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
    & Schimmel
917 E. 3rd St.
Los Angeles, CA 90013

Baert Gallery
2441 Hunter St.
Los Angeles, CA 90021

Central Park
412 W. 6th St. #615
Los Angeles, CA 90014

CES Gallery
711 Mateo St.
Los Angeles, CA 90021

Cirrus Gallery
2011 S. Santa Fe Ave.
Los Angeles, CA 90021

Château Shatto
406 W. Pico Blvd.
Los Angeles, CA 90015

Club Pro
1525 S. Main St.
Los Angeles, CA 90015

Fahrenheit
2245 E. Washington Blvd.
Los Angeles, CA 90021

Ghebaly Gallery
2245 E. Washington Blvd.
Los Angeles, CA 90021

The Geffen Contemporary
    & at MOCA
152 N. Central Ave.
Los Angeles, CA 90012

Harmony Murphy
358 E. 2nd St.
Los Angeles, CA 90012

LACA
2245 E. Washington Blvd.
Los Angeles, CA 90021

MAMA
1242 Palmetto St.
Los Angeles, CA 90013

Mistake Room
1811 E. 20th St.
Los Angeles, CA 90058

MOCA Grand Avenue
250 S. Grand Ave.
Los Angeles, CA 90012

Monte Vista Projects
1206 Maple Avenue, #523
Los Angeles, CA 90015

Night Gallery
2276 E. 16th St.
Los Angeles, CA 90021

The Box
805 Traction Ave.
Los Angeles, CA 90013

Wilding Cran Gallery
939 S. Santa Fe Ave.
Los Angeles, CA 90021
Chinatown
A.G. Geiger
502 Chung King Ct.
Los Angeles, CA 90012

Charlie James
969 Chung King Rd.
Los Angeles, CA 90012

EMBASSY
422 Ord St., Suite G
Los Angeles, CA 90012

Human Resources
410 Cottage Home St.
Los Angeles CA, 90012

Ooga Booga
943 N. Broadway
Los Angeles, CA 90012
Mid-City
1301PE
6150 Wilshire Blvd.
Los Angeles, CA 90048

Big Pictures Los Angeles
2424 W Washington Blvd.
Los Angeles, CA 90018

California African American Museum
600 State Dr.
Los Angeles, CA 90037

Chainlink Gallery
1051 S. Fairfax Ave.
Los Angeles, CA 90019

Commonwealth and Council
3006 W. 7th St. #220
Los Angeles CA 90005

David Kordansky Gallery
5130 W. Edgewood Pl.
Los Angeles, CA 90019

HILDE
4727 W. Washington
Los Angeles, CA 90016

JOAN
4300 W. Jefferson Blvd. #1
Los Angeles, CA 90016

Kayne Griffin Corcoran
1201 S. La Brea Ave.
Los Angeles, CA 90019

ltd Los Angeles
1119 S. La Brea Ave.
Los Angeles, CA 90019

Marc Foxx
6150 Wilshire Blvd. #5
Los Angeles, CA 90048

Martos Gallery
3315 W. Washington Blvd.
Los Angeles, CA 90018

Ms. Barbers
5370 W. Adams Blvd.
Los Angeles, CA 90016

Ochi Projects
3301 W. Washington Blvd.
Los Angeles, CA 90018

The Landing
5118 W. Jefferson Blvd.
Los Angeles, CA 90016

Park View
836 S. Park View St. Unit 8
Los Angeles, CA 90057

Skibum MacArthur
712 S. Grand View St., #204
Los Angeles, CA 90057

SPRÜTH MAGERS
5900 Wilshire Blvd.
Los Angeles, CA 90036

The Underground Museum
3508 W. Washington Blvd.
Los Angeles, CA 90018

VACANCY
2524 1/2 James M. Wood Blvd.
Los Angeles, CA 90006

Visitor Welcome Center
3006 W. 7th St., Suite #200A
Los Angeles, CA 90005
Culver City
Anat Ebgi
2660 S. La Cienega Blvd.
Los Angeles, CA 90034

Arcana Books
8675 W. Washington Blvd.
Culver City, CA 90232

Blum and Poe
2727 S. La Cienega
Los Angeles, CA 90034

Cherry and Martin
2712 S. La Cienega Blvd.
Los Angeles, CA 90034

Honor Fraser
2622 S. La Cienega Blvd.
Los Angeles, CA 90034

Klowden Mann
6023 Washington Blvd.
Culver City, CA 90232

Luis De Jesus
2685 S. La Cienega Blvd.
Los Angeles, CA 90034

MiM Gallery
2636 La Cienega Blvd.
Los Angeles, CA 90034

Roberts and Tilton
5801 Washington Blvd.
Culver City, CA 90232

Samuel Freeman
2639 S. La Cienega Blvd.
Los Angeles, CA 90034

Susanne Vielmetter
6006 Washington Blvd.
Culver City, CA 90232
Silverlake/ Echo Park
Smart Objects
1828 W. Sunset Blvd.
Los Angeles, CA 90026

Otherwild
1768 N. Vermont Ave.
Los Angeles, CA 90021
Hollywood
Diane Rosenstein
831 Highland Ave.
Los Angeles, CA 90038

Family Books
436 N. Fairfax Ave.
Los Angeles, CA 90036

GAVLAK
1034 N. Highland Ave.
Los Angeles, CA 90038

Hannah Hoffman
1010 Highland Ave.
Los Angeles, CA 90038

LAXART
7000 Santa Monica Blvd.
West Hollywood, CA 90038

M+B
612 N. Almont Dr.
Los Angeles, CA 90069

Mier
1107 Greenacre Ave.
Los Angeles, CA 90046

Moskowitz Bayse
743 N. La Brea Ave.
Los Angeles, CA 90038

Regen Projects
6750 Santa Monica Blvd.
LLos Angeles, CA 90038

Shulamit Nazarian
616 N. La Brea
Los Angeles, CA 90036

Various Small Fires
812 Highland Ave.
Los Angeles, CA 90038
Westside
18th Street Arts
1639 18th St.
Santa Monica, CA 90404

Ben Maltz Gallery at Otis
    College of Art and Design
9045 Lincoln Blvd.
Los Angeles, CA 90045

Christopher Grimes Gallery
916 Colorado Ave.
Santa Monica, CA 90401

DXIX Projects
519 Santa Clara Ave.
Los Angeles, CA 90291

Five Car Garage
(Emma Gray HQ)

Team (Bungalow)
306 Windward Ave.
Venice, CA 90291
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67 Steps
2163 Princeton Ave.
Los Angeles, CA 90026

ACME.
2939 Denby Ave.
Los Angeles, CA 90039

ESXLA
602 Moulton Ave.
Los Angeles, CA 90031

SADE
204 S. Avenue 19
Los Angeles, CA 90031
Boyle Heights
BBQLA
2315 Jesse St.
Los Angeles, CA 90023

Chimento Contemporary
622 S. Anderson St., #105
Los Angeles, CA 90023

Ibid.
670 S. Anderson St.
Los Angeles, CA 90023

Ooga Twooga
356 Mission Rd.
Los Angeles, CA 90033

Parrasch Heijnen Gallery
1326 S. Boyle Ave.
Los Angeles, CA 90023

Museum as Retail Space (MaRS)
649 S. Anderson St.
Los Angeles, CA 90023

Nicodim Gallery
571 S. Anderson St.
Los Angeles, CA 90033

Venus Over Los Angeles
601 S. Anderson St.
Los Angeles, CA 90023
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
145 N. Raymond Ave.
Pasadena, CA 91103

Los Angeles Valley College
5800 Fulton Ave.
Valley Glen, CA 91401

Natural
15168 Raymer St.
Van Nuys, CA 91405

The Pit
918 Ruberta Ave.
Glendale, CA 91201

Revolution in the Making
at Hauser Wirth & Schimmel

Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 (installation view) (2016). Image courtesy of the artists and Hauser & Wirth. Louise Bourgeois: Art © The Easton Foundation/Licensed by VAGA, New York, NY. Photo: Brian Forrest.

Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 (2016) (installation view). Image courtesy of the artists and Hauser & Wirth. Louise Bourgeois: Art © The Easton Foundation/Licensed by VAGA, New York, NY. Photo: Brian Forrest.

Feigned neutrality aside, I came into Hauser Wirth & Schimmel’s inaugural exhibition with a fair amount of skepticism. Sweeping presentations like Hauser Wirth & Schimmel’s Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 tend to prove worrisome to the expectant critic. The efforts of curators Jenni Sorkin and Paul Schimmel’s intensive focus rendered a selection of works that are revered and unarguably beautiful at moments. But this debut exhibition ultimately retreads the established lineage of (to use Lucy Lippard’s neologism) eccentric abstraction and does little to relocate its peripheral relationship to the traditional Modernist story.

Revolution in the Making takes the customary Modernist narrative as its substrate and introduces the well-meaning catalyst of feminism in what hopes to be a righting of a historically exclusionary record. While the exhibition’s entirely female roster is much called for, it reinforces a kind of myopia that keeps women artists on the margin of major art historical movements. The transubstantiation that traditional Modernism finds at the hands of the artists featured in this exhibition is framed as a part of a reactive narrative that preserves the status of famed male Modernists as initiators of certain forms and materials. Redemption in this particular context is the publicity and undeniable momentum that is afforded by the backing of an international commercial entity such as Hauser & Wirth.

This encyclopedic exhibition spans four galleries and uses chronology as its guide. The exhibition begins in the South Gallery with post-war works by Louise Nevelson, Claire Falkenstein, Louise Bourgeois, Lee Bontecou, and Ruth Asawa. Offered here is the primer for what is to come—the body in fragmentation; a scratching at the existential through abstraction. The body finds new forms in the reductive assemblies of Bourgeois’ totemic Personnages (1947-1953) and Falkenstein’s roiling metallic cocoons (1954-1962). Falkenstein’s work reigns in the room by echoing the amalgamating impulse demonstrated in Nevelson’s work (Sky Cathedral/Southern Mountain, 1959) and finding formal common ground with Asawa’s delicate bulbous weavings (1950-1962).

(To reach the North Galleries one must cross the expansive campus of Hauser Wirth & Schimmel past a lone sculpture: Jackie Winsor’s 30 to 1 Bound Trees (1971-1972). The piece stands solitary at the center of the massive outdoor courtyard, utterly detached from just about everything else. Anne Wagner said it best in the exhibition’s accompanying catalogue: “Does a bonfire await? Or is this fuel for a pyre?”)

Jackie Winsor, 30 to 1 Bound Trees (1971-1972/2016). Wood and hemp, 20 x 5 x 5 feet. Image courtesy of the artist and Hauser Wirth & Schimmel.

Jackie Winsor, 30 to 1 Bound Trees (1971-1972/2016). Wood and hemp, 20 x 5 x 5 feet. Image courtesy of the artist and Hauser Wirth & Schimmel.

The portion of the exhibition housed in the North Galleries is so wide-ranging in scope that abstraction is more a common denominator of the work than a driving force. Galleries seem grouped by punch-lines relying on formal commonalities rather than conceptual rigor or contrast. One grouping of works that strayed from this pattern was particularly striking: Yayoi Kusama’s silvery phalluses (A Snake, 1974) snake between the spread of latex folds by Hannah Wilke (1970-1976), while metallic cataracts from Lynda Benglis (1969-1975; 1970) gush on one side and the ghostly skins of Heidi Bucher’s performances (1974; 1976) rest on the other.. The works all allude to the body—its orifices, its appendages, its folds, fluids, and skin—but are zapped of virility. This room becomes a poetic figure that is not shy of being embodied, but its elegant cohesion quickly fizzles away as the exhibition continues. The sequence of smaller galleries house clusters of works that rely solely on the sum of their formal parts: Senga Nengudi (R.S.V.P. I, 1977/2003) and Lygia Pape (Ttéia 1, A, 1979/1997/1999) are posed in opposite corners and call to mind a symmetry of form, but the two works are undeniably divergent in their origins; works by Marisa Merz, Anna Maria Maiolino, and Liz Larner are sited side-by-side to offer equivalence among their rolled and coiled amalgams, which in turn denies each work the opportunity for a reading beyond cosmetic consideration.

Revolution in its final leg presents specially commissioned work from contemporary artists in the East Gallery. Among them the clear alpha is Phyllida Barlow’s GIG (2014); the crisscrosses of polychromed scaffolding climb to the ceiling, tangling themselves among the trusses. Barlow’s sculptural kerfuffle teases the space—her sculpture has nothing to uphold but itself. Despite the fun of GIG’s massive pom-pom’d pendants, the scale of the work dwarfs everything in the gallery: Laura Schnitger’s tribe of tensile bodies (2007-2015) lost its humorous appeal, and the small trio of sculptures by Jessica Stockholder (1988-1990) appeared as literal footnotes in Barlow’s shadow. Such cramped mounting does a disservice to the number of works made of delicate arrangements of quotidian materials. What appeared to be the addressing of Minimalism, by bringing subjectivity to formerly objective shapes (in Rachel Khedoori’s collapsing LeWitt; Kaari Upson’s couch-ified L-Beams; Abigail DeVille’s junk-ed Serra), gets lost among the gallery’s preserved factory patina that resembles the forlorn alleyways that buttressed this building for years before Hauser Wirth & Schimmel arrived.

For those using Revolution in the Making as an initial gateway to art history—it is a useful tool—the spread of works in time and form are sweeping and historical. But for those looking to Sorkin and Schimmel’s exhibition to chronicle and continue the revolution of abstract sculpture (as the title implies it is still “in the making,”) the exhibition falls short. Revolution’s focus on women artists and their abstract work is an attempt at feminist revisionism, but by ignoring the complicated and differing frameworks of production for each work (and their maker), Revolution in the Making offers essentialization—of gender and form—as a passable re-weaving of a complex history and understanding of both womanhood and abstraction.

Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 is on view from March 13–September 4, 2016 at Hauser Wirth & Schimmel (901 East 3rd Street, Los Angeles CA 90013).

Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 (installation view) (2016). Image courtesy of the artists and Hauser & Wirth. Louise Bourgeois: Art © The Easton Foundation/Licensed by VAGA, New York, NY. Photo: Brian Forrest.

Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 (2016) (installation view). Image courtesy of the artists and Hauser & Wirth. Photo: Brian Forrest.

Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 (installation view) (2016). Image courtesy of the artists and Hauser & Wirth. Louise Bourgeois: Art © The Easton Foundation/Licensed by VAGA, New York, NY. Photo: Brian Forrest.

Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 (2016) (installation view). Image courtesy of the artists and Hauser & Wirth. Photo: Brian Forrest.

Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 (installation view) (2016). Image courtesy of the artists and Hauser & Wirth. Photo: Brian Forrest.

Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 (2016) (installation view). Image courtesy of the artists and Hauser & Wirth. Photo: Brian Forrest.

Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 (installation view) (2016). Image courtesy of the artists and Hauser & Wirth. Louise Bourgeois: Art © The Easton Foundation/Licensed by VAGA, New York, NY. Photo: Brian Forrest.

Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016 (2016) (installation view). Image courtesy of the artists and Hauser & Wirth. Photo: Brian Forrest.

2016-07-12Originally published in Carla Issue 5.