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:
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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
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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:
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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,
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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
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Van Hanos
at Chateau Shatto

Van Hanos, A Recent History of the United States of America (2017). Oil on linen, 78 x 105 inches. Image courtesy of the artist and Château Shatto, Los Angeles. Photo: Elon Schoenholz.

In order to experience humiliation, one must first have the capacity for shame. As such, watching our shameless president’s visage appear through a series of humiliations in Van Hanos’s Late American Paintings at Chateau Shatto is a curiously hopeless, and joyless, experience. Trump appears throughout as a caricatured baddie, less menacing than ubiquitous, at the scene of every crime: global warming and catastrophe, corporate malfeasance, et al. Hanos’s Trumpty Dumpty (all works 2017) pictures Trump in a variety of guises, feuding with swashbuckling My Little Ponies and some scenery-chewing cartoon lightbulbs. Elsewhere, Trump is figured as a gleeful child stabbing at the earth with a fork (Snakes and Ladders) and as a grotesque parade float presiding over a particularly obnoxious poker game (A Recent History of the United States of America).

More striking works appear where Hanos’ focus zooms out. Prototypes for White Children is perhaps the most interesting work here—an all-over composition featuring decades worth of cartoon faces crowded together. The tension between its damning title and frothy nostalgia is palpable, if stiff, underscoring one of the central social conditions underpinning our dire political reality.

Van Hanos’ Snakes and Ladders is a messy compendium in a similar vein to Judith Bernstein’s recent In Evil We Trust (2017).1 However, Hanos’ piece reads more as farce, lacking the lurid, visceral crackle of Bernstein’s, though both are rooted in the hyperbole that the President both represents and regularly proclaims. The art world, ever-anxious about its own relevance, has been busy making out of political lemons very expensive lemonade—solidarity with the Resistance™ taking the form of arty potshots at an easy, powerful target. Hanos offers no way out—perhaps it’s not his, or art’s, job to do so—but what results revels in humiliation and a kind of limpid, teenage inertia. To that end, the spleen-venting of Late American Paintings fatigues rather than enlightens, and retreads rather than revolts.

Van Hanos: Late American Paintings runs October 7–November 11, 2017 at Chateau Shatto (1206 S. Maple Ave., Suite 1030, Los Angeles, CA 90015).

Van Hanos, Late American Paintings (2017) (installation view). Image courtesy of the artist and Château Shatto, Los Angeles. Photo: Elon Schoenholz.

Van Hanos, Prototypes for White Children (2017). Oil on linen, 78 x 54 inches. Image courtesy of the artist and Château Shatto, Los Angeles. Photo: Elon Schoenholz.

Van Hanos, Trumpty Dumpty (2017). Oil on linen, 78 x 54 inches. Image courtesy of the artist and Château Shatto, Los Angeles. Photo: Elon Schoenholz.

Van Hanos, Late American Paintings (2017) (installation view). Image courtesy of the artist and Château Shatto, Los Angeles. Photo: Elon Schoenholz.

Van Hanos, Snakes and Ladders (2017). Oil on linen, 78 x 54 inches. Image courtesy of the artist and Château Shatto, Los Angeles. Photo: Elon Schoenholz.

Van Hanos, Post-vessel Self Portrait Trying to Recall the Mundane (2017). Oil on linen 78 x 105 inches. Image courtesy of the artist and Château Shatto, Los Angeles. Photo: Elon Schoenholz.

Van Hanos, A Continuing and Timeless Mirror of Ourselves (2017). Oil on linen, 78 x 78 inches. Image courtesy of the artist and Château Shatto, Los Angeles. Photo: Elon Schoenholz.

  1.  Bernstein’s work appeared in Venus Over Los Angeles’ recent CUNT exhibition (July 15-September 2, 2017)