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:
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Ashley Hunt
Young Chung
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Letter to the Editor
Launch Party
Reviews Alessandro Pessoli
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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:
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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
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Art Witch
Amanda Yates Garcia
Interview with
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Julie Weitz
Agnes Martin
at LACMA
Jessica Simmons
Launch Party Carla Issue 6
Exquisite L.A.
Featuring:
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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:
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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,
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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/
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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
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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
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Whitney Museum of American Art, Frances Mulhall Achilles Library (New York, NY)
Yale University Library (New Haven, CT)

Mark Bradford at the U.S. Pavilion at The 57th Venice Biennale

Mark Bradford, Tomorrow Is Another Day (2017) (installation view). Image courtesy of the artist and Hauser & Wirth. Photo: Joshua White.

A heaving, distended mass. Muted collaged canvases. Menacing, intestine-like forms agglomerated or snaking up a rotunda. Monumental, crimson- inflected paintings. A video of a sashaying, anonymous figure. Thus comprises Tomorrow is Another Day, the trenchant and pensive odyssey that is Mark Bradford’s representation of the United States at this year’s Venice Biennale.

Stepping inside the Monticello-inspired U.S. pavilion, the viewer immediately negotiates Spoiled Foot (2016), a suspended room-sized, bulbous construction made from canvas, sheeting, and paper. Seemingly on the verge of buckling under its own weight, the work is held together by countless screws and washers, and resembles an inverted mountain comprised of lacerated flesh. The work’s title alludes to the deformed foot of the Greek god Hephaestus, who was rejected by his mother, Hera, because of his deformed limb, and thrown from Mount Olympus down to earth. This allegorical play reads as ironic, as Bradford’s relationship with his own mother was a vital and positive force.

Mythological allusions continue in the following gallery, which houses three massive, ink-hued paintings—Raidne (2017), Thelxiepeia, and Leucosia (2016)—whose compositions are made up of hundreds of collaged permanent-wave end papers. The material’s use lies solely within hairstyling, an occupation familiar to Bradford, who worked as a stylist in his mother’s salon before and after his CalArts education. His return to this form is a recuperation of personal language, retooled here to conflate what once was with the uncertainty of what’s to come.

Installed in this same room is Medusa (2016), a heaping mass of tangled paper, paint, caulk, and rope that frustrates the serenity brought about by the neighboring canvases. According to Bradford, Medusa is an allusion to the objectification of the black female body—she’s not a monster by nature, but made one at the behest of male desire and oppression. (1)

The site-specific installation, Oracle (2017), is situated in the pavilion’s central rotunda, functioning as the exhibition’s literal and figurative pivot. Materially congruous to Medusa’s serpentine cords, Oracle makes a nest out of the Jeffersonian architecture’s inherent slave-owning associations, writhing up its authoritarian columns, swirling around its dome, and occupying it almost beyond recognition. Any divination from this oracle is an upending of our nation’s history.

Dominating the fourth room are three monumental paintings, each a product of the densely layered and sanded-down technique for which Bradford is best known. Their exhumed crimson layers imbue a sense of dread or witness to malevolence—loaded associations of physical violence pervade Go Tell it on the Mountain (2016) in particular. The eponymous Tomorrow is Another Day (2016) centers on a black orb set against a dusty background, accompanied by smaller spheres and incised striations that elicit both molecular and stellar associations.

The exhibition’s final room hosts a single video, Niagara (2005), a slow-motion, static shot of a young black man in bright yellow shorts and a white tank top making his way down an unpopulated, littered Los Angeles street. His walk is flamboyant, and determined, situated between a hurried strut and a rebellious sashay. We never know who he is or where he’s going.

Beginning with mythologized personal narrative, moving towards adversity and courage, culminating with defiance and self-possession, Tomorrow is Another Day is a journey of determination that progresses while gazing in the rearview mirror. This doubled action functions as a mask, something that conceals as well as reveals, for “a mask is not primarily what it represents but what it transforms.” (2) Thus the power of Tomorrow is Another Day is cumulative; its layers shed themselves to reveal not only the artist’s uniquely American history, but how it can be applied to that of others from the periphery still finding a voice.

The exhibition title’s iconic words are also the last four that are uttered in the film Gone with the Wind (1939), a tale with not insignificant parallels to our day: a story of America at a crossroads; an era in which the country was unsure of its future, a time that witnessed the population at war with itself. Exploiting the ambivalent nature of the quote, Bradford mobilizes his Venetian Monticello to recondition his past, and in doing so, brings to task the duplicitous pretense of democratic inclusion. It’s no wonder then that he turned to Greece—birthplace of mythology and democracy alike—through which to filter what is inescapably American.

  1. Bedford, Christopher. “Like A Loose Shawl.” Mark Bradford: Tomorrow is Another Day. Hatje Cantz, 2017. 121. Print.
  2. Claude Lévi-Strauss, The Way of Masks, tr. Sylvia Modelski (Seattle: University of Washington Press, 1982), 144.

Mark Bradford, Tomorrow Is Another Day (2017) (installation view). Image courtesy of the artist and Hauser & Wirth. Photo: Joshua White.

Mark Bradford, Medusa (2016). Mixed media, dimensions variable. Image courtesy of the artist and Hauser & Wirth. Photo: Joshua White.

Mark Bradford, Tomorrow Is Another Day (2017) (installation view). Image courtesy of the artist and Hauser & Wirth. Photo: Joshua White.

Originally published in Carla Issue 9