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
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
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)

August Editor’s Picks

As we break from Snap Reviews for the summer,
enjoy monthly curated picks from our editors across exhibitions,
books, food, TV, and more.


Adam Parker Smith at The Hole
June 11–August 20, 2022

Adam Parker Smith, Crush (installation view) (2022). Image courtesy of the artist and The Hole.

Each marble sculpture in Adam Parker Smith’s Crush is a squished and compacted iteration of its Hellenic referent: the limbs of David, Apollo, and Agustus irreverently splay and liquify as they cram into a cubic meter of space. Equipped with 3-D scans of the original sculptures (provided by the staff of their respective museums), Smith digitally rendered his new, smashed effigies before departing for Carrara, Italy, where he fabricated the series of sculptures on-site with the aid of both a robotic arm and a team of master carvers.

Through this looping methodology, Smith utilizes the same ancient methods and materials as the originals, collaborating with the stewards of the classical sculptures and craftspeople trained in the process to ultimately upend them. Yet, there is reverence in the recreations, and the smashed structures retain a certain austerity of form that belies their crumpled state—Smith was careful to leave their blank-eyed faces intact.

The quadrate sculptures seem to offer an update to their elongated forebearers, fit especially for our contemporary era. After all, in the breakneck speed of global consumerism, squares are easier to ship, stack, and replicate—not to mention, they fit neatly into the Instagram grid for seamless digital consumption.

–Lindsay Preston Zappas

Working Together: The Photographers of the Kamoinge Workshop at the Getty
July 19–October 9, 2022

Herb Robinson, Miles Davis at the Vanguard (1961, printed later). Gelatin silver print, 14 x 10 inches. © Herb Robinson. Image courtesy of the artist, Bruce Silverstein Gallery, and the Getty Museum.

Working Together: The Photographers of the Kamoinge Workshop at the Getty is the first major museum exhibition showcasing the work of the collective of Black photographers formed in New York City in 1963. The black-and-white silver gelatin prints on view are stunning and distinct, but together, they offer a glimpse into an ecosystem of support— among the artists’ personal work are pictures made for commercial clients, for self-initiated exhibitions, and those given to one another as gifts. The exhibition is an important kind of corrective, but the impact of these images reverberates beyond any institutional attempt to retroactively insist upon it.

The exhibition spotlights the work of 14 of the group’s founding members—I lingered particularly on photographs by Herb Robinson, Ming Smith (the first and only female member of Kamoinge), Anthony Barboza, and Adger Cowans. Without the oversaturated color, techy gimmicks, or expensive productions that photography sometimes draws, these images feel like the work of photographers who have mastered the fundamentals of the medium and done away with the rest.

Above all, the photographs demonstrate a high consideration for the impact and quality of light. Robinson’s incredible image Miles Davis at the Vanguard (1961, printed later) evidences the ethos of these photographers to its most extreme. The image is so pared down that it’s almost just a collection of blurred shapes floating on a black background. But, unmistakably, a portrait of Miles Davis emerges, just the lively sheen of his forehead, cheekbone, and the bridge of his nose visible atop the corner of a striped button-down.

This photograph and so many others are built on the profound legacy of Roy DeCarava, who became Kamoinge’s first director in 1963. Many photographs by DeCarava are included in Working Together, and as is characteristic of much of his work, they are dark images whose figures emerge from soft and specific light sources—the photos made on instinct and because they felt necessary.

–Erin F. O’Leary

Sam Shoemaker at OCHI
July 16–August 27, 2022

Sam Shoemaker, Tony Hawk Pro Skater (2022). Ceramic, Ganoderma lingzhi (reishi mushroom), and supplemented sawdust, 17x11x14.5 inches. Image courtesy of the artist and Ochi Projects. Photo: Ian Byers-Gamber.

Reishi mushroom tendrils emerge from ceramic and glass vessels at OCHI in Mid-Wilshire. L.A.-based artist and mycologist Sam Shoemaker’s first solo show at the gallery, More Permanent Than Snow, features an ensemble of Ganoderma lingzhi, or reishi mushrooms, paired with hand-built ceramic vessels, blown glass sculptures, and plinths of various shapes and sizes. Whether foraged from the streets of Los Angeles or acquired from myco culture libraries worldwide, Shoemaker’s practice involves developing spores in his basement, where he utilizes a unique substrate to begin the months-long process of nurturing and choreographing the fungus. Via the manipulation of space, light, temperature, and CO2 levels, Shoemaker responds to individual mushrooms’ moods and personalities, developing a deep-seated connection between landscape, human, and fungi.

An inherent sense of playfulness is felt in the works. Extending past Shoemaker’s basement play and experimentation, the vessels and mushrooms themselves take on the appearance of whimsical structures or miniature playgrounds in a lush park. The ceramic vessel in Tony Hawk Pro Skater (2022) features archways that the reishi blast through, reaching into the atmosphere like scraggly fingers. On the side, rectangular forms jut out like stairs, offering a way to access the top level. Around the corner, a single golden cap fans out to say hello. Situated in the corner of the gallery, a substrate is in process of development. As if transported into Shoemaker’s basement lab, the viewer sees a round bottom flask teaming with mold and bacteria. A single strip of masking tape functions as a label. Scribbled are the words, “dog food,” as substrate can be made from any number of natural materials.

–Alitzah Oros


As I prep for teaching fibers this fall, Arounna Khounnoraj’s beautiful book Embroidery has been guiding me through a library of stitches and designs. Each stitch technique on my in-progress sampler feels like a little treasure—colorful chains, woven lattices, and web-like wheels have stretched my knowledge of the craft with playful whimsy. The book has great step-by-step instructions that I look forward to sharing with my students.

–Lindsay Preston Zappas

I was really pleased to learn of Kelsey Sucena’s recent essay, “The Ghosts of Instagram: On Photography at the End of the World,” published by fifth wheel press. The short piece covers  surprisingly complex territory, and I loved Sucena’s voice, which blends heavy theoretical and colloquial language to great effect. Sucena considers the trend in photo book publishing toward the “‘small-run open-call based group publication,’” situating it as a marketing tool born of the social network era. I was compelled by this keen observation alone, but Sucena approaches larger questions about the state of photography. The sentence that stopped me in my tracks was this: “Build your platform to compete with old institutions and you are already implicitly agreeing to that market’s logic.”

–Erin F. O’Leary

With the end of my summer break looming just around the corner, I craved a juicy thriller that I could read on the beach. Ruth Ware’s In A Dark, Dark Wood—a story about estranged friendships and a bachelorette party gone terribly wrong—turned out to be exactly what I was looking for. Her writing is detailed yet quick, and the story moves at an alarming pace, bopping between past and present. The book, unfortunately, never made it to the beach. Like a possessed maniac, I finished it in under 48 hours.

–Alitzah Oros


Joy in Highland Park feels like an old friend. Even if you haven’t spoken for years, you always pick up right where you left off. My partner and I recently put together a blissful takeout order that included the thousand layer pancake, mapo tofu, dan dan noodles, and pork buns, absolutely rekindling our love for the restaurant. We will absolutely be returning soon. 

–Lindsay Preston Zappas

Yesterday, I purchased three XL Heath bars in preparation for the upcoming weekend. I’m baking a cookie recipe I got from my mom, which I recently found out is—like so many of the best family recipes—just a slightly-adapted version of a recipe taken from the back of a boxed mix. I use King Arthur’s recipe for gluten-free chocolate chip cookies as my “base,” and per my mom, I brown the butter, swap the chocolate chips for chopped Heath bars, and add toasted pecans. The result is a cookie that’s saltier and more complex than the traditional version—irresistible.

–Erin F. O’Leary

When I visit my parents, 98 percent of the time, I beeline straight to the kitchen. There’s always something cooking (or cooling) on the stove. On this particular morning, a week or two back, I smelled barbacoa from the hallway entrance. It beckoned me to come closer. Fresh tortillas, barbacoa, consomé, and a trio of salsas welcomed me from the kitchen table. In a matter of seconds, I’d inhaled my first taco. It was drenched in salsa roja; the back corners of my mouth stung, but I liked it. I asked my dad about the barbacoa spot, and not looking up from the Youtube video playing loudly on his phone, he said, “next to the Shell gas station by Alpine Village in West Carson. It’s a stand on the side of Hamilton Avenue. Cross street is Torrance Boulevard. Tell them Marte sent you.”

–Alitzah Oros


This is a bit of an inside plug, but I was so moved by our Summer Film series. Made in collaboration with Sci-Arc, the films began as Carla articles, and it was so thrilling to see how visual storytelling brought the texts to life, giving them new dimension. You can catch up on the four-part series, which focuses on community and social justice, here.

–Lindsay Preston Zappas

Jordan Peele’s Nope is an innovative take on the cowboys and aliens trope, but to me, the film felt mostly like a meditation on spectacle, and on our fractured, exploitative relationship with non-human creatures. The film strikes a quieter register than Peele’s recent films, and Daniel Kaluuya and Keke Palmer were excellent (as ever). Naturally, I am also still thinking about the significance of the reference to Eadweard Muybridge’s galloping horses. Peele invents a story for the Black jockey in the photograph, who was never credited (though the horses were listed by name!), and builds the film out from there, thus commenting also on the historically exploitative nature of the medium itself.

–Erin F. O’Leary

From July to September, the grassy hills beside Griffith Park’s Old Zoo come alive with performances by Los Angeles’ Independent Shakespeare Company. This year, the Griffith Park Free Shakespeare Festival is closing out the summer with Macbeth and I am jazzed! It’s so much more than 90 or so minutes of theater. Indy Shakes brings creativity, immense talent, sidesplitting humor, and diversity to the stage. What originated as a class assignment four years ago has turned into a tradition my partner and I refuse to break. Also, did I mention it’s free?

–Alitzah Oros

Alitzah Oros is an art historian currently based in Los Angeles.

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Erin F. O’Leary is a writer, editor, and photographer from the Midwest and raised in Maine. A graduate of Bard College, she has lived in Los Angeles since 2018, where she writes about photography and image culture.

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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