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)

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.

HM_Install_08

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