out tomorrow.

If the show at 356 Mission had an airy, depopulated feel to match its venue, and the two shows at Gaga // Reena riffed explicitly on the neighborhood outside the windows, the garage gallery Reserve Ames in West Adams, where artists are slowly but surely buying houses, has the look of a fixer-upper—stubbornly unrenovated. In a recent two-person show there featuring Brian Dario and Christian Tedeschi, the sculptures had the dark readymade tang of Michael E. Smith—for instance, a push broom in a form-fitting plexiglass box, or a Felix Gonzalez-Torres lightbulb piece “remade” with broken bulbs cast in blobs of glass. The show looked like junk you’d find lying around in an old shed—and a lot of it was. A conscious effort had been made to play on this confusion between the pile of boards and chain link fence and miscellaneous poles that always sits in the gallery’s back left corner, and the similar items moved into the space by the curator—many of which, in their turn, had been lying around the artists’ studios.

 

Brian Dario and Christian Tedeschi (2017) (installation view). Curated library by Leslie Dick. Image courtesy of the artist and Reserve Ames.

Leave it to artists to “appreciate” a pile of yellowed lumber, or a disused commercial space. The ICA LA, newly relocated from Santa Monica in an old garment warehouse across the street from the downtown Greyhound bus station, opened with an artist project by New York-based artist Abigail DeVille. Over several days, DeVille combed Los Angeles second-hand shops and curbsides for materials— shoes, red and blue party lights, hubcaps—then clamored them together around a chicken wire tornado, beneath a punctured black trash bag sky. In all of this, she is the only artist among the aforementioned who declares that her work is specifically about gentrification and displacement. Themes latent in Algus and Shao’s exhibition at 356 Mission, and central in Liden’s and BC’s exhibitions at Gaga // Reena, manifest as the whole of DeVille’s piece.

Yet DeVille’s remains an abstract gesture. Does it matter that her materials were sourced from Los Angels—? And does this proximity lend these displaced objects a particularly Angeleno sense of displacement? To the point, Liden dressed up her chipped and grimed plywood barriers with white abstract paintings, like fresh drywall over old brick. These barriers could have been from anywhere, but they weren’t— they were from L.A., and their damage was sustained for the construction and demolition of L.A. buildings. In that sense, Liden’s installation has a particularly “Los Angeles” texture, as if the city was expressing itself on it own canvas. Yet this was also, consciously, reflexively, a fetishized urbanism—wherein the “urban” is characterized not by diverse communities and dynamic culture, but by the convection of blight, displacement, and reinvestment. Such is an urbanism without a city.

 

Abigail DeVille, No Space Hidden (Shelter) (2017) (installation view). Image courtesy of the artist and the Institute of Contemporary Art, Los Angeles. Photo: Brian Forrest.

Bernadette Corporation, The Gay Signs (installation view). Image courtesy of House of Gaga.

Christian Tedeschi, Untitled (2015). Plastic and found basketball, 81⁄2 x81⁄2 x81⁄2 inches. Image courtesy of the artist and Reserve Ames.

Kara Linden, The Great Indoors (installation view). Image courtesy of Reena Spaulings Fine Art.

 

Abigail DeVille, No Space Hidden (Shelter) (2017) (installation view). Image courtesy of the artist and the Institute of Contemporary Art, Los Angeles. Photo: Brian Forrest.

Robert Breer, Tucson Rug (2009). Motorized sculpture: plastic (black) cover, motor, wheels, 2.8 x 7.9 x 5.9 inches. Image courtesy of the artist and Simon Preston Gallery, New York and gb Agency, Paris.

 

Originally published in Carla Issue 10.