Issue 33 August 2023

Issue 32 June 2023

Issue 31 February 2023

Issue 30 November 2022

Issue 29 August 2022

Issue 28 May 2022

Issue 27 February 2022

Issue 26 November 2021

Issue 25 August 2021

Issue 24 May 2021

Issue 23 February 2021

Issue 22 November 2020

Issue 21 August 2020

Issue 20 May 2020

Issue 19 February 2020

Letter from the Editor –Lindsay Preston Zappas
Parasites in Love –Travis Diehl
To Crush Absolute On Patrick Staff and
Destroying the Institution
–Jonathan Griffin
Victoria Fu:
Camera Obscured
–Cat Kron
Resurgence of Resistance How Pattern & Decoration's Popularity
Can Help Reshape the Canon
–Catherine Wagley
Trace, Place, Politics Julie Mehretu's Coded Abstractions
–Jessica Simmons
Exquisite L.A.: Featuring: Friedrich Kunath,
Tristan Unrau, and Nevine Mahmoud
–Claressinka Anderson & Joe Pugliese
Reviews April Street
at Vielmetter Los Angeles
–Aaron Horst

Chiraag Bhakta
at Human Resources
–Julie Weitz

Don’t Think: Tom, Joe
and Rick Potts

–Matt Stromberg

Sarah McMenimen
at Garden
–Michael Wright

The Medea Insurrection
at the Wende Museum
–Jennifer Remenchik

(L.A. in N.Y.)
Mike Kelley
at Hauser & Wirth
–Angella d’Avignon
Buy the Issue In our Online Shop

Issue 18 November 2019

Letter from the Editor –Lindsay Preston Zappas
The Briar and the Tar Nayland Blake at the ICA LA
and Matthew Marks Gallery
–Travis Diehl
Putting Aesthetics
to Hope
Tracking Photography’s Role
in Feminist Communities
– Catherine Wagley
Instagram STARtists
and Bad Painting
– Anna Elise Johnson
Interview with Jamillah James – Lindsay Preston Zappas
Working Artists Featuring Catherine Fairbanks,
Paul Pescador, and Rachel Mason
Text: Lindsay Preston Zappas
Photos: Jeff McLane
Reviews Children of the Sun
– Jessica Simmons

Derek Paul Jack Boyle
–Aaron Horst

Karl Holmqvist
at House of Gaga, Los Angeles
–Lee Purvey

Katja Seib
at Château Shatto
–Ashton Cooper

Jeanette Mundt
at Overduin & Co.
–Matt Stromberg
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Issue 17 August 2019

Letter From the Editor Lindsay Preston Zappas
Green Chip David Hammons
at Hauser & Wirth
–Travis Diehl
Whatever Gets You
Through the Night
The Artists of Dilexi
and Wartime Trauma
–Jonathan Griffin
Generous Collectors How the Grinsteins
Supported Artists
–Catherine Wagley
Interview with
Donna Huanca
–Lindsy Preston Zappas
Working Artist Featuring Ragen Moss, Justen LeRoy,
and Bari Ziperstein
Text: Lindsay Preston Zappas
Photos: Jeff McLane
Reviews Sarah Lucas
at the Hammer Museum
–Yxta Maya Murray

George Herms and Terence Koh
at Morán Morán
–Matt Stromberg

Hannah Hur
at Bel Ami
–Michael Wright

Sebastian Hernandez
–Julie Weitz

(L.A. in N.Y.)
Alex Israel
at Greene Naftali
–Rosa Tyhurst

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Issue 16 May 2019

Trulee Hall's Untamed Magic Catherine Wagley
Ingredients for a Braver Art Scene Ceci Moss
I Shit on Your Graves Travis Diehl
Interview with Ruby Neri Jonathan Griffin
Carolee Schneemann and the Art of Saying Yes! Chelsea Beck
Exquisite L.A. Claressinka Anderson
Joe Pugliese
Reviews Ry Rocklen
at Honor Fraser
–Cat Kron

Rob Thom
at M+B
–Lindsay Preston Zappas

Soul of a Nation: Art in the Age
of Black Power, 1963-1983
at The Broad
–Matt Stromberg

Anna Sew Hoy & Diedrick Brackens
at Various Small Fires
–Aaron Horst

Julia Haft-Candell & Suzan Frecon
at Parrasch Heijnen
–Jessica Simmons

(L.A. in N.Y.)
Shahryar Nashat
at Swiss Institute
–Christie Hayden
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Issue 15 February 2019

Letter From the Editor Lindsay Preston Zappas
Letter to the Editor
Men on Women
Geena Brown
Eyes Without a Voice
Julian Rosefeldt's Manifesto
Christina Catherine Martinez
Seven Minute Dream Machine
Jordan Wolfson's (Female figure)
Travis Diehl
Laughing in Private
Vanessa Place's Rape Jokes
Catherine Wagley
Interview with
Rosha Yaghmai
Laura Brown
Exquisite L.A.
Featuring: Patrick Martinez,
Ramiro Gomez, and John Valadez
Claressinka Anderson
Joe Pugliese
Reviews Outliers and American
Vanguard Art at LACMA
–Jonathan Griffin

Sperm Cult
–Matt Stromberg

Kahlil Joseph
–Jessica Simmons

Ingrid Luche
at Ghebaly Gallery
–Lindsay Preston Zappas

Matt Paweski
at Park View / Paul Soto
–John Zane Zappas

Trenton Doyle Hancock
at Shulamit Nazarian
–Colony Little

(L.A. in N.Y.)
Catherine Opie
at Lehmann Maupin
–Angella d'Avignon
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Issue 14 November 2018

Letter From the Editor Lindsay Preston Zappas
Celeste Dupuy-Spencer and Figurative Religion Catherine Wagley
Lynch in Traffic Travis Diehl
The Remixed Symbology of Nina Chanel Abney Lindsay Preston Zappas
Interview with Kulapat Yantrasast Christie Hayden
Exquisite L.A.
Featuring: Sandra de la Loza, Gloria Galvez, and Steve Wong
Claressinka Anderson
Photos: Joe Pugliese
Reviews Raúl de Nieves
at Freedman Fitzpatrick
-Aaron Horst

Gertrud Parker
at Parker Gallery
-Ashton Cooper

Robert Yarber
at Nicodim Gallery
-Jonathan Griffin

Nikita Gale
at Commonwealth & Council
-Simone Krug

Lari Pittman
at Regen Projects
-Matt Stromberg

(L.A. in N.Y.)
Eckhaus Latta
at the Whitney Museum
of American Art
-Angella d'Avignon
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Issue 13 August 2018

Letter From the Editor Lindsay Preston Zappas
Letter to the Editor Julie Weitz with Angella d'Avignon
Don't Make
Everything Boring
Catherine Wagley
The Collaborative Art
World of Norm Laich
Matt Stromberg
Oddly Satisfying Art Travis Diehl
Made in L.A. 2018 Reviews Claire de Dobay Rifelj
Jennifer Remenchik
Aaron Horst
Exquisite L.A.
Featuring: Anna Sew Hoy, Guadalupe Rosales, and Shizu Saldamando
Claressinka Anderson
Photos: Joe Pugliese
Reviews It's Snowing in LA
at AA|LA
–Matthew Lax

Fiona Conner
at the MAK Center
–Thomas Duncan

Show 2
at The Gallery @ Michael's
–Simone Krug

Deborah Roberts
at Luis De Jesus Los Angeles
–Ikechukwu Casmir Onyewuenyi

Mimi Lauter
at Blum & Poe
–Jessica Simmons

(L.A. in N.Y.)
Math Bass
at Mary Boone
–Ashton Cooper

(L.A. in N.Y.)
Condo New York
–Laura Brown
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Issue 12 May 2018

Poetic Energies and
Radical Celebrations:
Senga Nengudi and Maren Hassinger
Simone Krug
Interior States of the Art Travis Diehl
Perennial Bloom:
Florals in Feminism
and Across L.A.
Angella d'Avignon
The Mess We're In Catherine Wagley
Interview with Christina Quarles Ashton Cooper
Object Project
Featuring Suné Woods, Michelle Dizon,
and Yong Soon Min
Lindsay Preston Zappas
Photos: Jeff McLane
Reviews Meleko Mokgosi
at The Fowler Museum at UCLA
-Jessica Simmons

Chris Kraus
at Chateau Shatto
- Aaron Horst

Ben Sanders
at Ochi Projects
- Matt Stromberg

iris yirei hsu
at the Women's Center
for Creative Work
- Hana Cohn

Harald Szeemann
at the Getty Research Institute
- Olivian Cha

Ali Prosch
at Bed and Breakfast
- Jennifer Remenchik

Reena Spaulings
at Matthew Marks
- Thomas Duncan
Buy the Issue In Our Online Shop

Issue 11 February 2018

Letter from the Editor Lindsay Preston Zappas
Museum as Selfie Station Matt Stromberg
Accessible as Humanly as Possible Catherine Wagley
On Laura Owens on Laura Owens Travis Diehl
Interview with Puppies Puppies Jonathan Griffin
Object Project Lindsay Preston Zappas, Jeff McLane
Reviews Dulce Dientes
at Rainbow in Spanish
- Aaron Horst

Adrián Villas Rojas
at The Geffen Contemporary at MOCA
- Lindsay Preston Zappas

Nevine Mahmoud
at M+B
- Angella D'Avignon

Radical Women: Latin American Art, 1960- 1985
at the Hammer Museum
- Thomas Duncan

Hannah Greely and William T. Wiley
at Parker Gallery
- Keith J. Varadi

David Hockney
at The Metropolitan Museum of Art (L.A. in N.Y.)
- Ashton Cooper

Edgar Arceneaux
at Yerba Buena Center for the Arts (L.A. in S.F.)
- Hana Cohn
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Issue 10 November 2017

Letter from the Editor Lindsay Preston Zappas
Barely Living with Art:
The Labor of Domestic
Spaces in Los Angeles
Eli Diner
She Wanted Adventure:
Dwan, Butler, Mizuno, Copley
Catherine Wagley
The Languages of
All-Women Exhibitions
Lindsay Preston Zappas
L.A. Povera Travis Diehl
On Eclipses:
When Language
and Photography Fail
Jessica Simmons
Interview with
Hamza Walker
Julie Wietz
Object Project
Featuring: Rosha Yaghmai,
Dianna Molzan, and Patrick Jackson
Lindsay Preston Zappas
Photos by Jeff McLane
Pacific Standard Time: LA/LA
Regen Projects
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
Reviews Cheyenne Julien
at Smart Objects

Paul Mpagi Sepuya
at team bungalow

Ravi Jackson
at Richard Telles

Tactility of Line
at Elevator Mondays

Trigger: Gender as a Tool as a Weapon
at the New Museum
(L.A. in N.Y.)
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Issue 9 August 2017

Letter from the Editor Lindsay Preston Zappas
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
Object Project
Featuring: Rebecca Morris,
Linda Stark, Alex Olson
Lindsay Preston Zappas
Photos by Jeff McClane
Reviews Mark Bradford
at the Venice Biennale

Broken Language
at Shulamit Nazarian

Artists of Color
at the Underground Museum

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects


Analia Saban at
Sprueth Magers
Letter to the Editor Lady Parts, Lady Arts
Buy the Issue In Our Online Shop

Issue 8 May 2017

Letter from the Editor Lindsay Preston Zappas
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
Reviews Alessandro Pessoli
at Marc Foxx

Jennie Jieun Lee
at The Pit

Trisha Baga
at 356 Mission

Jimmie Durham
at The Hammer

Parallel City
at Ms. Barbers

Jason Rhodes
at Hauser & Wirth
Letter to the Editor
Buy the Issue In Our Online Shop

Issue 7 February 2017

Letter from the Editor Lindsay Preston Zappas
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
Exquisite L.A.
Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Creature
at The Broad

Sam Pulitzer & Peter Wachtler
at House of Gaga // Reena Spaulings Fine Art

Karl Haendel
at Susanne Vielmetter

Wolfgang Tillmans
at Regen Projects

at Chateau Shatto

The Rat Bastard Protective Association
at the Landing
Buy the Issue In Our Online Shop

Issue 6 November 2016

Letter from the Editor Lindsay Preston Zappas
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
Exquisite L.A.
Analia Saban
Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Made in L.A. 2016
at The Hammer Museum

Doug Aitken
at The Geffen Contemporary at MOCA

at Tif Sigfrids

Jean-Pascal Flavian and Mika Tajima
at Kayne Griffin Corcoran

Mark A. Rodruigez
at Park View

The Weeping Line
Organized by Alter Space
at Four Six One Nine
(S.F. in L.A.)
Buy the Issue In Our Online Shop

Issue 5 August 2016

Letter form the Editor Lindsay Preston Zappas
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
Exquisite L.A.
Fay Ray
John Baldessari
Claire Kennedy
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Revolution in the Making
at Hauser Wirth & Schimmel

Carl Cheng
at Cherry and Martin

Joan Snyder
at Parrasch Heijnen Gallery

Elanor Antin
at Diane Rosenstein

Performing the Grid
at Ben Maltz Gallery
at Otis College of Art & Design

Laura Owens
at The Wattis Institute
(L.A. in S.F.)
Buy the Issue In Our Online Shop

Issue 4 May 2016

Letter from the Editor Lindsay Preston Zappas
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
Interiors and Interiority:
Njideka Akunyili Crosby
Char Jansen
Reviews L.A. Art Fairs

Material Art Fair, Mexico City

Rain Room

Evan Holloway
at David Kordansky Gallery

Histories of a Vanishing Present: A Prologue
at The Mistake Room

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

Awol Erizku
at FLAG Art Foundation
(L.A. in N.Y.)
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Issue 3 February 2016

Letter from the Editor Lindsay Preston Zappas
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
Share Your Piece
of the Puzzle
Federica Bueti
Amanda Ross-Ho Photographs
Erik Frydenborg
Reviews Honeydew
at Michael Thibault

Fred Tomaselli
at California State University, Fullerton

Trisha Donnelly
at Matthew Marks Gallery

Bradford Kessler
Buy the Issue In Our Online Shop

Issue 2 November 2015

Letter from the Editor Lindsay Preston Zappas
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
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
Reviews Mary Ried Kelley
at The Hammer Museum

Tongues Untied
at MOCA Pacific Design Center

No Joke
at Tanya Leighton
(L.A. in Berlin)
Snap Reviews Martin Basher at Anat Ebgi
Body Parts I-V at ASHES ASHES
Eve Fowler at Mier Gallery
Matt Siegle at Park View
Buy the Issue In Our Online Shop

Issue 1 August 2015

Letter from the Editor Lindsay Preston Zappas
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
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
Reviews Pierre Huyghe

Mernet Larsen
at Various Small Fires

John Currin
at Gagosian, Beverly Hills

Pat O'Niell
at Cherry and Martin

A New Rhythm
at Park View

Unwatchable Scenes and
Other Unreliable Images...
at Public Fiction

Charles Gaines
at The Hammer Museum

Henry Taylor
at Blum & Poe/ Untitled
(L.A. in N.Y.)
Buy the Issue In Our Online Shop
1301 PE
Ace Hotel DTLA
Anat Ebgi (Wilshire)
Anat Ebgi (La Cienega
Arcana Books
Artbook @ Hauser & Wirth
Baert Gallery
Bel Ami
Blum & Poe
Canary Test
Carlye Packer
Charlie James Gallery
Château Shatto
Chris Sharp Gallery
Cirrus Gallery
Commonwealth & Council
Craft Contemporary
D2 Art
David Kordansky Gallery
Diane Rosenstein
François Ghebaly
George Billis Gallery
Giovanni's Room
Hamzianpour & Kia
Hannah Hoffman Gallery
Harper's Gallery
Hashimoto Contemporary
Heavy Manners Library
Helen J Gallery
Human Resources
Hunter Shaw Fine Art
in lieu
Karma, Los Angeles
Lorin Gallery DTLA
Lorin Gallery La Brea
Lowell Ryan Projects
Luis De Jesus Los Angeles
MAK Center for Art and Architecture
Make Room Los Angeles
Matter Studio Gallery
Matthew Brown Los Angeles
MOCA Grand Avenue
Monte Vista Projects
Morán Morán
Moskowitz Bayse
New Low
Night Gallery
Nino Mier Gallery
NOON Projects
O-Town House
One Trick Pony
Paradise Framing
Park View / Paul Soto
Patricia Sweetow Gallery
r d f a
Rele Gallery LA
Roberts Projects
Royale Projects
Sean Kelly
Sebastian Gladstone
Shoshana Wayne Gallery
Shulamit Nazarian
Smart Objects
Steve Turner
Stroll Garden
Tanya Bonakdar Gallery
The Box
The Fulcrum
The Hole
the Landing
The Poetic Research Bureau
The Wende Museum
Thinkspace Projects
Tierra del Sol Gallery
Tiger Strikes Astroid
Tomorrow Today
Track 16
Tyler Park Presents
USC Fisher Museum of Art
UTA Artist Space
Various Small Fires
Libraries/ Collections
Bard College, Center for Curatorial Studies Library (Annandale-on-Hudson, NY)
CalArts (Valencia, CA)
Center for the Arts, Wesleyan University (Middletown, CT)
Charlotte Street Foundation (Kansas City, MO)
Cranbrook Academy of Art (Bloomfield Hills, MI)
Getty Research Institute (Los Angeles, CA)
Los Angeles Contemporary Archive (Los Angeles, CA)
Los Angeles County Museum of Art, Research Library (Los Angeles, CA)
Marpha Foundation (Marpha, Nepal)
Maryland Institute College of Art, The Decker Library (Baltimore, MD)
Midway Contemporary Art (Minneapolis, MN)
Museum of Contemporary Art Santa Barbara, Emerging Leaders of Arts (Santa Barbara, CA)
Northwest Nazarene University (Nampa, ID)
NYS College of Ceramics at Alfred University, Scholes Library (Alfred, NY)
Pepperdine University (Malibu, CA)
Point Loma Nazarene University (San Diego, CA)
Room Project (Detroit, MI)
School of the Art Institute of Chicago, John M. Flaxman Library (Chicago, IL)
Skowhegan Archives (New York, NY)
Sotheby’s Institute of Art (New York, NY)
Telfair Museum (Savannah, GA)
The Baltimore Museum of Art Library & Archives (Baltimore, MD)
The Metropolitan Museum of Art, Thomas J. Watson Library (New York, NY)
University of Pennsylvania (Philadelphia, PA)
University of San Diego (San Diego, CA)
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)

Art in Isolation
with Hunter Shaw

Art in Isolation with Hunter Shaw

In the coming weeks, Carla founder and editor-in-chief Lindsay Preston Zappas will be hosting chats with members of the L.A. art community via Instagram Live on Mondays, Wednesdays, and Fridays. 

The following was edited for web from an Instagram Live conversation on April 8, 2020 at 5:30 PST.

Lindsay Preston Zappas: There he is! Hunter, how’s it going?

Hunter Shaw: Hey, I’m good. How are you? Good to see you?

LPZ: Loving this hair — that looks amazing.

 HS: Thank you. That’s about two days old. You know, quarantine looks.

LPZ: Nice! Quarantine looks… I’m wondering if the hair dye might come out myself, and I never dye my hair, so… inspiration.

HS: Do it.

LPZ: I’m really happy to have Hunter Shaw here. He runs Hunter Shaw Fine Art gallery. So, how have you been doing? What have you been up to the last couple of weeks, and how are you personally staying centered and calm? What’s going on?

HS: Well, maybe a week or two weeks ago, I was saying day-by-day. But these days, I’m saying I’m taking it hour-by-hour. I think that’s really a productive and healthy mindset, because it really gives you the opportunity to change directions and reset multiple times in a day. I think we’ve probably all experienced opening our phones and seeing something shocking or overwhelming, and [you] can have the tendency to get caught in that or dwell in it a little too much. So trying to keep an hour-by-hour mentality—

LPZ: — I love that. I’ve been getting a little frustrated when I set up my day and I have this overambitious to-do list, and then those notifications come up, or something triggers me emotionally… I’m battling my own ambition to get things done and what I can personally deal with in a day with everything that’s going on.

HS: I can relate. I think that everyone in the L.A. art world can relate to that, because we’ve gone from working 110% of the time, and being out and social all the time, to the exact opposite. I know artists forever have been practicing social distancing: it’s called the studio—

LPZ: [Laughs]

HS: —But other than that, I really miss the social aspect of the art world—even the things I would complain about. I would complain about the pace of going to twelve art openings a weekend, but I would love to go and see everybody and be at an art opening this weekend.

LPZ: I know! Me too. You understand that it’s a way that we all check in with each other, but I feel like I’m also just missing those chance encounters, and people that you always see out and get to have a five-minute catch up with those people. I’m missing hugs, and I’m missing that kind of connection with our community as well.

HS: Absolutely. It’s such a paradoxical experience to at once feel so isolated, yet so connected to everyone—to be reaching out, to know that everyone’s experiencing the same thing in different ways. Everybody’s alone, but very much reaching out right now. It’s bittersweet, I guess you could say, but everyday, I’m focusing on the rewarding or fulfilling things that are happening. So my creativity, not from myself, but from a lot of my friends and my community. 

I have been drawing—that’s been one of the ways I’ve been trying to productively spend time. Probably not many people know that I [have a] making practice in addition to the gallery. That’s how I arrived at curating, through my own practice as an artist. With the gallery, I’ve had less and less time to do that, and a very unexpected but nice use of my time to get back into the studio and do some painting.

LPZ: I love it. So, you opened an exhibition: was it shelter-in-place quite yet, or maybe right before you opened a two-person show at the gallery?

HS: Right. The show is a two-person show with Tammy Nguyen, who’s based in New York City, and Adam de Boer, who I’ve shown at the gallery a number of times. The show opened March 15th, which was basically the weekend right before the shelter-in-place order took effect. There was already talk about social distancing, so the opening was a very small affair. We didn’t call it an opening; we extended the hours to be a full-day preview. Mostly, it was a family attendance. Adam’s family came out and a few friends, but sadly, it was put on hold shortly after that. 

It’s still hanging, but I haven’t been taking any appointments. I’m just extra cautious and follow the CDC guidelines and everything, but I’m happy to say that the show will reopen when the time is right. I was very fortunate to have flexibility in my program this year, so I was able to keep this one up indefinitely, and I look forward to sharing it with everyone when it’s safe.

LPZ: I’ve been wondering how larger institutions or even larger galleries are going to deal with that, because often they have exhibitions slated throughout the year, and the loans already in place, and things like that. That speaks to the agility of someone like you—that’s a smaller operation and you can really shift to the circumstances, which is really exciting.

HS: I’ve felt very fortunate to be in that camp. Being a one-person operation, I have a much smaller overhead. With the programming, it was just coincidence. Usually, I try to have at least 6-8 months planned out, but earlier this year, things were a little more nebulous, and coincidentally, it worked in my favor to be able to keep this terrific show up indefinitely. 

I think it will be a great show for people to come out and see when they’re out of quarantine because the subject matter coincidentally is about human resilience and fortitude and solidarity in the face of difficulty and ever-changing circumstances. So it’s a very timely show. It’s a very optimistic one that I think people will find very moving when they’re able to see it.

LPZ: You sent me an email this week talking about how galleries are adapting to digital. In your email, you were like, “It wouldn’t make sense to have a painting show online.” Can you talk about that?

HS: I don’t mean that as any dig at any other gallery. I certainly understand the programming and the financial constraints that everybody’s under. But for me, just as a viewer, I find the online viewing rooms that are featuring sculpture and painting to be an unfortunate compromise for pretty much everyone involved. It’s even a compromise for the gallery because, of course, you want people to come in and see what experience [the painting or sculpture] provides in physical space, you know? 

These are objects meant to be experienced IRL, and I’ve had that problem even pre-corona, where the digital viewing experience is so normalized, that people think that seeing a JPEG of a painting is the same as seeing it in person which, to me, is not adapting at all. 

In adapting to a virtual platform, it was important to me to showcase works that were digitally native, that would work well streaming or being seen on a computer screen. Video, really, was the obvious medium to look at, but I’ve always been a major fan of moving-image works, and thought it would be a great opportunity to put together a group of works that I had seen in the last few years that I had felt were highly entertaining, but also had a critical perspective that might be very appropriate to our current circumstance, and it might be thought-provoking given what’s going on.

LPZ: Yeah. And critical toward…? Can you expand on that a bit, some of the overarching themes in the videos?

HS: The online exhibition is called Reality is Canceled

LPZ: Which feels true.

HS: —It really looks at the network of forces creating what I would describe as the “consensus reality” in the contemporary world, or at least, within the neoliberal world. In a short list, that could be defined as corporations, the media, markets, politics. So these four videos take a specific subject matter but take a critical look at the pros and cons of some of those forces.

LPZ: So this is on your website, and it’s streaming at the moment, so anyone can go on and watch these three videos. Was this something [that came from] thinking on your feet to adapt to the digital interfaces we’re in right now? I’m curious about the parallel exhibitions: you have the one that’s in the gallery, and this one seems more responding to our moment and to that digital interfacing.

HS: Absolutely. I think that because of the timing of everything—having Tammy and Adam’s show unexpectedly close right after the opening—it has not been seen at all, and in my opinion, really needs to be seen in person. For me, for all intents and purposes, that show is unfortunately on hold at the moment. 

I wanted to have something that people could engage with, but I think in the first few days of being isolated and the first few days of COVID hitting L.A., my mind was in hyperdrive, and I was really thinking about the situation, [and] in my opinion, some of the forces or decisions that may have led to the situation.

LPZ: Also using your skill as a gallerist and curator to make a show out of it, and position these [four] artists in conversation with each other.

HS: I might as well throw it out there—who they are. Four films, and each are, more or less, long-format. They range between twenty minutes and an hour, so it’s a nice program. You can sit down and watch for two hours. 

In any case, the films are Nina Sarnelle’s Big Opening Event (2019), which looks at the mega-deals struck between corporations and governments, such as Amazon and their fulfillment centers—they have been proliferating all over the country. There is Maura Brewer’s Jessica Manafort (2018), which looks at a film made by Paul Manafort’s daughter and reimagines that film as a film about money laundering—which it potentially was financed by laundered money. It’s really fascinating; I don’t want to give too much away. 

Don Edler’s The Production of Information (2019), which I showed earlier in 2019 as part of his exhibition Two Minutes to Midnight. That’s a feature-length, experimental documentary-hybrid political satire that is about the way that ideology is packaged through the media. The final piece is Nicolas Grenier’s Vertically Integrated Socialism (2017) which, of the four films, is the only fiction, and it imagines a fictional housing project that combines a Libertarian free-market system with an inclusive socialist housing program. It kind of creates this very paradoxical moral dilemma for the people who live there. [Laughs]

LPZ: Right… right. I’ve seen clips of that. That video is really interesting.

HS: It really is. I’m happy to be friends with Nicolas, and we’ve collaborated in the past. I’m also very grateful to Luis De Jesus Gallery for giving us the permission to include that film. Nicolas is represented by Luis.

LPZ: I’m curious, looking around at other galleries, if there are other digital transitions that you’ve seen that you feel like you really responded to, or [are] speaking to how our community might be shifting to that reality for a while moving forward? Do you have any thoughts or advice on what we should be looking at or how we can stay connected digitally in this time?

HS: I don’t know if anything comes off the top of my head. I think that what I said earlier is that for me, as a viewer, I am more interested in seeing digitally native content right now. I think that’s difficult for some galleries because everyone is stuck within financial obligation right now to sell and to make money. 

I would like to say that showing video right now—it’s a great time to show video because you can host it, you can put it online without the financial constraints or pressures of showing moving image in a commercial gallery setting, which often doesn’t get shown because—

LPZ: There’s a whole other set of physical concerns as well in a gallery space.

HS: Certainly. Buying or renting the technology to show videos is prohibitive. It’s very difficult to sell—more so than painting or sculpture or photography—so often, it doesn’t get shown in galleries for that reason. But I think this is a great opportunity to show some of those works because it’s a very contemporary and current medium, and I think that it’s potentially relatable to people outside the “hardcore art world.” 

Not to draw more attention to, or to plug my program, but I do feel that films like what I’m showing have almost the potential to cross over, and they’re all, more or less, essay films or experimental documentaries, and I could see, in a couple of years, content like that being on more mainstream platforms like Netflix or something. Hopefully, maybe I’m fucking crazy. I don’t know. [Chuckles]

LPZ: No! I mean, we’re all at home watching stuff, so it’s interesting to see how some of these more art-driven films might work in that context, when we’re all at home, on our couches, watching stuff. But still making space for the culturally enriching things that are so important to you and I, and to all of our community.

HS: Absolutely. I’m excited to see how artists—I mean, I know for a fact that great work is being made right now. I hope that people respond to the opportunity to create work that does shift the paradigm or opens new possibilities of being seen virtually or more democratically. But I don’t know. As a gallerist and as an artist, it’s a really hard time because I believe that physical, object-based work needs to be seen in person, and I fundamentally believe in that. In the meantime, all we can be is creative and resourceful, and try to platform the things that are made to be seen in this type of environment.

 LPZ: There’s this pressure of “we need to be productive, we need to be making, we have so much time” We need to make quarantine art or something, like it’ll be special in the future. But I don’t know man, it’s tough in the studio these days.

HS: Certainly. Like I’ve said, I’ve been taking it hour-by-hour, or day-by-day, and sometimes, you just can’t—you know? I definitely understand that. I don’t think there should be a pressure or an expectation that if you did not come out of this with a brand-new body of work you’re irrelevant. 

That’s ridiculous, and that’s just the U.S. capitalist machine taking a hold of your mind. If you are inspired to be working right now, and being productive is therapeutic and healthy for you, do that. But if you need to rest, if you need to binge-watch whatever, do it. Whatever works for you right now, as long as you’re not endangering yourself or others. [Laughs]

LPZ: I love that. I love that you’re drawing too. Your drawings feel very meditative and calming.

HS: This was not a preplanned segue for all you streamers, but that is exactly what they are about. I’m glad that you picked up on that. The technique that I’ve been working with for a few years was an active attempt to try to unite my meditation practice with my painting practice. You may notice all of my paintings are made up of individual strokes that are separated, so when I’m making my painting, I try to unite my breath with mark-making.

I really try to make a stroke on an exhalation, and so I try to make the process of creating it a breath practice. So that’s been good. My wife and I have been spending a lot of time meditating, and that’s been another way of staying more centered, obviously, but trying to really feed the mind, body, and soul during this time. I know I’ve been needing that just to cope with the day-to-day.

LPZ: Yeah, yeah. Hour-by-hour, man.

Promo image for Reality Is Canceled (online
exhibition) (2020). Image courtesy of Hunter Shaw Fine Art, Los
Don Edler, The Production of Information (2019). HD Video, single-channel, dimensions variable; 1 hour, 8 minutes. Image courtesy of Hunter Shaw Fine Art, Los Angeles Photo: Ruben Diaz.
Tammy Nguyen & Adam de Boer: Facing New Axes (installation view) (2020). Image courtesy of Hunter Shaw
Fine Art, Los Angeles. Photo: Ruben Diaz.
Adam de Boer, Riverwalker (2020). Wax-resist, acrylic washes, and oil paint on linen, 36 x 54 inches. Image courtesy of Hunter Shaw Fine Art, Los Angeles.
Tammy Nguyen, Dust Season (2020).
Watercolor, vinyl paint, and pastel on paper stretched over wooden panel, 48 x 51 inches (including 1-inch spaces between each panel). Image courtesy of Hunter Shaw Fine Art, Los Angeles.

Hunter Shaw, Wings For Liz (2017). Watercolor on paper, 10 x 8 inches.

Lindsay Preston Zappas is an L.A.-based artist, writer, and founder and editor-in-chief of Carla. She is an arts correspondent for KCRW. She received her MFA from Cranbrook Academy of Art and attended Skowhegan School of Painting and Sculpture in 2013.

More by Lindsay Preston Zappas