Women on the Plinth Catherine Wagley
Us & Them, Now & Then:
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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
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Lindsay Preston Zappas
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by Thomas Duncan

Broken Language
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Artists of Color
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Anthony Lepore & Michael Henry Hayden
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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
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Letter to the Editor
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Jennie Jieun Lee
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Trisha Baga
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Jimmie Durham
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Parallel City
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Jason Rhodes
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Catherine Wagley
Put on a Happy Face:
On Dynasty Handbag
Travis Diehl
The Limits of Animality:
Simone Forti at ISCP
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Ikechukwu Casmir Onyewuenyi
More Wound Than Ruin:
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Jessica Simmons
Launch Party
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Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
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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
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Catherine Wagley
The Rise
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Art Witch
Amanda Yates Garcia
Interview with
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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
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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,
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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:
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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,
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Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota
Faith Wilding
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Benjamin Lord
A Conversation
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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:
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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
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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
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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:
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Anthony Pearson
A Dialogue in Two
Synchronous Atmospheres
Erik Morse
with Alexandra Grant
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Jonathan Griffin
#studio #visit
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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
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Saline Communion
at Harmony Murphy Gallery

Erica Mahinay & Kathryn O’Halloran, Fountain for Los Angeles (2015). Sink, pipes, sand, plaster, rocks, water, unfired stoneware, plant, 77 x 40 x 40 inches. Image courtesy of the artists and Harmony Murphy.

Writer Sarah Nicole Prickett, who co-founded an erotic mag with no straight men on the editorial team, was unapologetic in her ArtForum coverage of Art Basel Miami. She dismissed the high-grossing (male) artists who acted like they didn’t know what their paintings went for and, when describing a performance gone grimy–Mykki Blanco throwing bits of sandwich—she started to worry, in writing, about her newly dry-cleaned, discounted Jil Sander dress. She was the fiercely critical professional worried about prettinesss, and openly admitted to it.

I thought of Prickett and prettiness when viewing Saline Communion, the two-person show currently on view at Harmony Murphy Gallery. In the first room, fleshy, rippled fabric stitched together and stretched across a wooden frame looks like a Courtney Love slip dress; the kind she wore in the nineties. It’s been flattened, but signs of unruly bustiness remain in the folds. This work hangs above an overturned stoneware vessel–brown, ribbed exterior, shiny aluminum interior—resting on a creamy yellow towel. It reminds me of a guest bathroom, a “private” space meant to be seen. The artist calls the towel-and-vessel installation Self-Portrait. Across the room, a glossier stretched fabric piece hangs near an authoritative, rough-edged triangular totem. Harder elegance and punk softness cohabitate throughout.

It’s not exactly necessary to know who’s authored which works in Saline Communion. The artists, Erica Mahinay and Kathryn O’Halloran, are former Cranbrook MFA classmates. The exhibition can be experienced as a conversation between friends with compatible sensibilities—a line in the press release pokes at the cult of personality still so prominent in the art world. It’s not that the show is about friendship, certainly not in any sweet way; it’s more like friendship is a tool to be used like any other, a more tangible material.

Outside the gallery, on a pile of rocks, is an off-kilter bathroom sink with a seashell-shaped basin and sand-covered faucet that barely drips. The only full-on collaboration between Mahinay and O’Halloran in the show, this altered found object, is a modish water source suited to an equally modish and drought-stricken ecosystem. Some aspects of the sink remind me of “hipster minimalism,” a term I started using a few years ago, when so many newly-minted MFAs were showing seemingly off-the-cuff objects, that had been suavely pared down: the slacker artist who’s also a Robert Morris acolyte. But in context of the show, rather, the sink installation embraces stylishness while poking fun at high culture solipsism.

The stylish ball-buster approach puts O’Halloran and Mahinay in conversation with a larger group of relatively young, mostly well-educated women with careers in arts and letters. It includes artist April Street, who stretches nylon she’s actually worn across frames in bodily but highly composed ways, and artist Rosha Yaghmai, whose sculptures are experiments with performance, boldness and delicacy. Then there’s Emily Gould and Angela Ledgerwood, pleasantly soft-spoken New York writers, who recently started the podcast LitUp, where they often talk to and about other women. Gould has contributed to Women in Clothes, a project by Heidi Julavits, Sheila Heti and Leanne Shapton where women discuss self-presentation and style. While the lineage is evident, these women aren’t of the confessional-is-subversive generation that Chris Kraus or Tracey Emin belonged to. They’re part of our current moment: where being not-male remains a market disadvantage, but professionalism is expected of all genders equally. So how can we question ourselves—allowing for vulnerability, femininity—while compelling others to treat us as professionals?

The question is open, and unresolved, in Saline Communion. At times, the dance between elegance and vulnerability feels more dubious: in the series of still life oil paintings, for instance, where Mahinay documented a Los Feliz pool as its reflective, blue-green surface changed over the course of a day. Her work is an exercise in durational attention, like Lee Lozano’s Waves: paintings done in single sittings. The impulse to learn how hyper-disciplined work can relate to lived experiences and to appearances makes sense here. But the repeated pool motif—an L.A. cliché—makes the paintings somehow less canny than other works in the show.

In the same gallery where the pool paintings hang is O’Halloran’s sculpture, Infinite Solitude, which looks like a piece of furniture with unknown function. A white, bumpy, shoulder-high rectangle with open sides, it has two mirrors inside that reflect only itself. Looking into the mirrors on tiptoes, or from unnatural angles, can deliver some interesting views of the object’s planes and quirks. On the wall directly behind it, Mahinay’s tan, translucent canvas looks more like skin than others in the show, its seams more like scars. The piece is attractive and tight, an exploration in being exposed, under-control and unapologetically worked over at once. It has it all—for she who wants having it all to look as complicated as it does seductive.

Saline Communion runs May 2–June 27, 2015 at Harmony Murphy Gallery (679 S Santa Fe Avenue, Los Angeles 90021).

Saline Communion 1

Erica Mahinay + Kathryn O’Halloran, Saline Communion (installation view) (2015). Image courtesy of the artists and Harmony Murphy Gallery.

Saline Communion 3

Erica Mahinay + Kathryn O’Halloran, Saline Communion (installation view) (2015). Image courtesy of the artists and Harmony Murphy Gallery.

Saline Communion 2

Erica Mahinay + Kathryn O’Halloran, Saline Communion (installation view) (2015). Image courtesy of the artists and Harmony Murphy Gallery.


Erica Mahinay + Kathryn O’Halloran, Saline Communion (installation view) (2015). Image courtesy of the artists and Harmony Murphy Gallery.