Letter From the Editor Lindsay Preston Zappas
Letter to the Editor Julie Weitz with Angella d'Avignon
Don't Make
Everything Boring
Catherine Wagley
The Collaborative Art
World of Norm Laich
Matt Stromberg
Oddly Satisfying Art Travis Diehl
Made in L.A. 2018 Reviews Claire de Dobay Rifelj
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Aaron Horst
Exquisite L.A.
Featuring: Anna Sew Hoy, Guadalupe Rosales, and Shizu Saldamando
Claressinka Anderson
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At Praz-Delavallade
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Fiona Conner
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Show 2
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Deborah Roberts
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Mimi Lauter
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(L.A. in N.Y.)
Math Bass
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(L.A. in N.Y.)
Condo New York
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Poetic Energies and
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Simone Krug
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Perennial Bloom:
Florals in Feminism
and Across L.A.
Angella d'Avignon
The Mess We're In Catherine Wagley
Interview with
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Ashton Cooper
Object Project
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and Yong Soon Min
Lindsay Preston Zappas
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Chris Kraus
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Ben Sanders
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iris yirei hsu
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Harald Szeemann
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Ali Prosch
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Reena Spaulings
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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
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Adrián Villas Rojas
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Nevine Mahmoud
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Radical Women: Latin American Art, 1960- 1985
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Hannah Greely and William T. Wiley
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David Hockney
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Edgar Arceneaux
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Barely Living with Art:
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She Wanted Adventure:
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Catherine Wagley
The Languages of
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Lindsay Preston Zappas
L.A. Povera Travis Diehl
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Tactility of Line
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Trigger: Gender as a Tool as a Weapon
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Lindsay Preston Zappas
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One National Gay & Lesbian Archives and MOCA PDC
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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:
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Travis Diehl
The Offerings of EJ Hill
Ikechukwu Casmir Onyewuenyi
Interview with Jenni Sorkin Carmen Winant
Letter to the Editor Lady Parts, Lady Arts
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Broken Language
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Artists of Color
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Anthony Lepore & Michael Henry Hayden
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Home
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Analia Saban at
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Letter from the Editor Lindsay Preston Zappas
Kanye Westworld Travis Diehl
@richardhawkins01 Thomas Duncan
Support Structures:
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Catherine Wagley
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Eliza Swann
Exquisite L.A.
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Young Chung
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Letter to the Editor
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Trisha Baga
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Parallel City
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Jason Rhodes
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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:
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Ikechukwu Casmir Onyewuenyi
More Wound Than Ruin:
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Jessica Simmons
Launch Party February 18, 2017
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Rafa Esparza
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Sam Pulitzer & Peter Wachtler
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Karl Haendel
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Wolfgang Tillmans
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Ma
at Chateau Shatto

The Rat Bastard Protective Association
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Letter from the Editor Lindsay Preston Zappas
Kenneth Tam
's Basement
Travis Diehl
The Female
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Catherine Wagley
The Rise
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Art Witch
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Interview with
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Julie Weitz
Agnes Martin
at LACMA
Jessica Simmons
Launch Party Carla Issue 6
Exquisite L.A.
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Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
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Made in L.A. 2016
at The Hammer Museum

Doug Aitken
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Mertzbau
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Jean-Pascal Flavian and Mika Tajima
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Mark A. Rodruigez
at Park View

The Weeping Line
Organized by Alter Space
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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.
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John Baldessari
Claire Kennedy
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Carl Cheng
at Cherry and Martin

Joan Snyder
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Elanor Antin
at Diane Rosenstein

Performing the Grid
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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:
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Char Jansen
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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
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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
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at Michael Thibault

Fred Tomaselli
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Trisha Donnelly
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Bradford Kessler
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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:
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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
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No Joke
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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
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with Julian Rogers
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at LACMA

Mernet Larsen
at Various Small Fires

John Currin
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Pat O'Niell
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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.)
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Material Art Fair, Mexico City

Performance by Jaimie Warren and Friends, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Livia Radwanski.

Performance by Jaimie Warren and Friends, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Livia Radwanski.

After an hour or so spent weaving through the labyrinthine layout of this year’s Material Art Fair in Mexico City, I retreated to the Expo Reforma’s café area to get some air. Soon, a crackling backing track started playing, and I turned to see a woman in a soiled gray sweatsuit holding a microphone. Wearing hideous horror-film make-up—her face bubbling and seemingly about to slough off—she began singing, timidly at first but earnestly. Her sincerity—not to mention her appearance—had me unnerved. As she burst into the chorus, I suddenly recognized the tune: Whitney Houston’s 1985 torch song “All at Once.” She then launched into Joe Cocker & Jennifer Warnes’ “Up Where We Belong,” as four more fleshy, misshapen characters joined her onstage. All in various stages of transformation, (from a fairly normal looking man with a frizzy mullet, to an insect-like creature), I realized they were manifestations of Jeff Goldblum’s character in David Cronenberg’s gross-out classic The Fly (1986). It was a mesmerizing and heartfelt performance, bringing together two elements from ‘80s pop-cultural spectrum: splatter-house cinema and radio-friendly earworms.

Like the “Brundlefly” composite of Cronenberg’s film, Material too is a hybrid: it takes the trade show model that most art fairs are based on and introduces an energetic, not-ready-for-prime-time, and decidedly non-commercial element, conveying the complexity and messiness of art.

This year marked the fair’s third edition (and location), and it was clear that fair organizers Daniela Elbahara, Brett W. Schultz, and Isa Natalia Castilla were still working out the kinks. (According to Schultz, Material will be staying put at the Expo next year, so they’ll have time to fine-tune.) In contrast with last year’s more traditional, open plan, this year’s compressed layout was designed by Mexico-City based architecture studio APRDELESP, in part to accommodate an increased number of participants. The result was a maze-like warren that squeezed smaller galleries into claustrophobic passageways, while pushing others into less traveled corners.

Performance by Jaimie Warren and Friends, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Livia Radwanski.

Performance by Jaimie Warren and Friends, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Livia Radwanski.

“The labyrinth was great for the energy of the fair,” Schultz told me a week after the fair closed. “This is a very different fair ideologically so why should it looks like any other fair? We pushed it really far.” They certainly deserve credit for shaking up the staid, rectilinear model, but I found it maddening trying to figure out which artists went with which gallery, or going over the same paths numerous times, only to discover there were whole sections that I had missed. Others loved the layout, finding that it encouraged conversation, rewarded unfocused wandering, and broke down the rigid traditional fair structure..

Some gallerists played with this confusion, such as Mexico-City based Lodos or Michael Jon Gallery from Miami. The fair neighbors both hung brightly colored, bleach stained weavings by Yann Gerstberger, toying with the assumption that one gallery had usurped some of the other’s real estate. SPF15 from San Diego was all the way in the back; luckily the beach canopy that serves as the project’s mobile home drew me in. And I would have completely missed L.A. space Arturo Bandini had they not recreated the wooden ribbing of their outdoor shack on the one wall they were allotted.

In the center of the maze was an oasis of sorts, a large (for Material) room that was given over to NY art bar Beverly’s. On opening night, it was here that L.A. noise-drag-industrial duo Xina Xurner performed a blistering set as front man Yung Joon Kwok flailed and screamed his way through the throngs. If that scene was too intense, there was always the mini-bar, a small space reached through a side door, where Alison Kuo and Stina Puotinen were holding court, telling fortunes, offering cups of mezcal, and selling small sculptures. This highlights a crucial distinction between other art fairs and Material: performance is given prominence. “Performance is normally one of these disciplines that is excluded, unless it’s something commissioned for the fair, so to have it so deeply integrated into the daily agenda was an interesting experiment,” Schultz said.

Beverly’s, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Ramiro Chaves.

Beverly’s, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Ramiro Chaves.

Material attracts and welcomes smaller galleries and independent artist-run spaces. It is a less expensive fair featuring predominantly less expensive work than larger regional fairs, like MACO, which means that gallerists can show artists that they feel strongly about, without worrying about selling everything (or anything) just to break even. Schultz recounted that a fair member from a non-profit arts center said that an ad in his hometown paper was more expensive than a booth at Material; a novel motivation to participate.

And then there was the Fly. “The Jaimie Warren performance was incredible,” Schultz confided when I asked him to pick some highlights. “It didn’t feel forced or premeditated. That felt special, where you felt that something could happen anywhere at any moment.” How many other fairs can you honestly say that about? As larger, more traditional fairs like Paris Photo L.A. are folding as a result of flagging sales, Material has found a sweet spot between commerce and community, appealing to an emerging collector class drawn by its fresh approach, rather than the bombast and exclusivity of established art fair behemoths.

Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: PJ Rountree.

Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: PJ Rountree.

Xina Xurner at Beverly’s, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Livia Radwanski.

Xina Xurner at Beverly’s, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Livia Radwanski.

Work by Santiago Taccetti and Asger Dybvad Larsen at Galerie Rolando Anselmi, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Ramiro Chaves.

Work by Santiago Taccetti and Asger Dybvad Larsen at Galerie Rolando Anselmi, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Ramiro Chaves.

Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: PJ Rountree.

Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: PJ Rountree.

Work by Megan Rooney at Seventeen Gallery, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Ramiro Chaves.

Work by Megan Rooney at Seventeen Gallery, Material Art Fair 2016, Mexico City. Image courtesy of Material Art Fair. Photo: Ramiro Chaves.

 

2016-07-12 (3)Originally published in Carla Issue 4.