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

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.
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
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.
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
Jessica Simmons
Launch Party Carla Issue 6
Exquisite L.A.
Analia Saban
Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Made in L.A. 2016
Doug Aitken Electric Earth

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
at The Underground Museum
Catherine Wagley
The Art of Birth Carmen Winant
Escape from Bunker Hill
John Knight
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.
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
Marva Marrow's
Inside the L.A. Artist
Anthony Pearson
Mystery Science Thater
Diana Thater
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
at Arturo Bandini
Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota
Faith Wilding
at The Armory Center
for the Arts
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
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
at François Ghebaly
Jonathan Griffin
#studio #visit
with #devin #kenny
Mateo Tannatt
Jibade-Khalil Huffman
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
ARTBOOK @ Hauser & Wirth
Baert Gallery
Cirrus Gallery
Château Shatto
Club Pro
Dalton Warehouse
Elevator Mondays
The Geffen Contemporary 
Ghebaly Gallery
Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
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
67 Steps
Smart Objects
Skibum MacArthur
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
The Art Gallery @ GCC
1301 PE
Big Pictures Los Angeles
California African American Museum
Chainlink Gallery
Commonwealth & Council
David Kordansky Gallery
Kayne Griffin Corcoran
ltd Los Angeles
Marc Foxx
Shoot the Lobster
Ochi Projects
Park View
The Landing
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
Diane Rosenstein
Family Books
Hannah Hoffman
Nino Mier Gallery
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Various Small Fires
South Bay
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)

Parallel City
at Ms. Barbers

Anton Lieberman, MOODY series (2016). Resin, 10 x 7 x 1.5 inches. Image courtesy of Ms. Barbers.

In a storefront on Adams Boulevard a city slept. With the flick of a light switch, Parallel City, an exhibition organized by Nick Kramer and Erik Frydenborg, lumbered to life. The sparsely hung, one-room gallery held a smattering of bodies, ghosts, and grids. All these things collectively could be a city; after all what is a city if not a collection (dense or otherwise) of bodies and specters milling about the grid? But Parallel City offered more than the architectural echoes of urbanity—it proposed a body double to the one humming and rumbling outside of the gallery doors.

On a monitor beside the reception desk, an ambiguous form (a torso?) spun ad nauseum. The work, Unrested Image (2013), by Shannon Ebner, has undeniable allure; the process of deciphering the work produced a kind of highway hypnosis. It induced a neurasthenic reaction: an unshakeable anxious, depressive lethargy symptomatic of a 19th-century medical theory of a nervous exhaustion exclusive to city dwellers. (The foremost physician on the subject, S. Weir Mitchell famously asked: “Have we lived too fast?”) The theory of neurasthenia was broadly based on the premise that the human body was an electrical machine and the condition’s onset was due to a depletion of its nervous energy—an idea which even centuries later still seemed to hold metaphorical water in Parallel City. The pin-wheeling image of Ebner’s work offered us a body literally produced, bound, and charged by electricity.

In the corner to the right of the monitor, were two tiny bodies, pointing accusingly outward. Joey Frank’s Bulletin Laughing Man series (2017) depicts two generic visages, their limbs and torso congealed into single rectangular blocks. The words “Cell! Cell! Cell!” across one of the works elicited cells that we experience on a daily basis: computer screen, cubicle, car. Its gilded companion featured an image of a GPS Navigation screen at its base. Where are you going? Are you going the right way? Are you driving too fast? “Have we lived too fast?” Frank’s figures have become one with technology; their connections extend outside of their bodies from human to machine and machine to human. Here the “internal compass” as a moral and directional concept took on a clever and pointed renewal.

Brian Randolph, Blue Box Stack (2017). Cardboard boxes, found objects and paint, 37 x 39.5 x 22 inches. Image courtesy of Ms. Barbers.

Arguably the most seductive work in the exhibition was Amy Brener’s Flexi-Shield (Spring) (2016). Its gel-y pink, membranous body, impregnated with flora, hung from the ceiling. It is unabashedly decorative: snippets of ferns and flowers are suspended in the silicone like Victorian pressed papers of yore. Mylar crumples and subtle patterns imprinted at the edges visually buzz. Suspended, it stopped and conflated time and space in a way that was utterly arresting. Jay Heikes’ Gluttony (2015) manipulated time too; the “fossilized” shells became historiographic—a metonym for a fictional prehistory of Parallel City. Sonja Gerdes’ 2017 work Pie of Trouble. Let’s Hang. You look at it but it doesn’t exist. Rising. too disposed of the traditional human body and instead was a composite of the industrial and the natural: a fleshy torso replaced by a pillow bearing an outward looking eye, fused to an engine and a daffodil. These bodies have morphed into something hybrid and almost unrecognizable. They, undeterred by industrialization, are subsumed by it. Bodies of human history fell away between Brener, Heikes, and Gerdes—they get lost, they become hybrids, all caught between tech-future-flesh and preserved muck.

Heather Cook’s Fluorescent and Blue Shadow Weave Draft Graph (2015) brought corporeal meditations to a halt. Instead of complicated flesh we were confronted with what looked like data. Atop Cooks’ neatly woven grid were meticulously applied numbers cascading beside a fractal-like pattern in shocking blue and orange. Cook’s work was an oddity here—it was the only work that refused a completely coalesced body. It only offered us the molecular. Draft Graph became a quiet protest against the fully-formed; in lieu of the mystical gestalt (of a city, a body, or full hybrid), we were offered only the most elemental of these things: systems, patterns, and numbers.

These elements also constitute the complicated algorithms that coordinate our streetlights, render our cities, and trace the paths of our firing synapses. Cook’s Draft Graph greeted us as forcible rest—the cure for the neurasthenia induced by the flurry of encountering electrically-charged and industrially-fused existences. Her work in Parallel City was a reminder that our bodies, our cities, and everything in between, are not at odds, but at their most basic, are quite the same: completely abstract.

Sonja Gerdes, Pie of Trouble. Let’s Hang. You look at it but it doesn’t exist. Rising. (2017). Digitally printed fabric, ceramic, found engine parts, paint and plant matter, 24 x 14 x 15 inches. Image courtesy of Ms. Barbers

Amy Brener, Flexi-Shield (Spring) (2016). Silicone, pigment, plants and found objects, 73 x 22 x 4 inches. Image courtesy of Ms. Barbers.

Parallel City (2017) (installation view). Image courtesy of Ms. Barbers.

Originally published in Carla Issue 8