Barely Living with Art:
The Labor of Domestic
Spaces in Los Angeles
Eli Diner
She Wanted Adventure:
Dwan, Butler, Mizuno, Copley
Catherine Wagley
The Languages of
All-Women Exhibitions
Lindsay Preston Zappas
L.A. Povera Travis Diehl
On Eclipses:
When Language
and Photography Fail
Jessica Simmons
Interview with
Hamza Walker
Julie Wietz
Reviews Cheyenne Julien
at Smart Objects

Paul Mpagi Sepuya
at team bungalow

Ravi Jackson
at Richard Telles

Tactility of Line
at Elevator Mondays

Trigger: Gender as a Tool as a Weapon
at the New Museum
(L.A. in N.Y.)
Launch Party November 18, 2017
at the Landing
Object Project
Featuring: Rosha Yaghmai,
Dianna Molzan, and Patrick Jackson
Lindsay Preston Zappas
Photos by Jeff McLane
Pacific Standard Time: LA/LA
Regen Projects
Ibid Gallery
One National Gay & Lesbian Archives and MOCA PDC
The Mistake Room
Luis De Jesus Gallery
the University Art Gallery at CSULB
the Autry Museum
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

Broken Language
at Shulamit Nazarian

Artists of Color
at the Underground Museum

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects


Analia Saban at
Sprueth Magers
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
Portraits by Joe Pugliese
Letter to the Editor
Launch Party May 13, 2017
at Commonwealth and Council
Reviews Alessandro Pessoli
at Marc Foxx

Jennie Jieun Lee
at The Pit

Trisha Baga
at 356 Mission

Jimmie Durham
at The Hammer

Parallel City
at Ms. Barbers

Jason Rhodes
at Hauser & Wirth
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 February 18, 2017
at Shulamit Nazarian
Exquisite L.A.
Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Creature
at The Broad

Sam Pulitzer & Peter Wachtler
at House of Gaga // Reena Spaulings Fine Art

Karl Haendel
at Susanne Vielmetter

Wolfgang Tillmans
at Regen Projects

at Chateau Shatto

The Rat Bastard Protective Association
at the Landing
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
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
at The Hammer Museum

Doug Aitken
at The Geffen Contemporary at MOCA

at Tif Sigfrids

Jean-Pascal Flavian and Mika Tajima
at Kayne Griffin Corcoran

Mark A. Rodruigez
at Park View

The Weeping Line
Organized by Alter Space
at Four Six One Nine
(S.F. in L.A.)
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
at the MAK Center
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 Revolution in the Making
at Hauser Wirth & Schimmel

Carl Cheng
at Cherry and Martin

Joan Snyder
at Parrasch Heijnen Gallery

Elanor Antin
at Diane Rosenstein

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

Laura Owens
at The Wattis Institute
(L.A. in S.F.)
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:
Njideka Akunyili Crosby
Char Jansen
Reviews L.A. Art Fairs

Material Art Fair, Mexico City

Rain Room

Evan Holloway
at David Kordansky Gallery

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

Carter Mull
at fused space
(L.A. in S.F.)

Awol Erizku
at FLAG Art Foundation
(L.A. in N.Y.)
Le Louvre, Las Vegas Evan Moffitt
iPhones, Flesh,
and the Word:
at Arturo Bandini
Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota:
Faith Wilding
at The Armory Center
for the Arts
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 Honeydew
at Michael Thibault

Fred Tomaselli
at California State University, Fullerton

Trisha Donnelly
at Matthew Marks Gallery

Bradford Kessler
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 Mary Ried Kelley
at The Hammer Museum

Tongues Untied
at MOCA Pacific Design Center

No Joke
at Tanya Leighton
(L.A. in Berlin)
Top-Down Bottom-Up Jenny Gagalka
Snap Reviews Martin Basher at Anat Ebgi
Body Parts I-V at ASHES ASHES
Eve Fowler at Mier Gallery
Matt Siegle at Park View
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
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
at François Ghebaly
Jonathan Griffin
#studio #visit
with #devin #kenny
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 Pierre Huyghe

Mernet Larsen
at Various Small Fires

John Currin
at Gagosian, Beverly Hills

Pat O'Niell
at Cherry and Martin

A New Rhythm
at Park View

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

Charles Gaines
at The Hammer Museum

Henry Taylor
at Blum & Poe/ Untitled
(L.A. in N.Y.)
We’re in This Together Lauren Cherry & Max Springer
ARTBOOK @ Hauser & Wirth
Baert Gallery
Cirrus Gallery
Château Shatto
Club Pro
Dalton Warehouse
Elevator Mondays
The Geffen Contemporary 
Ghebaly Gallery
Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
Chimento Contemporary
Charlie James
Human Resources
Ibid Gallery
Ooga Booga
Ooga Twooga
Parrasch Heijnen Gallery
Museum as Retail Space (MaRS)
Nicodim Gallery
Ramiken Crucible

67 Steps
Smart Objects
Skibum MacArthur
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
Odd Ark LA
1301 PE
Big Pictures Los Angeles
California African American Museum
Chainlink Gallery
Commonwealth & Council
David Kordansky Gallery
Karma International
Kayne Griffin Corcoran
ltd Los Angeles
Marc Foxx
Shoot the Lobster
Ochi Projects
Park View
The Landing
The Underground Museum
USC Fisher Museum of Art
Visitor Welcome Center
Culver City
Anat Ebgi
Arcana Books
Blum & Poe
Philip Martin Gallery
Honor Fraser
Klowden Mann
Luis De Jesus
Roberts Projects
Susanne Vielmetter
Diane Rosenstein
Family Books
Hannah Hoffman
Nino Mier Gallery
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Various Small Fires
South Bay
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)

Share Your Piece of The Puzzle

Frances Stark, Why should you not be able to assemble yourself and write (2008). Vinyl, paint, rice paper & fabric on casein on canvas, 55 x 34 inches. Image courtesy of the artist and Marc Foxx, Los Angeles. Photo: Robert Wedemeyer.

Frances Stark, Why should you not be able to assemble yourself and write (2008). Vinyl, paint, rice paper & fabric on casein on canvas, 55 x 34 inches. Image courtesy of the artist and Marc Foxx, Los Angeles. Photo: Robert Wedemeyer.

I sometimes feel ashamed to express my interest in subjectivity when many theorists today push for a new kind of ideology. Of what use could the subject be to the development of radical leftist politics? Everyday politics—the kind of politics that take place in the bedroom, or the market place, or on the street—can disguise themselves a form of poetic thinking, highly emotional, and imaginative. The poetic, after all, does not need to insist on its relevance.

Yet even in art, historically a field of poetic freedom and self-expression, the Self gets bad press. The recourse to selfhood in artistic practices or art writing is perceived too subjective, self-indulgent, narcissistic, and confessional. In an Art Forum review of Frances Stark’s show at Marc Foxx Gallery in 2014, writer Travis Diehl goes further and suggests that Stark’s work is “so subjective…that it’s hard to identify any specific claims—only associations, only interests, only reference.[1]” Self-exposure in art, writing, or pop-culture, is often easily dismissed as apolitical, ineffective, and fundamentally narcissistic. I wonder if this is always the case, or if other readings are possible.

Admittedly, there is good reason to be pessimistic about the way the Self has taken to the stage of art. Very often self-exposure in art mimes and mirrors the world we live in offering rather superficial diagnoses of our culture; art that illustrates the ways commodity culture and new technology has altered our affective experience is widely accepted. Yet there’s something frankly exhausting, if not altogether confusing, about being forced to inhabit someone else’s life.

Self-exposure, no matter how charming and witty, can be easily perceived as an imposition. It is unquestionable that we often overdose on each other, yet it is equally true that collectivizing feelings, on and offline, is a way of sharing a piece of your life’s puzzle with others.

Despite the fact that Neoliberal societies that exploit the technologically mediated Self have accelerated the rate at which people produce and share, the desire to do so is hardly new: In the early ‘80s Michael Foucault focused his research on Greco-Roman “techniques of living,” including letter writing, in order to demonstrate how modern culture transformed the individual’s relation to themselves. Letter writing was common among philosophers and political leaders; very often their correspondences recounted daily activities and quotidian observations in detail—not unlike snapping a lunchtime selfie tweeted with the hashtags #Foodie and #Feelingreat. The point of writing a letter to a friend, Foucault observed, was not to inform others of an important event that might have marked that particular day to record. On the contrary, the letter testifies to the quality of a mode of being: I did so and I thought so, and this makes me who I am. More importantly, the fact of sharing intimate experiences and subjective impressions with friends or simple acquaintances was not understood as a form of confession, but as therapy. It was not about revealing a truth about oneself, but a way of attending to one’s caring for the intellectual, psychic, and physical well being of oneself and others. Letter writing relied on the ability of language to put us in another’s place, extending our experience and enabling us to see from another’s point of view. Letters functioned as an existential manual of sorts: reading about someone’s reaction to a moment of sadness or depression, helped the recipient of the letter to learn how to possibly deal with a similar experience when it occurred. Personal correspondence enabled participants to share knowledge about how to live better.

Now, I wonder if it would be possible to understand contemporary art practices that address the self in these terms: as ways of caring for oneself and for others. In other words, can we conceive of the personal not as a mirror of one’s own personality, but as a mode in which bodies produce resonances? By bodies here I mean flesh and bone, but also texts, artworks, images, words, technologies, inanimate things and all their attendant meanings and affect. There are artworks that speak in unexpected and uncanny ways, shedding light on the deeper corners of dreams, desires, and intuitions. There are artworks that capture what it means to be transformed by the multivalent realities we create and inhabit.

Frances Stark, My Best Thing (2011). Digital video. Image courtesy of the artist and Marc Foxx, Los Angeles.

Frances Stark, My Best Thing (2011). Digital video. Image courtesy of the artist and Marc Foxx, Los Angeles.

Take as example Francis Stark’s iconic work My Best Thing (2011). By exposing her personal life and emotions, Francis Stark discusses the ways in which intimacy, love, desire, and identity are created, enacted, and negotiated in the era of dating apps and virtual chat rooms. In this feature-length computer-animated film, which premiered at the 2011 Venice Biennale, Stark created a Playmobil-like avatar who engages in a virtual intimate relationship with an unknown man. In the video, intimacy is not so much sexual as it is conversational, and pleasure is not necessarily seductive, but rather relational: it’s the pleasure of communicating with someone. Discussion drifts from politics to love, professional ambitions, and personal biography. The most intimate moments in the video are the ones that address existential and universally shared matters: the way we seek each other’s attention, how we perceive ourselves, how other see us, and the fragility of our social lives. As the dialogue unfolds, it becomes clear that even though they come from different parts of the world, the two characters—the artist and the anonymous man she converses with—share an unexpected existential bond. Despite the intimate tone of the conversation, the video does not feel cornered as the artist’s story that the viewer passively sits and watches; the dialogue is also our story. The video opens up spaces of resonance between the artist, the anonymous man, and the viewer, who are exposed to each other feelings, personal stories, experiences, and knowledge. My Best Thing never simply mirrors the reality of our mediated relationships, identities, and affective life (as post-internet art often literally does), but rather puts the viewer in the position of having to reckon with awkward moments and odd situations, desires, feelings, projections, misunderstandings, moments of despair and of mutual recognition. It’s hard not to identify with the characters and the situation in the video, despite its unlikely circumstances.

Self-exposure might be understood as form of narcissism, but this won’t get us beyond the obvious. (Namely that to some extent we—human beings—are vain.) Or, we can think of the act of sharing intimate experiences as a way of creating a potential space of political action, where, to paraphrase Hannah Arendt, “I appear to others as others appear to me”[2]; of learning from each other’s moods, desires, traumas, obsessions or intuitions. This tactic of sharing may be sometimes boring, exhausting, annoying, or irritating; it is not easy. But, fostering and keeping the collective together rarely is.

[1] Travis Diehl, Critic’s Picks: Frances Stark at Marc Foxx Gallery, 2014, Artforum. Online. (

[2] Arendt, Hannah. The Human Condition. University of Chicago Press. January 1, 1958.

2016-07-12 (1)

Originally published in Carla Issue 3.