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
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Pat O’Neill
at Cherry and Martin

Pat O’Neill (Installation View) (2015). Image courtesy of Cherry and Martin, Los Angeles. Photo: Brian Forrest.

Pat O’Neill (Installation View) (2015). Image courtesy of Cherry and Martin, Los Angeles. Photo: Brian Forrest.

Pat O’Neill’s recent show at Cherry & Martin distilled his prolific career down to a modestly sized gallery exhibition—tricky for an artist checking as many formal (and mostly two-dimensional) boxes as O’Neill. O’Neill’s career began to gather steam in the 1970s, an era defined by a pluralism born out of the paucity and exhaustion of existing practices as well as the ascendancy of nascent new media. Regarding the latter, O’Neill worked as an early pioneer of film and video art, earning “possibly the first [MA] in art based on moving-image work [1]” at UCLA.

Opening the exhibition was a slide projection piece, In Betweens (2015), in which one slide faded slowly into another as excerpts of text displayed brief, half-formed sentiments alternately hilarious (“you took my fucking parking space”), and clunkily poignant (“she was so sweet and dainty”). The text displays as discrete, durational sentence fragments over the slides, its subject matter culled from dialogues absent a narrative anchor. Equally rambling are the images projected in tandem: graffiti, concrete, the general absence of nature, the general presence of nature, etc. The combination of text and image creates a series of moody set pieces, which evoke at best a peculiar and ultimately unknowable experience of an absent subject, and at worst the un-jelled intensity of an early MFA.

(When I arrived to the exhibition, the projector wasn’t working correctly, but who knew? I watched the same slide of concrete rubble act as the source/background for discontinuous text streams for about 5 minutes, thinking it was absurd that someone would go to the trouble to illuminate only one slide with two projectors present; an endearingly durational riff on minimalist and conceptual art.)

Pat O’Neill (Installation View) (2015). Image courtesy of Cherry and Martin, Los Angeles. Photo: Brian Forrest.

Pat O’Neill (Installation View) (2015). Image courtesy of Cherry and Martin, Los Angeles. Photo: Brian Forrest.

O’Neill works as a maker of moving images with width, height, and time. Depth within the moving image is an alluded illusion, like the animation of shadows dancing on a cave wall (instead of just the wall). In Betweens celebrates this in a curious manner: slow-fading in new of images as the old recede beneath stable yet fleeting text.

Distinct and parallel was Saugus Series (1974), a three-channel video installation created using an optical printer.[2] Rather than the illusory depth and warm nostalgia of In Betweens, Saugus Series exhibits cold crispness, curious flatness, and a wandering attention span. Memory here is freed from the slides’ specificity; basking instead in associative passages of layered imagery and striking, durational sections of flickering colored lines.

With jerky yet cleanly edged—even artificial—figurations in its initial section, later passages of teeming, mesmerizing color become all the more striking. The abstract passages buzz with activity like the whispering static of a television screen. Saugus Series achieved something that the overall exhibition otherwise lacked: contrast, of the sort making more vivid that on either side of its absent middle ground.

The remainder of the main room was filled largely by the exhibition’s two sculptures, White Double Sweep (1966) and Black Sweep (1012 Pico Series) (1967): mounded forms heavily glossed, and plastic in appearance. Black Sweep was the larger of the two; positioned on the floor, it rose slightly from its low perch, curving gently like a conch pastry from a Mexican bakery. Marooned on a plywood life raft and anemically weighty, Black Sweep related loosely and formally to one of the exhibition’s handful of drawings (Accounts Receivable Drawing, 1990), but otherwise felt out of place. A sister video toward which the sculpture bowed, Two Sweeps (1979), consisted of nothing more than the metronomic movement of two color-shifting dots.

Pat O’Neill, White Double Sweep (1966). Acrylic, wood, fiberglass, lacquer, 11 X 20.5 X 14 inches. Image courtesy of Cherry and Martin, Los Angeles. Photo: Brian Forrest.

Pat O’Neill, White Double Sweep (1966). Acrylic, wood, fiberglass, lacquer, 11 X 20.5 X 14 inches. Image courtesy of Cherry and Martin, Los Angeles. Photo: Brian Forrest.

Other than playing a useful role in the exhibition’s flow of space, both sculptures seemed tentative, even dull. A line may, but needn’t, be drawn between the plasticity and streamlined (or neutered) movement of these earlier pieces and O’Neill’s later film works; a thin, simply temporal linkage, absent the specificity of intent. Two Sweeps, though hypnotic as the hum of a refrigerator, suffers a similar fate, despite its later date.

On the other hand, the evocative and mutually enriching encounters between media and time in the O’Neill show, though occasional, were genuinely striking. More literally, O’Neill creates work that acts both for and against transparency, concerning itself with the face value and the reversal of two key concepts: the transparency of film and the opacity of experience. As experience attempts transparency, and film achieves opacity in O’Neill’s hands, a curious and uniquely evocative body of work remains in its wake.

[1] http://creative-capital.org/grantees/view/749/project:809

[2] a device enabling the filmmaker to layer opaque imagery while ‘keying out’ all but a specified portion of each individual slide – similar to the green screen technique employed by your local weatherperson

Originally Published in Carla Issue 1issue-1Purchase Issue 1