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

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.
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
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.
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
Jessica Simmons
Launch Party Carla Issue 6
Exquisite L.A.
Analia Saban
Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Made in L.A. 2016
Doug Aitken Electric Earth

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
at The Underground Museum
Catherine Wagley
The Art of Birth Carmen Winant
Escape from Bunker Hill
John Knight
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.
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
Marva Marrow's
Inside the L.A. Artist
Anthony Pearson
Mystery Science Thater
Diana Thater
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
at Arturo Bandini
Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota
Faith Wilding
at The Armory Center
for the Arts
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
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
at François Ghebaly
Jonathan Griffin
#studio #visit
with #devin #kenny
Mateo Tannatt
Jibade-Khalil Huffman
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
ARTBOOK @ Hauser & Wirth
Baert Gallery
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Château Shatto
Club Pro
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Elevator Mondays
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Human Resources
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Venus Over Los Angeles
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Smart Objects
Skibum MacArthur
18th Street Arts
Ben Maltz Gallery at Otis 
College of Art and Design
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DXIX Projects
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The Pit
Los Angeles Valley College
The Art Gallery @ GCC
1301 PE
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ltd Los Angeles
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Leap Before You Look
at The Hammer

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Students lounging on dock, Lake Eden, n.d. Photo by John Campbell. Photo by Josef Breitenbach. Courtesy Western Regional Archives, State Archives of North Carolina, Asheville, NC.

For a brief slice of history along the shore of North Carolina’s Lake Eden, there existed a utopian educational experiment called Black Mountain College. The Hammer’s new exhibition, Leap Before You Look, begins with a gallery dedicated to the school’s founding couple in art: Anni and Joseph Albers. The interplay between Joseph’s highly formal abstract paintings and Anni’s magnificent textiles are a fitting opening to the show’s deft exploration of the long-defunct College.

Cross-pollination was encouraged at Black Mountain; the juxtapositions within the exhibition of art with architecture, pedagogy, poetry, and music sing. A room devoted to the graphical scores of John Cage and the translations by his collaborator, pianist David Tudor, bleeds over into recordings of experimental poetry and dynamic photographs by Hazel Larson Archer of Merce Cunningham mid-dance. Elsewhere, textiles and ceramics are given equal weight to their pictorial brethren, in keeping with Black Mountain’s Bauhaus roots. Ruth Aswawa’s Untitled (S.272) (1955) a breathtaking, voluptuous wire sculpture holds its own next to Minutae (1954), Robert Rauschenberg’s brightly tropical first combine (made as a set piece for a school theater production).

The fact that the college was not an art school at all, but a liberal arts institution founded to include art at its core is worth noting. In a time when education, particularly in the arts, is so embattled, surely there are lessons to learn from this scrappy, innovative pedagogical experiment. The formidable legacy of the wide constellation of minds attracted to and nurtured by Black Mountain speaks to the immense creative and transformative potential in the fuzzy zones where disciplines overlap, and the power to be found in collaborative communities.

Leap Before You Look: Black Mountain College 1933-1957 runs February 21–May 15, 2016 at The Hammer Museum (10899 Wilshire Boulevard, Los Angeles, CA 90024).

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Josef Albers in a drawing class, ca. 1939-40. Courtesy Western Regional Archives, State Archives of North Carolina, Ashville, NC.

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Hazel Larsen Archer, Elizabeth Schmitt Jennerjahn and Robert Rauschenberg, ca. 1952. Gelatin silver print. 6 1/4 × 9 ¼ in. (15.9 × 23.5 cm). Estate of Hazel Larsen Archer and Black Mountain College Museum and Arts Center.

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Nancy Newhall, Buckminster Fuller, Black Mountain College, 1948/1990. Gelatin silver print. 7 1/2 × 9 1/2 in. (19.1 × 24.1 cm). San Francisco Museum of Modern Art. ©1948, Nancy Newhall, ©2014 The Estate of Beaumont and Nancy Newhall. Permission to reproduce courtesy of Scheinbaum and Russek LTD., Santa Fe, NM.

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Students walking toward Black Mountain College barn and silo, n.d. Courtesy Western Regional Archives, State Archives of North Carolina, Asheville, NC.

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Xanti Schawinsky teaching a portraiture class, n.d. Photo by Helen Post Modley. Courtesy Western Regional Archives, State Archives of North Carolina, Asheville, NC.


Anni Albers, Knot 2 (1947). Gouache on paper, 17 × 21 1/8 inches. © The Josef and Anni Albers Foundation/Artists Rights Society New York. Image courtesy of The Hammer Museum. Photo: Tim Nighswander (Imaging 4 Art).

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Ruth Asawa, Untitled (S. 272) (c. 1955). Copper and iron wire, 108 × 15 × 15 inches. © Estate of Ruth Asawa. Photo: Laurence Cuneo.

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Joseph Fiore, Black Mountain, Lake Eden (1954). Watercolor on paper, 14 × 18 inches. Image courtesy of Asheville Art Museum, Black Mountain College Collection.

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Ruth Asawa, BMC (BMC.76) (no date). Ink on paper. 21 1⁄2 x 17 1⁄2 inches. © Estate of Ruth Asawa. Image courtesy of the Fine Arts Museums of San Francisco.

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Josef Albers, Tenayuca (1943). Oil on Masonite, 22 ½ × 43 ½ inches. © The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York. Image courtesy of San Francisco Museum of Modern Art. Photo by Ben Blackwell.

LBYL_Cy Twombly_La-La

Cy Twombly, La-La (1953). Oil-based house paint and graphite on paper, 19 1/2 × 27 1/4 inches. Image courtesy The Eli and Edythe L. Broad Collection. © Cy Twombly Foundation.

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Photography class in Cabbage Patch (no date). Photo by Barbara Morgan. Image courtesy of Western Regional Archives, State Archives of North Carolina, Asheville, NC.