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

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
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
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.
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
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
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 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
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 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
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 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
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 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
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
Venus Over Los Angeles
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
The Art Gallery @ GCC
1301 PE
Big Pictures Los Angeles
California African American Museum
Chainlink Gallery
Commonwealth & Council
David Kordansky Gallery
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
Cherry and Martin
Honor Fraser
Klowden Mann
Luis De Jesus
Roberts and Tilton
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)

Shared Letter in Response to the Election

As I look around our art community—one that celebrates diversity and liberal values—I see us broken. We are in stages of grieving. Some of us are in denial. Others are angry, depressed. I have felt a tired weight on my body—the reality of our divided country given physical effect. An election acts as a marker, a line in the sand. The metaphorical gravity of the results shines a potent light on the realities that have been present since the birth of our country…now they are simply pointed at, and in many ways legitimized. We have been sheltered in our liberalism.

Grief is essential. We must move through it in our own ways, and support each other in our desperate stages of mourning. But I believe it is essential to move past denial and anger and into acceptance and action. By celebrating art (in the broadest sense of the word), we strive towards a multiplicitous viewpoint—one where there is no right or wrong, no right or left, but instead only open space. It is now more important than ever to dig our heels in, and commit wholly to our hard fast beliefs and vocations through a lens of unity and acceptance. This alone can be a form of protest.

In response to last week’s election results, I have asked a number of our Carla writers to join me in this shared Letter from the Editor. Because Carla is not about me, and my singular viewpoints. It is all of us. It is also you. We create this voice together, and as Editor-in-Chief, I will strive to continue to capture the shared voice of our community. In unity, we find strength.

–Lindsay Preston Zappas
Carla Founder and Editor-in-Chief

Think of the histories “Make America Great Again” erases—slavery, Trail of Tears, Seneca Falls, much more—and the votes that saying “I won easily” ignores. Simple, power-driven narratives have always been a threat, to freedom, awareness. They should be excavated, pulled apart. I want, now as much or more than ever, complicated, messy, sensuous, probing criticism that revels in uncertainties. Which great? Whose great? Nothing worth having comes “easily.”

–Catherine Wagley

Much stews in our minds in the aftermath of this election—so many symptoms pointing to such deep sickness. Perhaps as in no other election in recent memory has this one been so in opposition to the future. The return of America’s “greatness” as a crucial tenant underscores this—nostalgia as policy, bleached, airbrushed (white, wrinkly) narratives of success as the only aspirational game in town.
And yet, lack of imagination may be the most dangerous culprit, and one which connects directly to an increasingly rarefied art world, market-driven and largely unaccountable to the public (if much of the output can be said to have any interest in the public at all). It seems obscene in this time of electorally-rewarded xenophobia and bigotry to draw the parallel between visual art and the lack of imagination that has left us at the beginning of a wholly avoidable mess; I would conjecture that it is one cause among many. Art challenges, enlivens, strengthens and opens us—but only if we see it.

–Aaron Horst

America, what are you? For the past six years I’ve told my friends and family back home that the America that they sneer at, and condescend, is not the America I know and live in. That there are many Americas, more even than there are States. I said—ironically, it turned out—that America is more like Europe in its conglomeration of difference. Now I do not know what to tell them.

–Jonathan Griffin

Making, writing about, and thinking about art can feel impossible in the face of world tragedies such as the 2016 presidential election. It’s up to each of us individually to continue to do this work and to support others for whom doing so might be even more difficult – even dangerous or life-threatening – in an effort to move forward meaningfully and empathetically.

–Claire de Dobay Rifelj

If art can do anything, it can perhaps urge people to look differently in order to see differently in order to think differently. In times like these, the darkest some of us have known, it is necessary to find newly lit perspectives and share them with each other. I would like to urge my peers to step out of the art world and into the real world. Let’s forget about student loans and market bubbles and focus instead on connecting communities and expanding awareness, together.

 –Keith J. Varadi

As sickening as the results of this election are to me, I still have hope that out of this ugliness, something beautiful can be born. Friends and colleagues, let this be our wake up call. The demographics are in our favor but we can only win if we stand strong together. Finding our common ground amongst those that are different from us is crucial. Together we have the power to create a country as well as an art world that reflects the best of humanity.

–Katie Bode 

Whatever our cultural roles are within this construct we call America, there is now an urgent imperative to be open, engaged and critical. Our thoughts need to be more complex but still defined, more erudite but not rigid, more malleable but not passive. In the words of Tony Kushner, “We won’t die secret deaths anymore. The world only spins forward. We will be citizens. The time has come.”

–Thomas Duncan

“Beauty will be convulsive or not at all,” wrote André Breton ninety years ago, yet his message seems just as relevant today. Now more than ever, it is the role of artists and writers to rage, scream, curse, protest, and reflect all of the ugliness, fear and hate that have become more visible recently, but which have no doubt been part of American culture all along. It is also our job to dream, hope, and scheme of possible futures with reckless abandon.

–Matt Stromberg

As the election results poured in last Tuesday, I sat shocked on my couch. I alternated between disbelief, numbness, crying, and stoned shock. Like so many of us, I had not prepared to encounter the worse, and I was left defenseless in its wake. I went to sleep that night (in my red state) and woke up sobbing; the feeling was not unlike suffering the death of a beloved, or incurring deep, irreversible heartbreak. The question is, of course, what now? I had to start with grief. I allowed myself to mourn, to feel the loss—and all that will come with it—deeply.  (A double loss for me; not only is Trump in power, but Hillary, whom I admire deeply and consider to be profoundly qualified, is not and never will be.) Coming into contact with our own anguish, our own sorrow, will ultimately make us better organizers. Because organizing is our power. Without majorities in the house or senate, WE THE PEOPLE must be more motivated, more unified, more committed, to social justice causes than we have in our lifetimes. This may be a silver lining of this global catastrophe: the mobilization of a powerful and effective new left. I’ve witnessed it already: my students are calling their representatives to condemn Steve Bannon’s appointment, they are marching in the Columbus, OH streets and holding community action groups in their homes. Sustaining this energy, and not succumbing into normalcy (this is NOT normal, let’s hold onto that), will be the greatest test for us as artists and human beings.  

–Carmen Winant

In the wake of this devastating election, I’m reminded that criticism is a guard against the multiform forces of ignorance, and to critique is to champion plurality and to multiply intellectual and creative possibility by offering new pathways of thought. As a form of resistance, criticism is needed now, as ever, so that our collective failure might turn into permanent postures of criticality in all aspects of life, not just with respect to arts and letters.

–Pablo Lopez

We survive together or not at all. We build together or not at all. We thrive when those around us thrive. Now more than ever, we are called upon to use our creativity to imagine new and better forms of solidarity between all people who have been denied their voice, their safety, or their freedom. There are those who believe that power comes from tyranny and oppression. We know this to be untrue; we will prove them wrong. 

–Molly Larkey