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
by Aaron Horst

Paul Mpagi Sepuya
at team bungalow
by Ikechukwu Casmir Onyewuenyi

Ravi Jackson
at Richard Telles
by Hana Cohn

<em>Tactility of Line</em>
at Elevator Mondays
by Angella d'Avignon

<em>Trigger: Gender as a Tool as a Weapon</em>
at the New Museum
(L.A. in N.Y.)
by Laura Brown
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
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

<em>Broken Language</em>
at Shulamiit Nazarian
by Angella d'Avignon

<em>Artists of Color</em>
at the Underground Museum
by Matt Stromberg

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

<em>Home</em>
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 May 13, 2017
at Commonwealth and Council
Reviews Alessandro Pessoli
at Marc Foxx
by Jonathan Griffin

Jennie Jieun Lee
at The Pit
by Stuart Krimko

Trisha Baga
at 356 Mission
by Lindsay Preston Zappas

Jimmie Durham
at The Hammer
by Molly Larkey

<em>Parallel City</em>
at Ms. Barbers
by Hana Cohn

Jason Rhodes
at Hauser & Wirth
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 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 <em>Creature</em>
at The Broad
by Thomas Duncan

Sam Pulitzer & Peter Wachtler
at House of Gaga // Reena Spaulings Fine Art
by Stuart Krimko

Karl Haendel
at Susanne Vielmetter
by Aaron Horst

Wolfgang Tillmans
at Regen Projects
by Eli Diner

<em>Ma</em>
at Chateau Shatto
by Claire de Dobay Rifelj

<em>The Rat Bastard Protective Association</em>
at the Landing
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
<em>Made in L.A. 2016</em>
at The Hammer Museum
by Molly Larkey

Doug Aitken, <em>Electric Earth</em>
at The Geffen Contemporary at MOCA
by Aaron Horst

<em>Mertzbau</em>
at Tif Sigfrids
by Keith J. Varadi

Jean-Pascal Flavian and Mika Tajima
at Kayne Griffin Corcoran
by Katie Bode

Mark A. Rodruigez
at Park View
by Stuart Krimko

<em>The Weeping Line</em>
Organized by Alter Space
at Four Six One Nine
(S.F. in L.A.)
by 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 <em>Revolution in the Making</em>
at Hauser Wirth & Schimmel
by Hana Cohn

Carl Cheng
at Cherry and Martin
by Eli Diner

Joan Snyder
at Parrasch Heijnen Gallery
by Claire De Dobay Rifelj

Elanor Antin
at Diane Rosenstein
by Katie Bode

<em>Performing the Grid</em>
at Ben Maltz Gallery
at Otis College of Art & Design
by Molly Larkey

Laura Owens
at The Wattis Institute
(L.A. in S.F.)
by 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 L.A. Art Fairs
by Claire de Dobay Rifelj

Material Art Fair,
Mexico City
by Matt Stromberg

<em>Rain Room</em>
at LACMA
by Hana Cohn

Evan Holloway
at David Kordansky Gallery
by Lindsay Preston Zappas

<Histories of a Vanishing Present: A Prologue</em>
at The Mistake Room
by Simone Krug

Carter Mull
at fused space
(L.A. in S.F.)
by Keith Vaughn

Awol Erizku
at FLAG Art Foundation
(L.A. in N.Y.)
by 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 <em>Honeydew</em>
at Michael Thibault
by Eli Diner

Fred Tomaselli
at California State University, Fullerton
by Jonathan Griffin

Trisha Donnelly
at Matthew Marks Gallery
by Don Edler

Bradford Kessler
at ASHES/ASHES
by 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 Mary Ried Kelley
by Benjamin Lord

<em>Tongues Untied</em>
at MOCA Pacific Design Center
by Aaron Horst

<em>No Joke</em>
at Tanya Leighton
(L.A. in Berlin)
by Stephen Kent
Top-Down Bottom-Up Jenny Gagalka
Snap Reviews Martin Basher at Anat Ebgi
<em>Body Parts I-V</em> 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
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 Pierre Huyghe
at LACMA
by Tracy Jeanne Rosenthal

Mernet Larsen
at Various Small Fires
by Catherine Wagley

John Currin
at Gagosian, Beverly Hills
by Keith Vaughn

Pat O'Niell
at Cherry and Martin
by Aaron Horst

<em>A New Rhythm</em>
by Kate Wolf

<Unwatchable Scenes and
Other Unreliable Images...</em>
by Mateo Tannatt

Charles Gaines
at The Hammer
by Evan Moffitt

Henry Taylor
at Blum & Poe/ Untitled
by 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
JOAN
LACA
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
Ramiken Crucible

Eastside
AWHRHWAR
67 Steps
ESXLA
Garden
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
Odd Ark LA
Mid-City
1301 PE
Big Pictures Los Angeles
California African American Museum
Chainlink Gallery
Commonwealth & Council
David Kordansky Gallery
H I L D E
Karma International
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
Philip Martin Gallery
Honor Fraser
Klowden Mann
Luis De Jesus
Roberts Projects
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)

Letter to the Editor

Digital collage by Molly Surazhsky

Dear Editors,

The almost immediate discomfort I felt in the newly opened Jason Rhoades exhibition at Hauser & Wirth could only be channeled into a list of terms that I quickly jotted down into my notepad: hyper-masculinity, masturbatory, gendered, violent, hetero-normative, etc. Certainly I am aware of my own vulnerability, as first and foremost a woman. No, this does not mean that I want only safe spaces in art! Contested spaces are necessary to initiate conversations, questions, and potential answers.

In The Black Pussy…and the Pagan Idol Workshop (installation), Rhoades persistently attempts to reclaim the term pussy in 427 differently lit neon instances, untroubled by his positioning as a white heterosexual man and what that might mean or continue to perpetuate in the world circa 2005 (the year the work was made). Unfortunately, this does little more than add insult to injury to our particular current moment in American history, when the U.S. President feels little to no problem communicating the term pussy, as something he can use, abuse, and own. Of course, whether I was confronted by this work in 2005 or today would make little difference. Today, I am enraged. Today, I am a woman reclaiming my right to this word. I refuse to allow another man to use it with the cool ease of Trump, Jason Rhoades, or any other “All-American male” lurking on the internet in the darkness of a suburban basement interior, looking for pussy.

In the following gallery The Creation Myth (1998) implies a narrative and ownership to a fucked-up world through an, unsurprisingly, male narrative that at least half of us do not ascribe to, but are inevitably implicated in. This begs the question as to why the art world celebrates in the ejaculatory reaffirmation of the all-encompassing ever-powerful American male? Do we need to be reminded, through the traumatization of images viscerally and violently felt by anyone who is not a heterosexual man? It is important to recognize that characteristic in Rhoades’ work and the trauma it is capable of invoking upon bodies moving through the space of the gallery.

The Creation Myth begs us to find sympathy for man. I beg sympathy for women and for the oppressed in a way that does not reaffirm my oppression.

Ironically (and luckily) within a two-block radius from Hauser & Wirth, The Box was open with COCK IN THE BOX, a solo exhibition of Judith Bernstein’s work. Here one was able to see the infamous screw drawings of the 1970s, as well as more recent work. The proximity of this exhibition to the spectacle of Jason Rhoades provided an opportunity to understand the ways in which gender dynamics function within the infrastructure of art. Throughout the duration of COCK IN THE BOX (February 11–March 18), Angelenos, had the opportunity to spend time with the work of Jason Rhoades, who within the span of his career endured little to no criticism regardless of his violent and aimless misappropriation tactics. Judith Bernstein not only experienced criticism but also censorship of her work in 1973. This action is not dissimilar to the historical exclusion of women artists from institutions of art, or more direct forms of violence and censorship set against the context of rising feminism in America.

In retrospect, the juxtaposition of Judith Bernstein’s COCK IN THE BOX in simultaneity with the Rhoades exhibition offered a space of respite and a provocative engagement with the work. Again, the heterosexual white male artist (sigh) receives space, time, and acclaim for a largely inappropriate display of masculinity via modalities of art. It is our choice whether we want to participate in this masturbatory celebration or not.

Molly Surazhsky