Letter From the Editor Lindsay Preston Zappas
Letter to the Editor Julie Weitz with Angella d'Avignon
Don't Make
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The Collaborative Art
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Made in L.A. 2018 Reviews Claire de Dobay Rifelj
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Aaron Horst
Exquisite L.A.
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Fiona Conner
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Show 2
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Deborah Roberts
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Mimi Lauter
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Perennial Bloom:
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Angella d'Avignon
The Mess We're In Catherine Wagley
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Ashton Cooper
Object Project
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Lindsay Preston Zappas
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Chris Kraus
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Ben Sanders
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iris yirei hsu
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Harald Szeemann
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Ali Prosch
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Reena Spaulings
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Letter from the Editor Lindsay Preston Zappas
Museum as Selfie Station Matt Stromberg
Accessible as Humanly as Possible Catherine Wagley
On Laura Owens on Laura Owens Travis Diehl
Interview with Puppies Puppies Jonathan Griffin
Object Project Lindsay Preston Zappas, Jeff McLane
Launch Party
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at Rainbow in Spanish
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Adrián Villas Rojas
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Nevine Mahmoud
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Radical Women: Latin American Art, 1960- 1985
at the Hammer Museum
- Thomas Duncan

Hannah Greely and William T. Wiley
at Parker Gallery
- Keith J. Varadi

David Hockney
at The Metropolitan Museum of Art (L.A. in N.Y.)
- Ashton Cooper

Edgar Arceneaux
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Letter from the Editor Lindsay Preston Zappas
Barely Living with Art:
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Eli Diner
She Wanted Adventure:
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Catherine Wagley
The Languages of
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Lindsay Preston Zappas
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Paul Mpagi Sepuya
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Tactility of Line
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Lindsay Preston Zappas
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Ibid Gallery
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the Autry Museum
Letter from the Editor Lindsay Preston Zappas
Women on the Plinth Catherine Wagley
Us & Them, Now & Then:
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Travis Diehl
The Offerings of EJ Hill
Ikechukwu Casmir Onyewuenyi
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Letter to the Editor Lady Parts, Lady Arts
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Broken Language
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Artists of Color
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Anthony Lepore & Michael Henry Hayden
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Home
at LACMA

Analia Saban at
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Letter from the Editor Lindsay Preston Zappas
Kanye Westworld Travis Diehl
@richardhawkins01 Thomas Duncan
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Young Chung
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Parallel City
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Jason Rhodes
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Letter from the Editor Lindsay Preston Zappas
Generous
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Catherine Wagley
Put on a Happy Face:
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Travis Diehl
The Limits of Animality:
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Ikechukwu Casmir Onyewuenyi
More Wound Than Ruin:
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Jessica Simmons
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Karl Haendel
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Wolfgang Tillmans
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Ma
at Chateau Shatto

The Rat Bastard Protective Association
at the Landing
Letter from the Editor Lindsay Preston Zappas
Kenneth Tam
's Basement
Travis Diehl
The Female
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The Rise
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Amanda Yates Garcia
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Julie Weitz
Agnes Martin
at LACMA
Jessica Simmons
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Exquisite L.A.
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Ry Rocklen
Sarah Cain
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at The Hammer Museum

Doug Aitken
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Mertzbau
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Jean-Pascal Flavian and Mika Tajima
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Mark A. Rodruigez
at Park View

The Weeping Line
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at Four Six One Nine
(S.F. in L.A.)
Letter form the Editor Lindsay Preston Zappas
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.
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Carl Cheng
at Cherry and Martin

Joan Snyder
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Elanor Antin
at Diane Rosenstein

Performing the Grid
at Ben Maltz Gallery
at Otis College of Art & Design

Laura Owens
at The Wattis Institute
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Letter from the Editor Lindsay Preston Zappas
Moon, laub, and Love Catherine Wagley
Walk Artisanal Jonathan Griffin
Reconsidering
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Anthony Pearson
Mystery Science Thater:
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at LACMA
Aaron Horst
Informal Feminisms Federica Bueti and Jan Verwoert
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Lita Albuquerque
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Char Jansen
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Material Art Fair, Mexico City

Rain Room
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Evan Holloway
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Histories of a Vanishing Present: A Prologue
at The Mistake Room

Carter Mull
at fused space
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Awol Erizku
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Letter from the Editor Lindsay Preston Zappas
Le Louvre, Las Vegas Evan Moffitt
iPhones, Flesh,
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at Arturo Bandini
Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota:
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Char Jansen
How We Practice Carmen Winant
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Share Your Piece
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Federica Bueti
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Fred Tomaselli
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Trisha Donnelly
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Bradford Kessler
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Letter from the Editor Lindsay Preston Zappas
Hot Tears Carmen Winant
Slow View:
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Americanicity's Paintings:
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at Favorite Goods
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Layers of Leimert Park Catherine Wagley
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Tongues Untied
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No Joke
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Monica Majoli
at the Tom of Finland Foundation
White Lee, Black Lee:
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Travis Diehl
Dora Budor Interview Char Jensen
Letter from the Editor Lindsay Preston Zappas
MEAT PHYSICS/
Metaphysical L.A.
Travis Diehl
Art for Art’s Sake:
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Anthony Pearson
A Dialogue in Two
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#studio #visit
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Mernet Larsen
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Pat O'Niell
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A New Rhythm
at Park View

Unwatchable Scenes and
Other Unreliable Images...
at Public Fiction

Charles Gaines
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Henry Taylor
at Blum & Poe/ Untitled
(L.A. in N.Y.)
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Sadie Barnette
at Charlie James Gallery

Sadie Barnette, Black Sky (2018) (installation view). Image courtesy of the artist and Charlie James Gallery. Photo: Michael Underwood.

What does black liberation look like? Is it the non-violent protest of Martin Luther King Jr. or the armed resistance of the Black Panthers? The sci-fi Afrofuturism of free-jazz legend Sun Ra, or the glittering, pink bedroom of a young African-American girl? For Sadie Barnette, the answer to all these questions is “yes,” and more. To accomplish this, Barnette brings together mass media images and personal family photos alongside drawings, collages, and assemblages. The results are at once seemingly straightforward and hard to reign in, branching off in myriad directions that can seem unfocused at moments, but never dull.

Her second solo show at Charlie James Gallery, Black Sky, is like a multi-generational family scrapbook that intersects with iconic developments  in black history, spanning from the late ’60s—when her father founded the Compton chapter of the Black Panther Party, inviting federal scrutiny—to her own childhood growing up in Oakland in the late ’80s and ’90s. In the main space, where windows have been covered with pink gels, an enlarged snapshot, Untitled (Winfield Street) (all works 2018), pictures four children sitting in a ’70s dining room. Two large candlesticks placed on the floor in front of the framed photograph turn a personal homage to family into a more universal (and unfortunately, timely) memorial for young, black lives lost. Barnette also blew up pages from her father’s lengthy FBI file for Untitled (Agitator Index), on which she redacted words with sparkling holographic rectangles. An ominous surveillance document becomes a playful, rhythmic poem.

Striking a contrasting tone, the downstairs gallery has been transformed by the artist into a domestic space featuring bright pink walls and carpet, anchored by a shimmering, space-age couch covered in holographic upholstery. The objects and images arranged around the gallery’s periphery chart a course between childhood innocence and radical activism: Untitled (Black Sky), a still-life on a shelf, features a black power fist afro pick, copies of Toni Morrison’s Jazz, a black scratch-off card, and a pink polka-dot ribbon.

Barnette’s assemblages of often appropriated items walk a line between directness and a more complex dynamic that develops from their layering. Juxtapositions of the familiar and mass produced lead to a personal narrative. Barnette’s remix of her father’s activism with snippets of her own childhood and family history offer an expansive vision of black liberation much wider than that represented in any of the popular media she samples.   

Sadie Barnette: Black Sky runs from October 20–December 22, 2018 at Charlie James Gallery (969 Chung King Rd., Los Angeles, CA 90012).

 

Sadie Barnette, Black Sky (2018) (installation view). Image courtesy of the artist and Charlie James Gallery. Photo: Michael Underwood.

Sadie Barnette, Black Sky (2018) (installation view). Image courtesy of the artist and Charlie James Gallery. Photo: Michael Underwood.

Sadie Barnette, Untitled (Agitator Index) (2018), Dyptych (detail). Collage on paper, mounted on plexiglass, 62.75 x 48 inches each. Image courtesy of the artist and Charlie James Gallery. Photo: Michael Underwood.

Sadie Barnette, Black Sky (2018) (installation view). Image courtesy of the artist and Charlie James Gallery. Photo: Michael Underwood.

Sadie Barnette, Untitled (Black Sky) (2018). Shelf Installation, 12 x 24 x 7.75 inches. Image courtesy of the artist and Charlie James Gallery. Photo: Michael Underwood.

Sadie Barnette, Black Sky (2018) (installation view). Image courtesy of the artist and Charlie James Gallery. Photo: Michael Underwood.

Sadie Barnette, Black Sky (2018) (installation view). Image courtesy of the artist and Charlie James Gallery. Photo: Michael Underwood.

Sadie Barnette, Black Sky (2018) (installation view). Image courtesy of the artist and Charlie James Gallery. Photo: Michael Underwood.

Sadie Barnette, Untitled (Compton) (2018). Shelf Installation, 12 x 24 x 7.75 inches. Image courtesy of the artist and Charlie James Gallery. Photo: Michael Underwood.