Barely Living with Art:
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Spaces in Los Angeles
Eli Diner
She Wanted Adventure:
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Catherine Wagley
The Languages of
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Lindsay Preston Zappas
L.A. Povera Travis Diehl
On Eclipses:
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Paul Mpagi Sepuya
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Ravi Jackson
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<em>Tactility of Line</em>
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<em>Trigger: Gender as a Tool as a Weapon</em>
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Launch Party November 18, 2017
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Lindsay Preston Zappas
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Pacific Standard Time: LA/LA
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Ibid Gallery
One National Gay & Lesbian Archives and MOCA PDC
The Mistake Room
Luis De Jesus Gallery
the University Art Gallery at CSULB
the Autry Museum
Women on the Plinth Catherine Wagley
Us & Them, Now & Then:
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Travis Diehl
The Offerings of EJ Hill
Ikechukwu Casmir Onyewuenyi
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Letter to the Editor Lady Parts, Lady Arts
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Lindsay Preston Zappas
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<em>Broken Language</em>
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<em>Artists of Color</em>
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Anthony Lepore & Michael Henry Hayden
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by Simone Krug

Analia Saban at
Sprueth Magers
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Kanye Westworld Travis Diehl
@richardhawkins01 Thomas Duncan
Support Structures:
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Catherine Wagley
Interview with
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Eliza Swann
Exquisite L.A.
taisha paggett
Ashley Hunt
Young Chung
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Letter to the Editor
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Jennie Jieun Lee
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Trisha Baga
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Jimmie Durham
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<em>Parallel City</em>
at Ms. Barbers
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Jason Rhodes
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Catherine Wagley
Put on a Happy Face:
On Dynasty Handbag
Travis Diehl
The Limits of Animality:
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(L.A. in N.Y.)
Ikechukwu Casmir Onyewuenyi
More Wound Than Ruin:
Evaluating the
"Human Condition"
Jessica Simmons
Launch Party February 18, 2017
at Shulamit Nazarian
Exquisite L.A.
Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews <em>Creature</em>
at The Broad
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Sam Pulitzer & Peter Wachtler
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Karl Haendel
at Susanne Vielmetter
by Aaron Horst

Wolfgang Tillmans
at Regen Projects
by Eli Diner

at Chateau Shatto
by Claire de Dobay Rifelj

<em>The Rat Bastard Protective Association</em>
at the Landing
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
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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
<em>Made in L.A. 2016</em>
at The Hammer Museum
by Molly Larkey

Doug Aitken, <em>Electric Earth</em>
at The Geffen Contemporary at MOCA
by Aaron Horst

at Tif Sigfrids
by Keith J. Varadi

Jean-Pascal Flavian and Mika Tajima
at Kayne Griffin Corcoran
by Katie Bode

Mark A. Rodruigez
at Park View
by Stuart Krimko

<em>The Weeping Line</em>
Organized by Alter Space
at Four Six One Nine
(S.F. in L.A.)
by 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 <em>Revolution in the Making</em>
at Hauser Wirth & Schimmel
by Hana Cohn

Carl Cheng
at Cherry and Martin
by Eli Diner

Joan Snyder
at Parrasch Heijnen Gallery
by Claire De Dobay Rifelj

Elanor Antin
at Diane Rosenstein
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<em>Performing the Grid</em>
at Ben Maltz Gallery
at Otis College of Art & Design
by Molly Larkey

Laura Owens
at The Wattis Institute
(L.A. in S.F.)
by 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 L.A. Art Fairs
by Claire de Dobay Rifelj

Material Art Fair,
Mexico City
by Matt Stromberg

<em>Rain Room</em>
by Hana Cohn

Evan Holloway
at David Kordansky Gallery
by Lindsay Preston Zappas

<Histories of a Vanishing Present: A Prologue</em>
at The Mistake Room
by Simone Krug

Carter Mull
at fused space
(L.A. in S.F.)
by Keith Vaughn

Awol Erizku
at FLAG Art Foundation
(L.A. in N.Y.)
by 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 <em>Honeydew</em>
at Michael Thibault
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Fred Tomaselli
at California State University, Fullerton
by Jonathan Griffin

Trisha Donnelly
at Matthew Marks Gallery
by Don Edler

Bradford Kessler
by 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:
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at Kaldi, Smart Objects,
White Cube, and
Château Shatto
Evan Moffitt
Melrose Hustle Keith Vaughn
Reviews Mary Ried Kelley
by Benjamin Lord

<em>Tongues Untied</em>
at MOCA Pacific Design Center
by Aaron Horst

<em>No Joke</em>
at Tanya Leighton
(L.A. in Berlin)
by Stephen Kent
Top-Down Bottom-Up Jenny Gagalka
Snap Reviews Martin Basher at Anat Ebgi
<em>Body Parts I-V</em> at ASHES ASHES
Eve Fowler at Mier Gallery
Matt Siegle at Park View
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
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Reviews Pierre Huyghe
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Mernet Larsen
at Various Small Fires
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John Currin
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Pat O'Niell
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<em>A New Rhythm</em>
by Kate Wolf

<Unwatchable Scenes and
Other Unreliable Images...</em>
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Charles Gaines
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Henry Taylor
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Women on the Plinth

Mai-Thu Perret, Les guérillères II (2016). Papier-mâché, steel, wire, acrylic paint, gouache, synthetic hair, cotton and polyester fabric, bronze, and polyester resin, with steel base, 68 x 29 x 27 inches. Courtesy of David Kordansky Gallery, Los Angeles, CA. Photo: Brian Forrest.

Khaki green “is one of the trendiest colors this season,” wrote H&M press officer Ida Ståhlnacke in 2014. She was responding to accusations that the brand had modeled its new khaki jumpsuit after the Kurdish all-female militia, People’s Protection Units (YPJ). Any resemblance to YPJ fatigues was merely coincidental, Ståhlnacke asserted, as H&M detractors took to Facebook: “It’s terrible that H&M use the ISIS war against Kurds to make money,” one posted. (1)

It’s easy to see both sides: in going for rebel chic, the fashion corporation could have accidentally gone too far, and a female militia used to being condescended to could certainly be annoyed by seeing their look—rather than their fight—appropriated. H&M should be “inspired by [Kurdish women’s] bravery & sacrifices” rather than their clothes, suggested another detractor (2), though it’s difficult to imagine what else H&M, a fast fashion brand, could do with bravery as inspiration (“donate that money” suggested another commenter).

For her recent show at David Kordansky, artist Mai-Thu Perret took inspiration from the YPJ’s bravery, as well as the utopian promise she read into their very existence as women living communally while opposing ISIS. None of the elaborate mannequins in Perret’s Kordansky exhibition wore jumpsuits, but a few wore khaki green jackets, as they stood stoically on a chest-high white plinth. “[T]here was this promise of some kind of a very positive social order,” the Geneva-based artist told Interview Magazine weeks before her Kordansky show opened. She had just seen documentary footage of the militia, likely that in which soldiers carry the flag-covered casket of their comrade before describing feminist role models (Rosa Luxembourg, Joan of Arc) and framing their combat as beneficial even to globalized countries in which neither women’s lib nor democracy have quashed inequality. Continued Perret, “Whether or not it was like that in reality, I don’t know, but there was something about it that was very hopeful.” (3)

Mai-Thu Perret, Féminaire (2017) (installation view). Image courtesy of David Kordansky Gallery, Los Angeles, CA. Photo: Brian Forrest.

Perret’s figures were posed as if in one of Annie Leibovitz’s power women photoshoots for Vanity Fair: some seated, some standing with legs apart, one arranged next to her perky brown ceramic dog, all facing forward. Their limbs are made of various materials, from glazed ceramic to wicker to silicon to papier-mâché. The women hold rifles made of colored plastic, have synthetic hair, and wear impeccably well-styled clothing, much more complex than anything H&M would stock. One woman with long red bangs wears a clean white shirt, sleeves rolled under, tucked into belted green cargo pants rolled up just past the knees. Her black sneakers, made of glazed ceramic, shone.

Material lushness has always been part of Perret’s visual, tactile narrative of feminism and rebellion. In 1999, she began making work loosely informed by a fictional feminist separatist commune that she invented, her sculptures standing-in for these women’s handiwork and ideologies. The first time I wrote about Perret’s work in 2011, I compared her smoothly bumpy ceramic wall sculptures and Rorschach-informed paintings to shag rugs in abortion clinics in the 1970s. I felt a connection between her craft—always tasteful and openly indebted to both modernism and pattern and decoration—and efforts to make women feel comfortable, not shameful, about difficult choices.

The relationship between materiality and content in her just-closed show at Kordansky is more complicated to unpack, however. Her fictional militia intentionally referenced a real one, and yet was so attractively ensconced in its white-walled setting as to feel safely distanced from reality. As an idea and image, the sculpted feminist rebels were seductive. They’re also part of a zeitgeist—art and pop about feminist resistance and radicality within dystopian futures. But how does such art speak into or alongside urgent political actualities? How does white-cube-feminism coexist respectfully with those on literal front lines?

Mai-Thu Perret, I have no comment (2017). Glazed ceramic, 17 x 20 x 5 inches. Image courtesy of the artist and David Kordansky Gallery, Los Angeles, CA.

When Perret debuted her mixed-media militia at the Nasher Sculpture Center in Dallas last March, the press release described this new work as relating the artist’s “interest in utopian societies to the recent development of a secular Kurdish community…in the Syrian region of Rojava.” The statement—not Perret’s own words—uncomfortably reduced the distance between the YPJ and Perret’s invented New Mexico commune, “New Ponderosa,” whose name evokes a hippie furniture store. At one point in the narrative that Perret wrote about her commune—titled The Crystal Frontier (the same name novelist Carlos Fuentes gave his 1995 collection about blurry U.S.-Mexico borders)—the women of New Ponderosa discuss one member’s trust fund, which has been supporting them for some time. The trust fund, while as fictional as the women who rely upon it, suggests dependency on previous traditions and the comfort for the subtle, lyrical subversions of modernism that often occur in Perret’s work. When dependent on tradition, it’s smarter to subvert it than reject it wholesale.

The title of Perret’s Kordansky show, Féminaire, comes from the small books carried by the female warriors in Monique Wittig’s 1969 epic Les Guérillères, a protest novel by a French feminist and theorist who participated in academia while resisting its rigidity. Perret titled her sculpted militia women Les guérillères, too, each not only loosely inspired by the YPJ but also a vague homage to Wittig’s fighters of patriarchy. Wittig’s warriors, who sing while they fight, treat battle as a sensual experience. They make time, between sieges, to anoint each other with sandalwood oil or sit on piles of leaves, holding hands, because they must not “abandon the collectivity.” (4)

Intimacy and euphoria seem as crucial to their strategy as stealth and weapon training. Their féminaires discuss gynecological anatomy and its connotations (often spelling out the functions of the clitoris and labia), but the women resist anatomical essentialism (the “vulvas with their elliptical shape” must not be compared to “suns, planets”). (5)  The biological facts of their gender are more incidental than the social factors that necessitate their battles against male dominance.

Mai-Thu Perret, Féminaire (2017) (installation view). Image courtesy of David Kordansky Gallery, Los Angeles, CA. Photo: Brian Forrest.

The one drawing titled Féminaire (2017) in Perret’s show resembles a diagram, an oval at its center with illegible text and symbols in and around it. The gallery press release points out that it looks like an exhibition poster, and it does—an inexplicit, aesthetically pleasing advertisement for something vaguely feminist. On the wall adjacent to the poster, opposite the women on the plinth, hung misshapen ceramic rectangles with narrative titles. Finger-prints puncture all sides of The mind’s eye is as bright as the moon (2017), a crimson-colored ceramic slab that looks as though it has been repeatedly clawed at. Perret indeed took a go at each of these ceramic rectangles with bare hands, viscerally obstructing their geometry without ruining it altogether.

This is the kind of work Perret is best known for: materially and art-historically savvy objects hovering halfway between decoration and dissent. “The danger remains that these loose references…threaten to repeat rather than negate the fashion impulse Perret critiques,” art historian Hannah Feldman pointed out in 2006. “Her Constructivism, for instance, could be someone else’s Design Within Reach Bauhaus-style knockoff.” (6) In the cloistered conversations that happen within the art world, this hovering is often okay, sometimes even provocative. But once one references the YPJ in an exhibition in a country newly under the leadership of an openly misogynistic president, hostile to helping Syrian refugees, the conversation shifts. Here such open-ended gestures could seem politically wishy-washy, even offensive.

Perret is not, in my opinion, criticizing the fashion impulse as much as using it, to give a sensory form to an in-between space where radical politics run up against constraints of capitalism and conservatism. Even radicals have internalized these constraints (note that New Ponderosa members make money by selling their handiwork). But never before has Perret built an army—in the past her mannequins have been more impressionistic, even wearing white and dancing around an oversized teapot in one installation. (7)

Mai-Thu Perret, Les guérillères III (2016). Papier-mâché, steel, wire, acrylic paint, gouache, synthetic hair, cotton and polyester fabric, bronze, glazed ceramic and wool blanket, 37.5 x 70 x 33 inches. Image courtesy of the artist and David Kordansky Gallery, Los Angeles, CA. Photo: Brian Forrest.

Other artists are also attempting to insert thoughtful, hopeful representations of radicals into the Western milieu, some using Perret’s very same resources. In 2015, artist Beatriz Santiago Muñoz made That which identifies them like the eye of the Cyclops, a film that attempted to restage Monique Wittig’s Les Guérillères in a small Puerto Rican community. In one part, the women hold colored Plexiglas up to the landscape, as if holding a bow and arrow, working on a signaling system to tell colleagues to come back or to call for reinforcements. Muñoz’s narrative, less explicit than Perret’s, turns resistance into a series of small gestures, poetic but also pragmatic.

Perret, in contrast, built the whole army, though one with members who don’t seem to know how to wield their weapons to reshape their Western context. They, like many of her previous sculptures, stand-in for the desire for a freer, more sensual, egalitarian and progressive world—though in their photo-shoot-ready poses, they manifest the shortcomings of this approach even more forcefully. They’re limited by convention, too familiar to threaten the state of affairs. They articulate, whether Perret meant them to or not, the inability to break the form that keeps us from breaking free, still internalizing the moves of a system we’re resisting.


  1. Tom Wyke, “H&M apologises after being accused of modeling £15 khaki outfit on uniform worn by Kurdish female fighters battling ISIS,” Daily Mail, Oct. 6, 2014,
  2. “Rebel Sell: H&M appologizes for Kurdish female fighter-inspired jumpsuit,”, 7 October 2014,
  3. Pimploy Phongsirivech, “Mai-Thu Perret’s Militia,” Interview Magazine, May 19, 2017,
  4. Wittig, Monique. Les guérillères. New York: Viking Press, 1971, 35.
  5. Ibid., 37.
  6. Hannah Feldman, “Desert of the Real,” Artforum, Summer 2006.
  7. Mai-Thu Perret, And Every Woman will be a Walking Synthesis of the Universe (2006). The Renaissance Society, Chicago, Illinois. (The title of this show came from the 1920 Futurist Manifesto of Women’s Fashion by Vincenzo Fani.

Mai-Thu Perret, Féminaire (2017) (installation view). Image courtesy of David Kordansky Gallery, Los Angeles, CA. Photo: Brian Forrest.

Mai-Thu Perret, She plants apples at the bottom of the well (2017). Glazed ceramic, 16 x 21.25 x 4 inches. Image courtesy of the artist and David Kordansky Gallery, Los Angeles, CA.

Mai-Thu Perret, Les guérillères IV (2016). Wicker, silicone, steel, synthetic hair, glass, cotton and polyester fabric, bronze, and polyester resin, with steel base, 67 x 33 x 25.5 inches. Image courtesy of the artist and David Kordansky Gallery, Los Angeles, CA. Photo: Photo: Kevin Todora.

Originally published in Carla Issue 9