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
Reviews Dulce Dientes
at Rainbow in Spanish
- Aaron Horst

Adrián Villas Rojas
at The Geffen Contemporary at MOCA
- Lindsay Preston Zappas

Nevine Mahmoud
at M+B
- Angella D'Avignon

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
at Yerba Buena Center for the Arts (L.A. in S.F.)
- Hana Cohn
Letter from the Editor Lindsay Preston Zappas
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
Reviews
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
Letter from the Editor Lindsay Preston Zappas
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

Home
at LACMA

Analia Saban at
Sprueth Magers
Letter from the Editor Lindsay Preston Zappas
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 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
Letter from the Editor Lindsay Preston Zappas
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 February 18, 2017
at Shulamit Nazarian
Exquisite L.A.
Featuring:
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

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
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
at The Hammer Museum

Doug Aitken
at The Geffen Contemporary at MOCA

Mertzbau
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.)
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.
Featuring:
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.)
Letter from the Editor Lindsay Preston Zappas
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 L.A. Art Fairs

Material Art Fair, Mexico City

Rain Room
at LACMA

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.)
Letter from the Editor Lindsay Preston Zappas
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 Honeydew
at Michael Thibault

Fred Tomaselli
at California State University, Fullerton

Trisha Donnelly
at Matthew Marks Gallery

Bradford Kessler
at ASHES/ASHES
Letter from the Editor Lindsay Preston Zappas
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)
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
Letter from the Editor Lindsay Preston Zappas
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
Launch Party Carla Issue 1
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
Reviews Pierre Huyghe
at LACMA

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.)
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
JOAN
LACA
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
Ramiken Crucible

Eastside
AWHRHWAR
67 Steps
ESXLA
Garden
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
Odd Ark LA
Mid-City
1301 PE
Big Pictures Los Angeles
California African American Museum
Chainlink Gallery
Commonwealth & Council
David Kordansky Gallery
H I L D E
Karma International
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
Philip Martin Gallery
Honor Fraser
Klowden Mann
Luis De Jesus
Roberts Projects
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)

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