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)

Slow View: Julian Rogers

A Conversation on One Work

Slow View is an interview series centered on a single work. The aim is to generate thoughtful, in-depth conversation, and through this prolonged consideration provide an alternative to the quickness with which work is often viewed in our digital age. Julian Rogers is a Los Angeles / San Diego based artist who employs still life to explore optical and phenomenological possibilities in painting. Working with a limited palette and 1:1 ratio, his approach to this historic subject matter feels open ended and exploratory. His painting Double Positive (2014) is part of a series of still life paintings depicting fruit on rocky, uneven surfaces.

Julian Rogers, Double Positive (2014). 68x54 inches, oil on canvas. Photo courtesy of the artist. Photo: Heather Rasmussen.

Julian Rogers, Double Positive (2014). 68×54 inches, oil on canvas. Photo courtesy of the artist. Photo: Heather Rasmussen.

Anna Breininger: The first thing that strikes me about the work is how the imagery dissolves as the viewer moves around the painting. This physical flicker is reinforced by the almost twilight-like depiction of light in the work. Moving from a straight vantage point to a more peripheral one, the details of the fruit disappear and they instead become iridescent hints of form against a monochromatic surface. Can you speak a little more about this physical/ optical aspect of the work?

Julian Rogers: For a long time I worked in photorealism, and this took me to New York where I was able to make a living painting for other artists. But after years and years of this kind of painting I began to lose interest in illusion; everything became surface. So, I could look at a set of identically painted Jeff Koons paintings and see that Marlene painted this one, Ed painted that one, Corey did this and Pat did that (even though they all looked as if they had been made by machines). I spent a few years trying to break away from this condition, trying to find new ways to make marks, but I found that if I reduced the amount of information in the image there was a new kind of seduction. I came back to realism with this in mind and saw that a darkened scene triggered something in my mind and made realism seem fresh. At times I think of Basquiat crossing out his painted text, and about how this makes people want to see what was written. It’s not the same thing, but there is a way in which taking something away makes us hungrier to see it. That seems true across the board.

AB: Do you think of the painting as dealing with the subject of viewing?

JR: Definitely. The first thing that a lot of people notice upon first viewing these paintings is that their eyes have to slowly adjust to them, as if they had just been out on a sunny day and come into a dimly lit room. But once you get used to what you are seeing, you realize that the surface is actually a little reflective here and there. This usually gets people moving around the painting to see how it reflects different points of light. So in this sense the act of viewing is fairly physical.

This painting in particular partly mimics how it feels to look at a daguerreotype in person. Daguerreotypes and paintings are unique objects (for the most part), so it’s a welcome comparison, or at least a conversation starter. Photorealism and photography have a stuffy relationship—as a couple they are not the life of the party—but there are plenty of contemporary artists who are working to make a fresh start.

AB: I’m curious about the choice of fruit. They are so ubiquitous.

JR: There’s a long story about how I came to begin using fruit as a subject, but basically it came from one of my very first drawing lessons when I was probably 6 or 7: I learned that shape and color both inform an object. Fruit is one of those rare categories of objects whereby recognition of the object can come through either shape or color. For example, a banana can almost always be recognized by its shape alone, but oranges, lemons, limes, and other round fruits can be easily confused if you consider just the shape; color helps us recognize these without hesitation. As the painted fruit scenes are darkened and become harder to see, they slow down these light speed decisions our brains make to help us determine objects. Very often I am painting bananas blue or brown, but we don’t read them like that because what’s around them is different as well.

So that’s where the idea came from, but moving forward I am thinking more about pulling still life painting apart a bit to find new ways that my paintings can function. There’s a massive history of realistic painting that has nothing whatsoever to do with photography. I’m not ready to let that history go anytime soon.

AB: I’m thinking about how, in the tradition of still life, fruit becomes psychological on a metaphoric level. Do you view this grouping of fruit as functioning that way as well as being used to explore perception?

JR: Well I think there’s a sort of take-it-or-leave-it quality about how the objects in still life paintings function generally, which I think is important because the way paintings operate can bounce around a bit depending on the situation and the needs of the viewer. In other words, I am totally fascinated with how Norman Bryson writes about still life, about how there are varying layers of metaphor and formalism that operate in different levels of reality in paintings of fruit and vegetables throughout the ages. But, I also just want to look at a painting and have it just kinda knock me back a little bit. Sometimes these two things work together, sometimes not.

There’s basically a lot I could say about this question in regard to this painting in particular. There’s a mountaintop, which is cold, hard, remote, unmoving, massive and fairly timeless, and then there’s fruit: small, soft, consumable, moves through your body, etc. So there’s something small you have total control over located in a place that totally dominates you. There’s plenty of room for metaphor here, but I try not to think about it too much because it’s nice when the formal relationships can still surprise me.

Originally Published in Carla Issue 1issue-1Purchase Issue 1