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: Molly Larkey

with Kate Whitlock

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. Last month Anna Breininger and Kate Whitlock joined L.A. based artist Molly Larkey in her studio to discuss her work The Not Yet (Signals 1-7) (2014). This wall-based work employs forms that reference written language to explore the slippery territory between communication and subjective experience.

Molly Larkey, The Not Yet (Signals 1-7) (2014). Acrylic paint, linen, steel, dimensions variable. Image courtesy of the artist and Luis de Jesus Los Angeles. Photo: Heather Rasmussen.

Molly Larkey, The Not Yet (Signals 1-7) (2014). Acrylic paint, linen, steel, dimensions variable. Image courtesy of the artist and Luis de Jesus Los Angeles. Photo: Heather Rasmussen.

Anna Breininger: I’m thinking about this project as developing an alphabet or a language, though not in a literal way. These seven pieces have been on view as an installation, but are in the studio now in a different configuration. Is it one piece? Or seven pieces? Or is the piece ongoing?

Molly Larkey: It’s true that the idea of writing about just that one artwork becomes problematic when talking about this work. Each one is an individual piece, and the installation of seven was a piece, and the ongoing project of imagining a utopian alphabet is also a piece. I like the complication of the work existing in these different ways, also, the idea that this artwork exists as a kind of concept that can never be realized. People often ask, “Wait, are you making an alphabet?” and I’m like, “No, I’m making something that pretends to be an alphabet that can never be an alphabet.” An alphabet needs to be fixed and standardized. But with what I’m doing, there will never be replication of any of the individual works. It’s not reproducible. This is a contradiction in terms, but what does that do? I think that it makes your brain do something that’s really interesting. There are all of these contradictions, like, this is a wall sculpture that’s a painting of a concept of an alphabet that can’t exist.

AB: That’s exactly the experience I had at your show at Luis De Jesus, which was all about slippage. There is a tension within the materials you are using. Steel is such a heavy, masculine, monumental material to work with. It’s institutional. Then these steel forms get covered in a delicately painted burlap. In some ways you’re functioning like a painter as you’re dealing with these non-painterly elements.

ML: Yes, definitely. So for me, it’s a reactive process where there is an improvisational relationship between me and the material, no matter what the material is. And it’s significant that this particular type of steel is normally used to make fences, so that I’m taking something this would otherwise be used to divide and manage people’s movement and instead using it to make structures that are open and dynamic. Also, I’m constantly thinking about the way that the masculine is being promoted and the feminine is being repressed pretty much everywhere in our culture. I think it’s fair to say that metalworking is associated with masculinity, and working with fabric and craft is seen as feminine. My hope then, is to create a kind of reversal where the masculine is transformed by an intervention of the feminine. It’s all about finding ways to transform something rigid or repressive into something that’s fluid and allows for different kinds of movement and subjective interpretation.

AB: Language is an institutional medium in a similar way to painting, and the work feels like it’s questioning the role of both. It’s deliberately not fitting into any category. These pieces are objects on the wall, but the way that you’re handling space, the way that you’re drawing through space, adds another layer to them.

ML: I’m super excited by these confrontations with institutional categories, because it seems like another way to work with what’s known and also seeing where something new can happen.  Also, we have these different categories of identification to help us read things instantaneously and then we move on to the next thing. Our minds are moving so fast, we’re barely allowed to focus on anything for more than a second. So when you complicate this, it can help slow you down.

AB: But the thing about painting is that it’s so slow. It’s like it takes a lifetime to complete. I mean, we could talk about the relationship between painting and technology and the artists who address that, but what I appreciate in your work is the deliberate slowness.

ML: Painting is definitely another way to slow down. You go into a museum and you’re like, there’s a painting! And you slow down, you become present with what is in front of you. Things then can speak to you in a different way than when you’re scanning and reading. Reading is the metaphor for how we deal with everything: we read images, people, situations. My hope is that by contaminating the categories in the artwork, it affects how you read something, and it slows you down even more. Because you can’t immediately read it, you have to be with it, instead of just scanning it. It’s a different kind of awareness than we normally need in this world with all this symbolic meaning around us. I feel like there’s art that does this, and it’s my favorite kind of art, art that is—for lack of a better word—ugly. You see it and at first it reads as ugly, and then you slow down and something happens that is transformative, and it doesn’t seem ugly anymore. But the transformation happens through the process of spending time with it.

AB: I feel like you’re using the linguistic forms in your work in the same way that the art that you’re talking about uses ugliness. When I looked at your work, I had the slowest, almost frustrating time thinking, “Am I reading this?” Initially I spent time trying to find a word or some sort of literal meaning in the work. The piece really coaxes time out of you in that way. I wanted it to be something legible and I finally gave up and allowed the work to exist on its own terms.

Kate Whitlock: What about questioning where Western society went wrong when using the alphabet? The trajectory since the alphabet became commonplace led to drastic consequences. It was based on exclusivity: women weren’t allowed to use the alphabet to read and write. Female experiences weren’t documented. You, as a woman, commenting on a system that did not include women for so long speaks volumes.

ML: There’s so much there. We’re both are into The Goddess vs. the Alphabet. That book really made explicit for me that the alphabet suppresses feminine experience in so many ways, not only in the ways you just mentioned. It really added a lot to my understanding of why I was making this work. What was interesting is that my understanding of the feminine as being opposed to the alphabet was totally intuited until I read this book and had some concrete images for how that might have happened historically. People, mostly men of course, have always been interested in letters as mystical objects and deciphering them as godlike structures. People have always had this feeling that they’re magic. I kind of feel like they are, but we’ve become immune to the magic through overexposure.

KW: They are magic in the way the alphabet creates linear time and history. You can go back and read what those men wrote. And that goes back to how we utilize the alphabet to communicate the past. The introduction of a written language made oral traditions more or less irrelevant.

ML: There was a guy who tried to write the entire bible in an alphabet, like one symbol contained an entire episode. That’s sort of an interesting idea. If you could embody an entire experience in one symbol… that’s a whole other inquiry… if you could tell a story through symbols, without defining them ahead of time.

KW: I wonder if it would ever be the same story.

ML: I’m really into that because it just throws you back into your own experiences and into your subjectivity. You can’t access an “objective” sort of meaning or a universal meaning. And that’s what was born with the alphabet: a kind of universal, or at least the possibility for universal literacy and communication. But what was lost was the local and the material—the subjective—like, this is an experience and it happens in this place and you have to be here to experience it. In a way, art occupies that space that was lost. A painting—or really any art—is like, “I’m telling you a story, there are no words for it, GO.” Then the story becomes an internally created subjective experience. When I first started looking at art, having been totally focused on writing before, I had this revelation that art takes place in my body and language takes place in my head. Art gave me a physical sense of being in the world that language never had.

Originally Published in Carla Issue 2