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)

Made in L.A.
a, the, though, only

at The Hammer Museum

Kenzi Shiokava, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Kenzi Shiokava, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

The biennial occupies a particular space in the art ecosystem, often aiming to have a specific regional focus, and be of the moment. Given the pluralistic nature of art and culture in late capitalism, using contemporaneity and adjacency as an organizing principle often ends up forcing connections between too many aesthetic ideas, resulting in cacophony. Made in L.A. 2016: a, the, though, only upends those expectations, pretending to be neither local (the artists are not all Los Angeles-based), nor particularly current (many of the works in the show were made before 2000), nor comprehensive (there are only 26 artists in the exhibition). Much of the work was not even intended for a gallery or museum context when it was made. The curators Hamza Walker and Aram Moshayedi mostly eschewed traditional, self-contained objects, instead giving a small group of artists ample space for installations that in one way or another present cultural, archeological, or sociological inquiries: What kinds of systems are at play here? How does our labor create meaning? How can these processes become more open and expansive?

In Rafa Esparza’s work, tierra (2016), objects which have been buried and unearthed are displayed 
on a floor of bricks which were made by Esparza, his father, and other family and friends. The labor and the laborers, often elided
in the artistic presentation, are here foregrounded.
 In burying these objects before putting them on display, Esparza employs
a form of ritual that brings attention to how the earth is an active participant in all our human activities. Lauren Davis Fisher also emphasizes labor in her installation SET TESTS (2016), turning sculpture into an open-ended activity where the elements are changed every week. The work then culminated in a formal performance at the end of the exhibit. This ongoing performance changes the static nature of sculpture into a system of fluid aesthetic relationships, where the objects’ identity, function, and relationship to each other remains in motion, subject to change. Both these works, along with the films of Laida Lertxundi, integrate the materiality of their creation into their presentation so that the story of the making of the works was felt in their physical presence.

Lauren Davis Fisher, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Lauren Davis Fisher, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Across the exhibition, many other works are sites where different kinds of descriptive systems and categories of knowledge are rendered visible. The artist is sometimes creating, but more often gathering, organizing, transcribing, and unearthing. Often, this involves a transforming of that which is controlled, prescribed, and defined into something more
open, interpretable, and felt. For instance, musical notation is traditionally a specialized language that is designed to precisely replicate the performance of a given piece of music. In the case of Wadada Leo Smith’s scores, this constrictive language is discarded and replaced with a form of visual syntax, that instead creates a loose, free-form structure upon which to improvise. Smith does this in part by combining the visual language of painting with the structure of musical notation, thereby cross contaminating both systems. Similarly, Arthur Jafa’s books are culled from magazines and other commercial sources, where they are part of a system intended either to sell a product or tell a story. Here, the images form a kind of open-ended cosmos, in which relationships are fluid and intuitive. In changing the dynamics of these images and their circulation, Jafa gives the viewer tacit permission to see all images differently, and to recombine them using logics other than the ones initially intended. Both Jafa’s and Smith’s recon- figurations have powerful ramifications, creating options and freedom out of prescription and definition.

However, the inclusion of so many large and fragmented installations came at the expense of more self-contained art objects, like painting, sculpture, and drawing. This, and 
the overuse of vitrines and other display systems, created a visual dryness that prompted viewer fatigue. Given the relative scarcity of painting and sculpture in the exhibition, the choice to include two frequently exhibited Los Angeles artists working in these mediums was disconcerting. In particular, Sterling Ruby’s welding tables felt extraneous and overweening, and the happily variegated paintings of Rebecca Morris felt out of place in this context. Counterbalancing these odd inclusions, Walker and Moshayedi unearthed dynamic oeuvres from relatively obscure artists: the unsettlingly beautiful assemblages of Kenzi Shiokava, and Huguette Caland’s heterogeneous, erotic body of work. It was a joy and a surprise to discover these artists here, in what was a deeply appreciated act of art historical excavation.

An important function of art objects is to engage the types of understanding that come through the senses, speaking to the body through a synesthetic engagement with intentional, haptic objects. Walker and Moshayedi instead chose works that unpack the complex systems and representations that are
in play in contemporary global culture. When artists such as Daniel Small and Gala Porras Kim bring to light the inherent biases 
in Western constructions
of race and cultural otherness, or Martine Syms and Kenneth Tam unfold the vulnerability in gendered bodies and spaces, they are speaking to how these cultural constructions play out in everyday life. The work in this iteration of Made in L.A. created space for imagining other kinds of structures by bringing our attention to these kinds of systems and the labor that operates in the creation of culture.

Huguette Caland, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Huguette Caland, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Gala Porras-Kim, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Gala Porras-Kim, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Kenneth Tam, Breakfast in Bed (2016) (installation view). Made in L.A. 2016: a, the, though, only, June 12 – August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

Kenneth Tam, Made in L.A. 2016: a, the, though, only (2016) (installation view). June 12–August 28, 2016, Hammer Museum, Los Angeles. Photo: Brian Forrest.

 

Originally published in Carla issue 6