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
Distribution
Downtown
ARTBOOK @ Hauser & Wirth
Baert Gallery
Cirrus Gallery
Château Shatto
Club Pro
Dalton Warehouse
Elevator Mondays
The Geffen Contemporary 
at MOCA
Ghebaly Gallery
ICA LA
LACA
MAMA
Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
BBQLA
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
Eastside
AWHRHWAR
67 Steps
ESXLA
Otherwild
SADE
Smart Objects
Skibum MacArthur
Westside
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
Natural
The Art Gallery @ GCC
Mid-City
1301 PE
Big Pictures Los Angeles
California African American Museum
Chainlink Gallery
Commonwealth & Council
David Kordansky Gallery
H I L D E
JOAN
Kayne Griffin Corcoran
LACMA
ltd Los Angeles
Marc Foxx
Shoot the Lobster
Ochi Projects
Park View
Praz-Delavallade
The Landing
SPRÜTH MAGERS
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
Hollywood
Diane Rosenstein
Family Books
GAVLAK
Hannah Hoffman
LACE
LA><ART
M+B
Nino Mier Gallery
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Various Small Fires
South Bay
DMV
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)

Reconsidering Marva Marrow’s Inside the L.A. Artist

John Baldessari photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

John Baldessari photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

After years of acquiring books, I seem to have accumulated a short-stack that are best filed under the category of “artist portraits.” Most of these books are typical inasmuch as they feature brooding portraits of white men. Hans Namuth’s Artists 1950-81 features photos of the NY school in a severe, black-and-white style, and Arthur Mones’s Artists in Photographs (1981) is very similar.

Photographing the L.A. Art Scene 1955-1975 takes a broader, more candid view, featuring photographs by Charles Brittin, William Claxton, and Edmund Teske, amongst others. Mostly photographed in situ, gender roles are made evident through charming photogenic poses. The most severe example of grand Modernist tropes strangely takes place in a book featuring many postmodern artists: Gianfranco Gorgoni’s Beyond the Canvas (1985). This large 14” folio features severe, mannered, and heroic full-bleed images of masculine artistic behavior. There are two women artists in this 300-page book. African-American artists are not featured once in any of the above-mentioned volumes, but are featured exclusively in Black Artists on Art, Vol. 1 and 2 (1969, 1971) by Samella Lewis and Ruth Waddy.

Out of all the books I own on the subject, one item in particular stands out: Inside the L.A. Artist by Marva Marrow, published in 1988. Morrow seems to break these prior notions of how an artist represents himself or herself to the world. Her portraits touch on elements of camp and are highly staged to the point of theatricality. The book has long been a curiosity for people who have known and studied under the artists featured; the more youthful personas displayed in the pictures fascinated those of us who have been students of these artists.

Today, with even more time having past since its creation, the book has become increasingly fascinating to me. The willingness for the artists pictured to be complicit in Marrow’s elaborate staging certainly takes you by surprise. Yet it was the 80s, a time of full-tilt postmodernism and elaborate sources of expression. You can’t help but get the sense that the overall gestalt was one of humorous self-awareness and a celebration of a more confident, optimistic time.

While many “serious” L.A. artists of the time are not pictured here (i.e. Michael Asher, Chris Burden, and Charles Ray), the number of storied artists in the book is notable. Baldessari, Hockney, Irwin, Ruscha, Turrell and others were willing participants in Marrow’s often fantasy-like imagery. As you flip through the book, the playful images continue to surprise. Baldessari poses in a “stick em up” gesture; Gronk has his trousers pulled out from the pockets; D.J. Hall poses with a piece of cake; George Herms uses one of his found objects as a horn; a young Jim Isermann looks like a surfer with locks of bleached blond hair; John McCracken dramatically strikes a Hieroglyphic pose; Baile Oaks emerges naked out of one of his sculptures; Betye Saar fans herself in a fashion that mimics her forms; Alexis Smith poses on her desktop with a target practice figure; De Wain Valentine wears a tuxedo; and Tom Wudl gives his dog a treat.

In the decades prior, this kind of playfulness was largely absent from the image of the artist, replaced instead by typical depictions of brooding males. Although several artists Marrow photographed are pictured in a more stoic fashion (notably Mike Kelley and Robert Irwin), the vast majority seem to be playing her game, engaging the camera as a form of self-expression beyond the artwork. Artists’ statements are also included, with only Richard Diebenkorn and Mike Kelley refraining. The statements only add to the complexity of the situation, as the ideas of many of these artists are essential and important. Kelly’s absence of a statement, paired with his more somber pose becomes a sign point in the book.

I came of age in the 80s and vividly remember people going to extremes in regard to fashion and self-expression. As a teenager I myself was swept up in this vibrant eclecticism. The fatigue and disenchantment with the 1970s was very real and palpable at the time, and the expressive outburst that followed was yet another example of a culture desiring something new. Marrow’s book is a celebratory and inclusive touchstone of this cultural rebirth at its mid-80s zenith. In all of this festivity, the need for the subjects to take themselves too seriously is muted. Even when they do, Marrow gets around the tension somehow with her angles and configurations. There are more smiles than blank stares in her book, with the conservativeness of conceptual art and minimalism being moved aside by craft, color, theatricality, neo-classicism, and neo-expressionism. Looking back on the book almost thirty years later you can clearly feel the urgency of something different and totally new. Marrow’s book exemplifies this clearly, if nothing more.

Alexis Smith photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

Alexis Smith photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

George Herms photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

George Herms photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

Lita Albuquerque photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

Lita Albuquerque photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

John McCracken photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

John McCracken photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

Betye Saar photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

Betye Saar photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

Gronk photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

Gronk photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

David Hockney photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

David Hockney photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

Mike Kelley photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

Mike Kelley photographed by Marva Marrow. Inside the L.A. Artist. Salt Lake City: Peregrine Smith, 1988. Print.

2016-07-12 (3)

Originally published in Carla Issue 4.