Issue 36 May 2024

Issue 35 February 2024

Issue 34 November 2023

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
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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
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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.)
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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.)
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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
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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
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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
Anat Ebgi (La Cienega)
Anat Ebgi (Wilshire)
Arcana Books
Artbook @ Hauser & Wirth
Babst Gallery
Baert Gallery
Bel Ami
Canary Test
Carlye Packer
Charlie James Gallery
Château Shatto
Chris Sharp Gallery
Cirrus Gallery
Clay ca
Commonwealth & Council
Craft Contemporary
D2 Art (Inglewood)
D2 Art (Westwood)
David Kordansky Gallery
David Zwirner
Diane Rosenstein
François Ghebaly
Gana Art Los Angeles
George Billis Gallery
Giovanni's Room
Hannah Hoffman Gallery
Harper's Gallery
Hashimoto Contemporary
Heavy Manners Library
Helen J Gallery
Human Resources
in lieu
LaPau Gallery
Lisson Gallery
Louis Stern Fine Arts
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
Nazarian / Curcio
Night Gallery
Nino Mier Gallery
NOON Projects
O-Town House
One Trick Pony
Paradise Framing
Park View / Paul Soto
Patricia Sweetow Gallery
Regen Projects
Reparations Club
r d f a
REDCAT (Roy and Edna Disney CalArts Theater)
Roberts Projects
Royale Projects
Sean Kelly
Sebastian Gladstone
Shoshana Wayne Gallery
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
Village Well Books & Coffee
Outside L.A.
Libraries/ Collections
Baltimore Museum of Art (Baltimore, MD)
Bard College, CCS Library (Annandale-on-Hudson, NY)
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 (Los Angeles, CA)
Maryland Institute College of Art (Baltimore, MD)
Midway Contemporary Art (Minneapolis, MN)
Museum of Contemporary Art (Los Angeles, CA)
NYS College of Ceramics at Alfred University (Alfred, NY)
Pepperdine University (Malibu, CA)
San Francisco Museum of Modern Art (San Francisco, CA)
School of the Art Institute of Chicago (Chicago, IL)
The Metropolitan Museum of Art (New York, NY)
University of California Irvine, Langston IMCA (Irvine, CA)
University of Pennsylvania (Philadelphia, PA)
University of Washington (Seattle, WA)
Walker Art Center (Minneapolis, MN)
Whitney Museum of American Art (New York, NY)
Yale University Library (New Haven, CT)

Art in Isolation with Julia Haft-Candell

Julia Haft-Candell.

Lindsay Preston Zappas: Hello Julia! How’s it going?

Julia Haft-Candell: I’m good! I’m pretty good today.

LPZ: Great. Day by day, right?

JHC: It is very day by day. 

LPZ: I know. I’m so happy to talk to you and just check in. Cheers! Tell me what you’ve been up to—what has your routine been the last couple of weeks? 

JHC: Part of why this has been so weird is I’m a really routine-oriented person, and it’s obviously changed my whole routine, so that has been weird. I don’t know, it’s hard to remember what day it is. The main structure I have is that I teach. I’m a part-time professor at USC in ceramics. That’s been through Zoom now and it’s been very hard to try to figure that out.

LPZ: Right, because your teaching is typically hands-on. How do you translate that to a Zoom experience? 

JHC: Very hands on—that’s like my whole reason for doing it. All of the ceramics folks have been discussing all of the different possibilities; there’s videos, there’s readings, there’s so many different things. Some of my students have clay at home, some don’t. The teaching has been a big part of [my routine]. But besides that, I’ve been trying to go to the studio, we’ve been cooking a lot—trying to create structure, structure and space. 

LPZ: I think it’s amazing that you’ve been going to the studio. How has that been feeling for you?

JHC: It’s been really good, but weird. I felt a little conflicted about it because it’s technically not home, it’s a short drive away, and so I didn’t know if that was allowed under shelter in place. But it’s a pretty quiet space, I can go there and not really interact with people, so I figured it was okay. I really think I would go nuts if I didn’t go there. I have plenty of things around the house that I can do like sewing, and knitting, and gardening, but I really need to work in the studio. 

It’s been really nice to have the time and quiet, but I realized through this is that it’s not enough to just have the studio and the time. I think I thought maybe that if I had all this time in the studio and no one to distract me, that it would be great—and it is. But also I really felt something spiritually missing, and I realized I was interacting with people and showing my work to people in a one-on-one way—because you know, you can show it digitally too but it’s not the same, especially with sculpture and ceramics. 

LPZ: Isn’t that interesting, though? I’m an artist and I feel like so often I’m like, “if I only had the time. If I just had two extra days in the week then that would fix things.” But it’s really interesting to realize that no, it’s not just that. It’s the community, it’s a conversation, it’s the peers that kind of push you and are able to sort of intellectually jiggle what you’re doing…  

JHC: And get you out of your head, too. That’s really important, I think. 

LPZ : So you were normally doing that pre-isolation? And how have you found to do that now? 

JHC: I realized that in the last year or so, I’ve been pretty regularly trying to do studio visits—have people to the studio and go to people’s studios and have conversations about work, usually just with artist friends or whoever is interested. I guess I hadn’t realized how much that was helping me or sustaining me, or just making me think—spiritually giving me some sort of thing that I needed.

Sometimes that feels like a distraction, it feels like I have to do this thing, and so the idea of having the time to be in the studio uninterrupted sounds really wonderful. But now I’m thinking about, after realizing that wasn’t enough, what can I do to, in this different kind of space, try to make connections between the community or in the community? And so I decided I’ll just reach out and try to do Zoom visits. 

It’s kind of nice because it’s allowed me and some of my friends on the East Coast to connect more. My friend Rebecca Manson and I were working in our studios at the same time on FaceTime and that was really nice. And I’m maybe going to do some sort of crit group with some folks over and New York also. Normally I would not be able to join in on that.

LPZ: That’s such a great idea. I love that. 

JHC: Yeah, it’s feeling optimistic today because of that. 

LPZ: Yeah. I mean part of me feels like, even with this interview: is this just one thing of hundreds of things that people have on their dockets today? I felt like the first few days when people were announcing Instagram live videos and all these things, my days were filling up so fast. It was too busy, kind of. 

But I feel like we all have a community that we feel part of and feel pulled into, and feed energy into, but also get energy back from. So that was part of my logic to do this kind of format. This is our community; I want to talk to you guys. So it’s really cool that you are pursuing some of that on a personal level with people and finding ways for it to be fulfilling to you as an artist. I think that’s really cool. 

JHC: I try to remember that ultimately I think artists have to be optimistic, because otherwise what would keep you making work if you weren’t hoping for something? Even if it’s in a dark place of making work. I really believe in one-on-one, in person interactions— that’s everything with teaching and making. But in the circumstances, we’re creatively problem-solving and I think it’s nice to see how different people do that. 

LPZ: Totally. And [figuring out] how to get that one-on-one when doing things digitally—it’s very interesting.

JHC: It feels sort of like a contradiction or a paradox because I think there’s nothing that is as good as in person or hands-on, and knowing that, but also doing these sort of things to help—having both and holding both of those ideas together and knowing that they can both exist together.

LPZ: You’re such a hands-on maker and clay is such a physical medium—that’s a very physical, one-to-one connection with you and the material. Is that fulfilling some of this connection that we’re talking about?

JHC: I think it is. In any case, it’s very therapeutic. I mean not always, it’s super frustrating as a material sometimes—things crack and break and it’s heavy. But it is the most interactive, hands-on— there is a therapeutic aspect to it that I love and I am very grateful to have that as part of my life. I think that it’s really helpful, and a lot of the work that I’ve been doing right now is very slow, tedious carving in the clay. I’ve been thinking about the slowing down that this time encourages as being all the more reason to kind of slow down in my studio and really do those slow, repetitive, tedious moments that you just can’t rush through. 

LPZ: Right, right. Interesting. I was going to ask you if you felt like this time has kind of shifted what you’re making, but maybe that’s part of it,  just focusing on that type of work?

JHC: I think it’s all kind of converging. I think my work recently has brought together this really slow, tedious stuff, but also combined with an expressive, very hands-on, mushy quickness. In my new pieces, I’ve really found a way to combine those and it’s really exciting. I think it is timely. I don’t know, it feels good to work on it. 

LPZ: And to have both of those actions, the actions that are slow, peaceful, but then also fuck this, let’s rage and punch this clay!

JHC: And I do, I love punching clay, it’s so satisfying! Smushing it, and scratching it; I love the idea that your feelings can be in your work. I feel like my professors would tell me not to have anything too expressive in my work, that it’s kind of cliché sometimes. I feel like now I’m just kind of embracing it, going in and being like, “this is all my feelings, all there,” and just standing by it and having it be really expressive. 

LPZ: That’s awesome. I think we all want to see others having emotions. We’re all having emotions and so much is happening in this distant way, so I feel like if anything, showing emotions right now in your work and seeing the body of work that you make right sounds so exciting and really cathartic for other people to be like, “oh, yeah, she’s feeling it too.”

JHC: We all have so many feelings!

LPZ: Totally. Well that all sounds great—going to the studio and connecting, having different support structures. Do you have any other thoughts on how we as a larger art community can support each other or what we need to be doing or seeing right now?

JHC: I think that I’ve been trying to remember that it doesn’t matter, this idea of productivity… we don’t have to be productive just because we have time. One of my students today was saying how someone told her that Shakespeare during some downtime wrote one of his masterworks, and the pressure that that puts on this time is insane. 

[My friend Allison] was giving me a pep talk the other day, just saying that there’s no right way to do this. That’s been really helpful. So whatever that means for everybody. And maybe that’s just all ideas of being an artist, there’s no right way, and we all have to figure it out, how it works best for us, and find people that we can commiserate with.

LPZ: Yeah, especially for artists in our community that have been fortunate enough to make money off of what they’re doing, and then those opportunities drying up for a lot of people. I feel like now more than ever connecting back to those roots of why we started making work and finding fulfillment that kind of sidesteps a lot of the weird structures that the art world has that aren’t the most generative, or aren’t the most conducive—and as we come to learn, a bit flimsy. 

JHC: Yeah it’s interesting to think that I got my MFA in 2010, right in the market downturn, and so I feel like I started this career not really counting on much—hoping for the best but expecting for the worst. I’m really grateful to be teaching, and I feel really fortunate to have a lot of the support that I have at this time.

This review was originally published in Carla issue 20.

Julia’s studio.
Julia Haft-Candell, Woven Through with Purple (2019). Ceramic, 12.5 x 20 x 8 inches. Image courtesy of the artist and Parrasch Heijen.
Julia Haft-Candell, Interlocking Arch (2019). Ceramic, 52.5 x 38 x 19 inches. Image courtesy of the artist and Parrasch Heijen.
Julia Haft-Candell, Swim (2019). Ceramic, 51 x 32.5 x 15 inches. Image courtesy of the artist and Parrasch Heijen.

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