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:
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Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
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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:
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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:
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,
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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
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Open to the Public
at VACANCY

Brody Albert and Kaeleen Wescoat-O’Neill, Collapsible Scissor Gates (Red) (2015), Dyed MDF, 8’ x 8’ x 10.5’. Courtesy of the artists and Vacancy.

Brody Albert and Kaeleen Wescoat-O’Neill, Collapsible Scissor Gates (Red) (2015), Dyed MDF, 8 x 8 x 10.5 feet. Image courtesy of the artists and VACANCY.

For his 1969 exhibition at the Eugenia Butler Gallery in Los Angeles, Robert Barry posted a sign on the locked gallery door that read “From March 10 through 21, the Gallery will be Closed.” With their current exhibition at VACANCY, Open to the Public, Brody Albert and Kaeleen Wescoat-O’Neill engage in a similar exploration of place, space, and access. The artists have divided the gallery with two accordion-like security gates, crowding visitors into shallow spaces at the front and back, accessible only through the rear entrance. Squeezed into the periphery—and redirected onto the street—attendees become actors in a performative social sculpture.

More than simply a theatrical device, Collapsible Scissor Gates (Red) asserts itself as an object: the gates resemble industrial ready-mades but were in fact meticulously constructed from a matte-red dyed MDF (down to threads on the screws). Its materiality attracts even as its placement divides. Both signifier and signified, a sculpture of a gate and a gate itself, it frames our vision and focuses our movements instead of prohibiting them.

Open to the Public upends the typical wandering gallery experience. Viewers are forced to engage with their neighbors, personal space bubbles eroding with each new visitor. Proximity breeds camaraderie, and we look through two sets of filters at our new peers. Have we left the realm of art for this brief detour or merely extended it, gossamer threads trailing on the sidewalk behind us?

With subtle shifts in context, the artists blur the barrier between public and private environments. The artworks’ previous roles are visible, as in a palimpsest, beneath their newfound materiality and function. Open to the Public provides a twist on Barry’s nullification, offering new paths by subverting those we are most familiar with.

Open to the Public runs from October 23–November 28, 2015 at VACANCY (2524 ½ James M. Wood Blvd., Los Angeles 90006)

 

Open to the Public

Brody Albert and Kaeleen Wescoat-O’Neill, Nothere.la (2015). Website, hosted on vacancyla.com from Oct. 23 – Nov. 28. Image courtesy of the artists and VACANCY.

Open to the Public

Brody Albert and Kaeleen Wescoat-O’Neill, Anti-slip Gum (2015), Vermont Ave. at Hollywood Blvd. Safety Tape, dimensions variable. Image courtesy of the artists and VACANCY.

Open to the Public

Brody Albert and Kaeleen Wescoat-O’Neill, Driving in Los Angeles: The Fine Art of the Gesture (2015). HD video, 7 mins. Image courtesy of the artists and VACANCY.

Open to the Public

Brody Albert and Kaeleen Wescoat-O’Neill, Open to the Public (installation view) (2015). Image courtesy of the artists and VACANCY.