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
Launch Party August 18, 2018
At Praz-Delavallade
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
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
Launch Party May 19, 2018
at Karma International
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
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
Launch Party
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
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
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.)
Launch Party November 18, 2017
at the Landing
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
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
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

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 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
Letter to the Editor
Launch Party May 13, 2017
at Commonwealth and Council
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 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
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 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
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
Launch Party Carla Issue 6
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.)
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
Launch Party Carla Issue 5
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.)
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
Launch Party Carla Issue 4
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.)
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
Launch Party Carla Issue 3
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
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
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
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
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
Launch Party Carla Issue 1
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.)
ARTBOOK @ Hauser & Wirth
Baert Gallery
Cirrus Gallery
Château Shatto
Elevator Mondays
The Geffen Contemporary 
Ghebaly Gallery
Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
Charlie James
Good Luck Gallery
Human Resources
Ibid Gallery
Parrasch Heijnen Gallery
Nicodim Gallery

Odd Ark LA
Oof Books
Smart Objects
Women's Center for Creative Work
18th Street Arts
Ben Maltz Gallery at Otis 
College of Art and Design
DXIX Projects
Christopher Grimes Gallery
DXIX Projects
Five Car Garage
Laband Art Gallery at LMU
team (bungalow)
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
The Pit
Los Angeles Valley College
1301 PE
Big Pictures Los Angeles
California African American Museum
E.C. Liná
Commonwealth & Council
David Kordansky Gallery
Hunter Shaw Fine Art
Kayne Griffin Corcoran
Lowell Ryan Projects
ltd Los Angeles
Shoot the Lobster
Ochi Projects
the Landing
The Underground Museum
USC Fisher Museum of Art
Visitor Welcome Center
Culver City
Anat Ebgi
Arcana Books
Blum & Poe
Honor Fraser
Klowden Mann
Luis De Jesus
Philip Martin Gallery
Roberts Projects
Susanne Vielmetter
Diane Rosenstein
Family Books
Nino Mier Gallery
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Steve Turner
Tanya Bonakdar Gallery
Various Small Fires
Gas Gallery

Hand and Rose
Elsewhere in CA
CLOACA (San Fransisco)
Curatorial Research Bureau @ the YBCA (San Fransisco)
Et al. (San Francisco)
Ever Gold [Projects] (San Francisco)
fused space (San Francisco)
Gym Standard (San Diego)
Helmuth Projects (San Diego)
Interface Gallery (Oakland)
Jessica Silverman (San Francisco)
Left Field (San Luis Obispo)
Minnesota Street Projects (San Fransisco)
San Diego Art Institute (San Diego)
Verge Center for the Arts (Sacramento)
Wattis Institute for Contemporary Art (San Francisco)
Wolfman Books (Oakland)
Non CA
Artbook @ MoMA PS1 (Long Island City, NY)
Nationale (Portland, OR)
Skowhegan School of Painting and Sculpture (Skowhegan, ME)
Small Editions (Brooklyn, NY)
Space 42 (Jacksonville, FL)
Spoonbill & Sugartown (Brooklyn, NY)
Ulises (Philadelphia, PA)
Libraries/ Collections
Bard College, Center for Curatorial Studies Library (Annandale-on-Hudson, NY)
CalArts (Valencia, CA)
Center for the Arts, Wesleyan University (Middletown, CT)
Cranbrook Academy of Art (Bloomfield Hills, MI)
Los Angeles County Museum of Art, Research Library (Los Angeles, CA)
Los Angeles Contemporary Archive (Los Angeles, CA)
Marpha Foundation (Marpha, Nepal)
Maryland Institute College of Art, The Decker Library (Baltimore, MD)
Metropolitan Museum of Art, Thomas J. Watson Library (New York, NY)
Midway Contemporary Art (Minneapolis, MN)
Museum of Contemporary Art Santa Barbara, Emerging Leaders of Arts (Santa Barbara, CA)
Northwest Nazarene University (Nampa, ID)
Pepperdine University (Malibu, CA)
Point Loma Nazarene University (San Diego, CA)
School of the Art Institute of Chicago, John M. Flaxman Library (Chicago, IL)
Scholes Library, NYS College of Ceramics at Alfred University (Alfred, NY)
Skowhegan Archives (New York, NY)
Sotheby’s Institute of Art (New York, NY)
Telfair Museum (Savannah, GA)
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)

Doug Aitken at
The Geffen Contemporary at MOCA

Doug Aitken, Black Mirror (still), 2011, video installation with three channels of video (color, sound), three monitors, freestanding room, mirrors. Installation dimensions variable. 13:20 minutes/loop.

Doug Aitken, Black Mirror (still) (2011). Video installation with three channels of video (color, sound), three monitors, freestanding room, mirrors. Installation dimensions variable. 13:20 minutes/loop.

There’s a dreamy international drift to Doug Aitken’s retrospective at MOCA, Electric Earth. In a scene from Black Mirror (2011), Chloe Sevigny, in an ambiguously international hotel room, reads off a list of disparate cities over the telephone—we’re left wondering who is on the other end. The film projects within the interior of a mirrored architectural structure; Sevigny and vague scenes of industry and landscape multiply and, ostensibly, animate the installation’s architectural pretensions. Yet, the end result is something monolithic, even turgid: the polished, reflective surface, the beautifully-rendered ennui, the unspoken and unremarked upon underpinnings of class, access and privilege. In Black Mirror, far-flung locale are material, and then immaterial; nature is affect.

Aitken’s work is sumptuous: beautiful, if cerebral, and comfortable to become lost within. Its comforting qualities are also the rub: appealing dreamscapes that teeter along the twin precipice of esotericism and meaninglessness. Landscape, as a fluid material in the hands of Aitken’s films, is stripped of geographic identity; electricity is harnessed, materials are mined, surfaces polished, ad nauseum. Beauty becomes comfort becomes tedium in this arena of aestheticized privilege.

MOCA’s staging invites an easy meander on the part of the viewer, and usefully contrasts Aitken’s sculptural and two-dimensional works against his many films. Perhaps fittingly then, Aitken’s filmic space is not the
space of action, but, instead, of perpetual transience, trafficking in a time-based monotony reminiscent of 
a strain of ’60s and ’70s European cinema practiced by Antonioni or Ackerman.

In many cases, the entrance of a sole human subject into the frame saps the power of Aitken’s picturesque. The centerpiece and exhibition namesake, electric earth (1999), with its crackling movement and intonation of urban tunnels and neon light, is an exception, in that the lone protagonist has both agency and anonymity (celebrities, like Sevigny, fill many of the acting roles elsewhere). Though electric earth’s central metaphor—dance as transformation—feels strained and overstated at points, it is here that Aitken synthesizes an animistic vision of nature and culture collided, and grown into one another.

Doug Aitken, SONG 1 (still), 2012, outdoor video installation on 360-­‐‑ degree facade of Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, seven-­‐‑channel composite video (color, sound), 11 projections forming one screen, 34:44 minutes/loop, 50 × 725 ft. circumference (15.2 × 220.9 m circumference), commissioned, with generous production support, by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution

Doug Aitken, SONG 1 (still) (2012). Outdoor video installation on 360-­degree facade of Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, seven-­channel composite video (color, sound), 11 projections forming one screen, 50 × 725 ft. circumference. 34:44 min loop. Commissioned, with generous production support, by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. 

Contrast this with Song 1 (2012), in which a slow parade of recognizable figures languidly mouth the words to “I Only Have Eyes for You” along a mammoth cylindrical screen (the piece originally screened on the exterior of the Hirshhorn Museum). The specter of celebrity here comes off as distracting at best, grossly ostentatious at worst, and unrevealing all around. To frame those in power with beauty and composition (and flattery) is to underscore one’s own proximity to this power, and the access—to air travel, high-end hotels, modernist domestic architecture— that comes in tandem with it. Though the experience is far from unenjoyable, it is disquietingly commercial in a museum setting.

The flow of raw materials as a substratum of the flow of material goods is— despite its deeply troubling relation to capitalism—an awe-inspiring thing, and has captivated Western culture since the advent of trade and shipping routes. Michel Serres, in his book Statues, makes poignant material out of the flow of the earth into the structures that surround us every- day. (1) Aitken’s slow-pans across the Namib Desert
in diamond sea (1997) revel in picturesque locations showing only the signs of a human touch either long-gone (ruins) or opportunistic (industry). What one is to make of the landscape itself is entirely speculative, both in the open-ended, and oily real-estate senses.

Aitken is, thankfully, no stranger to humor, nor is he un-adept at wringing awe and curiosity out of
a kind of skewed every-day—the low-frequency, high-volume roar of late-’70s concert goers in Hysteria (1998-2000) in that regard occupies a zone of equivalency with the hum of industrial machinery (diamond sea) or the din of tectonic plates shifting far below the earth (Sonic Pavilion, 2009). So it seems the wall text accompanying Sunset (black) (2012) (“this sun never sets or fades”) would ring false, or least ironic, to Aitken himself. Electricity, or access to it, is not, after all, a perpetual state, but one dependent on the cooperative structures of society. Aitken spends quite a bit of time in this exhibition reminding us of the quickened geologic pace of the post-industrial era, in which various geologic eras are regularly intermixed—permanence routinely mined, then undermined. Aitken amply gives the lie to an anachronistic Newtonian notion of stability that occupies our culture like a ghost—or, in other words, Aitken’s work will last as long as the lights are turned on, and as long as there are lights to turn on.

(1) “Flow does the Garonne, flow do the sands with the water and the gravel through buckets, hoppers, cement mixers…finally hardening around metal frameworks in the respective forms of pillars, walls or ceilings, deep piles or vertiginous towers. The water of the river freezes into sand; the mortar sets in order to build the house.” Michel Serres, Statues. Trans: Randolph Burks. London: Bloomsbury Academic, 2015.

Doug Aitken, MORE (shattered pour), 2013, high-­‐‑density foam, wood, mirror, 63 × 48 1⁄

Doug Aitken, MORE (shattered pour) (2013). High-density foam, wood, mirror, 63 × 48 1⁄2 X 7 1/2 inches.


Doug Aitken, diamond sea (still) (1997). Video installation with three channels of video (color, sound), three projections, monitor, chromogenic transparency mounted on acrylic in aluminum lightbox with LEDs, installation dimensions variable. 11:50 minutes/loop.

Installation view of Doug Aitken, Black Mirror, 2011, at Schirn Kunsthalle, Frankfurt, July 9–September 27, 2015, photo by Norbert Miguletz

Installation view of Doug Aitken, Black Mirror (2011), at Schirn Kunsthalle, Frankfurt, July 9–September 27, 2015. Photo:Norbert Miguletz.


Originally published in Carla issue 6