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
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Cirrus Gallery
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Club Pro
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Elevator Mondays
The Geffen Contemporary 
at MOCA
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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
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Mid-City
1301 PE
Big Pictures Los Angeles
California African American Museum
Chainlink Gallery
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H I L D E
JOAN
Kayne Griffin Corcoran
LACMA
ltd Los Angeles
Marc Foxx
Shoot the Lobster
Ochi Projects
Park View
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The Landing
SPRÜTH MAGERS
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Visitor Welcome Center
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Nino Mier Gallery
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Various Small Fires
South Bay
DMV
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The Torrance Art Museum
Elsewhere in CA
Alter Space (San Francisco)
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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)
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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)

The Weeping Line
Organized by
Alter Space
at Four Six One Nine
(S.F. in L.A.)

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The Weeping Line (organized by Alter Space) at Four Six One Nine; Mattea Perrotta, Mindy Rose Schwartz, Koak (installation view). Image courtesy of Alter Space. Photo: Phillip Maisel.

Female representation in the art world is maddeningly low, even decades after the emergence of the feminist art movement. However, too many exhibitions of women artists take an essentialist view based on gender, thwarting a complex and nuanced reading of their work. The Weeping Line, organized by the San Francisco-based gallery Alter Space, and hosted by Four Six One Nine, opts instead to treat gender as beside the point, rather than as the lazy, reductivist frame so often used to group female artists together. Free of gendered cataloguing, the focus stays on the work itself, which can be evaluated on its own terms.

The three artists featured in The Weeping Line do not readily fit together, thereby encouraging a teasing out of the aesthetic and conceptual connections between the work. The show features three female artists from three different cities, working in three different mediums, spanning roughly three decades in age. While the artists may come from varying perspectives, running through all their work is an emphasis on the handmade—on craft, the physical, and the tactile. The exhibition feels unapologetically old-school.

Chicago-based artist Mindy Rose Schwartz has created rough and funky mixed-media constructions, composed of paper-mache, feathers, and string. Her all-white sculptures channel Louise Bourgeois’s body-based surrealism. Oversized masks teeter on long, furry necks in Harlequin Romance (2016), with strings of tears streaming from their eyes. The piece walks the line between absurd and sincere. In The Hands of God (2011), two large, puffy hands hang down from the ceiling. They are meant to reference the Yad—literally translated to hand in Hebrew—which is the pointer that is used to read the Torah. Instead of the elegant, silver or gold instrument however, Schwartz’s are misshapen, bulbous objects, further grounded in the material realm by the small, gremlin-like figures emerging from their centers. Here is the sacred made profane; the divine found in the debased.

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The Weeping Line (organized by Alter Space) at Four Six One Nine; Mattea Perrotta, Mindy Rose Schwartz, Koak (installation view). Image courtesy of Alter Space. Photo: Phillip Maisel.

By contrast, the pastel and graphite drawings of San Francisco-based Koak have a completely different feel: they are lyrical and sensuous. These figurative works pull from the sweeping lines of Art Deco as much as from contemporary cartoon illustration. The female protagonists in her drawings—all ample curves and solid volumes, threaten to spill over the boundaries of the paper. The way in which Koak folds and twists these figures seems not so much like external violent manipulations, but rather organic expressions from within. In Koak’s gorgeously sinuous wall-drawing, Creep (2016), a larger-than-life nude figure looks back at an open doorway, perhaps casting the epithet at anyone who gazes upon her form. Women are on view, but they also look back.

Ironically, the youngest of the trio, painter Mattea Perrotta from Los Angeles, creates work that feels the most like it could be from another era: confident, geometric abstractions. With prominent paint handling, she delineates imprecise, organic forms. Garden in Bloom (2016) features two irregular, pink hills set against a black background and topped with small bumps, revealing them to be breasts, unashamedly free. A small painting that resembles early Kandinsky, The Swimmer at Playa Santa Maria (2016) depicts a white body floating over brightly-colored waves. The titular beach could be referring to a location in Cuba, giving the historically passive genre of the bather an active and potentially charged subtext.

Perrotta’s most compelling piece is Fata Morgana (2016), a large orange-pink trapezoid on a coarsely brushed grey ground. The title refers to a nautical mirage that takes its name from Morgan le Fay, the fairy witch of Arthurian legend, who would conjure visions of floating castles over the ocean, luring sailors to their death. In this context, the painting functions as a rebuke against the unchecked male gaze: stare at your own risk.

What’s perplexing about the title’s allusion to weeping is the implication of emotional vulnerability, if not hysteria, that is often cited to delegitimize female perspectives. On the contrary, these artists insist that vulnerability does not preclude a wider range of emotions, as can be seen in in the humor, pathos, and bite on view. The show displays a range and depth that could be easily lost by viewing it through an overly gendered lens. Despite the marked differences in their styles, all three artists engage with fairly well established artistic modes. The results however, mark quite a departure from historical precedents, proving that traditional media need not be abandoned to convey a contemporary message.

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Koak, Ramona’s Smize (2016). Pigment and pastel on rag paper mounted to panel, 30 x 24 inches. Image courtesy of the artist and Alter Space. Photo: Kevin Krueger.

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Koak, Sisters (2016). Graphite on rag paper, 20 x 16 inches. Image courtesy of the artist and Alter Space.

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The Weeping Line (organized by Alter Space) at Four Six One Nine; Mattea Perrotta, Mindy Rose Schwartz, Koak (installation view). Image courtesy of Alter Space. Photo: Phillip Maisel.

 

Originally published in Carla Issue 6