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
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Artists of Color
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Anthony Lepore & Michael Henry Hayden
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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.
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Ashley Hunt
Young Chung
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Letter to the Editor
Launch Party
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Jennie Jieun Lee
by Stuart Krimko

Trisha Baga
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Jimmie Durham
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Parallel City
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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
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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
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Art Witch
Amanda Yates Garcia
Interview with
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Julie Weitz
Agnes Martin
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Jessica Simmons
Launch Party Carla Issue 6
Exquisite L.A.
Featuring:
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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/
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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
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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:
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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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Zarouhie Abdalian
at LAXART

Zarouhie Abdalian, brunt (v) (2017). Steel tool head, 12.3 x 4 x 3.8 cm. Image courtesy of LAXART.

In Work, a multi-disciplinary exhibition by Zarouhie Abdalian, the boundary between nature and the made is taken as subject. Across the exhibition, Abdalian meditates on labor in its most essential forms. In her emphasis on the impact of early tools on the efficiency of work Abdalian aims to highlight the moment at which, through technologically assisted labor, humankind began to distance itself from nature.

The main gallery is given over to work that riffs on minimalism and the notion of the ready-made. From Chalk Mine Hollow (all works 2017), a series of slab-like reliefs with aggressively tooled surfaces, hanging on the perimeter walls while pieces from the brunt series (heavily oxidized steel tool heads) stand atop slender white plinths in the gallery’s center. Set against one another brunt and from Chalk Mine Hollow stand as evidence of opposite ends of a primitive sort of work; brunt as tool and from Chalk Mine Hollow as tooled. Abdalian here draws attention to the moment of production itself, complicating ideological systems in which the products of labor are afforded primacy over production.

Elsewhere, Abdalian’s work engages installation and media art, particularly to hazard functions, events, an array of objects bent and ripped into their current form through some catastrophic failure, and threnody for the millions killed by silicosis, a sparse sound installation playing the dull thuds and pings of one object striking another.

While the works in the exhibition succeed in prompting open-ended questions on work in its various guises, ultimately, they fail to communicate any clear thesis. Focused on the index of work itself, as represented through tools and tooling, Abdalian suppresses the human role in work. In her adherence to a minimalist approach Abdalian obscures the actual implications of work on humanity that she sets out to explore.

Zarouhie Abdalian: Work runs July 30–September 2, 2017 at LAXART (7000 Santa Monica Blvd., Hollywood, CA 90038).

Zarouhie Abdalian, from Chalk Mine Hollow (iv) (2017). Hydrocal. Image courtesy of LAXART.

Zarouhie Abdalian, to hazard functions, events (2017). Steel, aluminum, tarp. Dimensions variable. Image courtesy of LAXART.

Zarouhie Abdalian, to hazard functions, events (2017) (detail). Image courtesy of LAXART.

Zarouhie Abdalian, from Chalk Mine Hollow (i) (2017). Hydrocal. Image courtesy of LAXART.

Zarouhie Abdalian, Work (installation view). Image courtesy of LAXART.

Zarouhie Abdalian and Joseph Rosenzweig, threnody for the millions killed by silicosis (2017). 4.1 audio, 45 minutes. Image courtesy of LAXART.