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
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Los Angeles, CA 90013

Baert Gallery
2441 Hunter St.
Los Angeles, CA 90021

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412 W. 6th St. #615
Los Angeles, CA 90014

CES Gallery
711 Mateo St.
Los Angeles, CA 90021

Cirrus Gallery
2011 S. Santa Fe Ave.
Los Angeles, CA 90021

Château Shatto
406 W. Pico Blvd.
Los Angeles, CA 90015

Club Pro
1525 S. Main St.
Los Angeles, CA 90015

2245 E. Washington Blvd.
Los Angeles, CA 90021

Ghebaly Gallery
2245 E. Washington Blvd.
Los Angeles, CA 90021

The Geffen Contemporary
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152 N. Central Ave.
Los Angeles, CA 90012

Harmony Murphy
358 E. 2nd St.
Los Angeles, CA 90012

2245 E. Washington Blvd.
Los Angeles, CA 90021

1242 Palmetto St.
Los Angeles, CA 90013

Mistake Room
1811 E. 20th St.
Los Angeles, CA 90058

MOCA Grand Avenue
250 S. Grand Ave.
Los Angeles, CA 90012

Monte Vista Projects
1206 Maple Avenue, #523
Los Angeles, CA 90015

Night Gallery
2276 E. 16th St.
Los Angeles, CA 90021

The Box
805 Traction Ave.
Los Angeles, CA 90013

Wilding Cran Gallery
939 S. Santa Fe Ave.
Los Angeles, CA 90021
Koreatown / Pico-Union
Commonwealth & Council
3006 W. 7th St., #220
Los Angeles CA 90005

Dalton Warehouse
447 E. 32nd St.
Los Angeles, CA 90011

Elevator Mondays
1026 Venice Blvd., Suite E
Los Angeles, CA 90015

Park View
836 S. Park View St., #8
Los Angeles, CA 90057

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712 S. Grand View St., #204
Los Angeles, CA 90057

2524 1/2 James M. Wood Blvd.
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422 Ord St., Suite G
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Los Angeles CA, 90012

Ooga Booga
943 N. Broadway
Los Angeles, CA 90012
6150 Wilshire Blvd.
Los Angeles, CA 90048

Big Pictures Los Angeles
2424 W Washington Blvd.
Los Angeles, CA 90018

California African American Museum
600 State Dr.
Los Angeles, CA 90037

Chainlink Gallery
1051 S. Fairfax Ave.
Los Angeles, CA 90019

David Kordansky Gallery
5130 W. Edgewood Pl.
Los Angeles, CA 90019

4727 W. Washington
Los Angeles, CA 90016

4300 W. Jefferson Blvd. #1
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Kayne Griffin Corcoran
1201 S. La Brea Ave.
Los Angeles, CA 90019

ltd Los Angeles
1119 S. La Brea Ave.
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Marc Foxx
6150 Wilshire Blvd. #5
Los Angeles, CA 90048

Martos Gallery
3315 W. Washington Blvd.
Los Angeles, CA 90018

Ms. Barbers
5370 W. Adams Blvd.
Los Angeles, CA 90016

Ochi Projects
3301 W. Washington Blvd.
Los Angeles, CA 90018

Praz Delavallade
6150 Wilshire Blvd.
Los Angeles, CA 90048

The Landing
5118 W. Jefferson Blvd.
Los Angeles, CA 90016

5900 Wilshire Blvd.
Los Angeles, CA 90036

The Underground Museum
3508 W. Washington Blvd.
Los Angeles, CA 90018
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Anat Ebgi
2660 S. La Cienega Blvd.
Los Angeles, CA 90034

Arcana Books
8675 W. Washington Blvd.
Culver City, CA 90232

Blum and Poe
2727 S. La Cienega
Los Angeles, CA 90034

Cherry and Martin
2712 S. La Cienega Blvd.
Los Angeles, CA 90034

Honor Fraser
2622 S. La Cienega Blvd.
Los Angeles, CA 90034

Klowden Mann
6023 Washington Blvd.
Culver City, CA 90232

Luis De Jesus
2685 S. La Cienega Blvd.
Los Angeles, CA 90034

MiM Gallery
2636 La Cienega Blvd.
Los Angeles, CA 90034

Roberts and Tilton
5801 Washington Blvd.
Culver City, CA 90232

Samuel Freeman
2639 S. La Cienega Blvd.
Los Angeles, CA 90034

Susanne Vielmetter
6006 Washington Blvd.
Culver City, CA 90232
Silverlake/ Echo Park
Smart Objects
1828 W. Sunset Blvd.
Los Angeles, CA 90026

1768 N. Vermont Ave.
Los Angeles, CA 90021
Diane Rosenstein
831 Highland Ave.
Los Angeles, CA 90038

Family Books
436 N. Fairfax Ave.
Los Angeles, CA 90036

1034 N. Highland Ave.
Los Angeles, CA 90038

Hannah Hoffman
1010 Highland Ave.
Los Angeles, CA 90038

7000 Santa Monica Blvd.
West Hollywood, CA 90038

612 N. Almont Dr.
Los Angeles, CA 90069

1107 Greenacre Ave.
Los Angeles, CA 90046

Moskowitz Bayse
743 N. La Brea Ave.
Los Angeles, CA 90038

Regen Projects
6750 Santa Monica Blvd.
LLos Angeles, CA 90038

Shulamit Nazarian
616 N. La Brea
Los Angeles, CA 90036

Various Small Fires
812 Highland Ave.
Los Angeles, CA 90038
18th Street Arts
1639 18th St.
Santa Monica, CA 90404

Ben Maltz Gallery at Otis
    College of Art and Design
9045 Lincoln Blvd.
Los Angeles, CA 90045

Christopher Grimes Gallery
916 Colorado Ave.
Santa Monica, CA 90401

DXIX Projects
519 Santa Clara Ave.
Los Angeles, CA 90291

Five Car Garage
(Emma Gray HQ)

Team (Bungalow)
306 Windward Ave.
Venice, CA 90291
67 Steps
2163 Princeton Ave.
Los Angeles, CA 90026

2939 Denby Ave.
Los Angeles, CA 90039

602 Moulton Ave.
Los Angeles, CA 90031

204 S. Avenue 19
Los Angeles, CA 90031
Boyle Heights
2315 Jesse St.
Los Angeles, CA 90023

Chimento Contemporary
622 S. Anderson St., #105
Los Angeles, CA 90023

670 S. Anderson St.
Los Angeles, CA 90023

Ooga Twooga
356 Mission Rd.
Los Angeles, CA 90033

Parrasch Heijnen Gallery
1326 S. Boyle Ave.
Los Angeles, CA 90023

Museum as Retail Space (MaRS)
649 S. Anderson St.
Los Angeles, CA 90023

Nicodim Gallery
571 S. Anderson St.
Los Angeles, CA 90033

Venus Over Los Angeles
601 S. Anderson St.
Los Angeles, CA 90023
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The Armory Center for the Arts
145 N. Raymond Ave.
Pasadena, CA 91103

Los Angeles Valley College
5800 Fulton Ave.
Valley Glen, CA 91401

15168 Raymer St.
Van Nuys, CA 91405

The Pit
918 Ruberta Ave.
Glendale, CA 91201

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