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

at 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
at LADIES’ ROOM
– Jessica Simmons

Derek Paul Jack Boyle
at SMART OBJECTS
–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
Buy the Issue In Our Online Shop

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
at NAVEL
–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
Buy the Issue In Our Online Shop

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
at LAXART
–Matt Stromberg

Kahlil Joseph
at MOCA PDC
–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
Buy the Issue In our Online Shop

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
Reviews
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.)
Buy the Issue In Our Online Shop

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

Home
at LACMA

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.
Featuring:
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
Generous
Structures
Catherine Wagley
Put on a Happy Face:
On Dynasty Handbag
Travis Diehl
The Limits of Animality:
Simone Forti at ISCP
(L.A. in N.Y.)
Ikechukwu Casmir Onyewuenyi
More Wound Than Ruin:
Evaluating the
"Human Condition"
Jessica Simmons
Exquisite L.A.
Featuring:
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

Ma
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
at LACMA
Jessica Simmons
Exquisite L.A.
Featuring:
Analia Saban
Ry Rocklen
Sarah Cain
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews
Made in L.A. 2016
at The Hammer Museum

Doug Aitken
at The Geffen Contemporary at MOCA

Mertzbau
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
Non-Fiction
at The Underground Museum
Catherine Wagley
The Art of Birth Carmen Winant
Escape from Bunker Hill
John Knight
at REDCAT
Travis Diehl
Ed Boreal Speaks Benjamin Lord
Art Advice (from Men) Sarah Weber
Routine Pleasures
at the MAK Center
Jonathan Griffin
Exquisite L.A.
Featuring:
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
Reconsidering
Marva Marrow's
Inside the L.A. Artist
Anthony Pearson
Mystery Science Thater:
Diana Thater
at LACMA
Aaron Horst
Informal Feminisms Federica Bueti and Jan Verwoert
Marva Marrow Photographs
Lita Albuquerque
Interiors and Interiority:
Njideka Akunyili Crosby
Char Jansen
Reviews L.A. Art Fairs

Material Art Fair, Mexico City

Rain Room
at LACMA

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.)
Buy the Issue In Our Online Shop

Issue 3 February 2016

Letter from the Editor Lindsay Preston Zappas
Le Louvre, Las Vegas Evan Moffitt
iPhones, Flesh,
and the Word:
F.B.I.
at Arturo Bandini
Lindsay Preston Zappas
Women Talking About Barney Catherine Wagley
Lingua Ignota:
Faith Wilding
at The Armory Center
for the Arts
and LOUDHAILER
Benjamin Lord
A Conversation
with Amalia Ulman
Char Jansen
How We Practice Carmen Winant
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
at ASHES/ASHES
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
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Issue 1 August 2015

Letter from the Editor Lindsay Preston Zappas
MEAT PHYSICS/
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
SOGTFO
at François Ghebaly
Jonathan Griffin
#studio #visit
with #devin #kenny
@barnettcohen
Mateo Tannatt
Photographs
Jibade-Khalil Huffman
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
Reviews Pierre Huyghe
at LACMA

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
Distribution
Downtown
Ace Hotel DTLA
Artbook @ Hauser & Wirth
Baert Gallery
Château Shatto
Cirrus Gallery
François Ghebaly
GAVLAK
ICA LA
in lieu
JOAN
Luis De Jesus Los Angeles
MOCA Grand Avenue
Monte Vista Projects
Murmurs
Nicodim Gallery
Night Gallery
Over the Influence
Royale Projects
The Box
Track 16
Vielmetter Los Angeles
Wilding Cran Gallery
Chinatown/Boyle Heights
Bel Ami
Charlie James
Human Resources
LACA
NOON Projects
Parrasch Heijnen Gallery
Sebastian Gladstone
Tierra del Sol Gallery
The Fulcrum
Wönzimer Gallery
Culver City/West Adams
Anat Ebgi
Arcana Books
Blum & Poe
George Billis Gallery
Hashimoto Contemporary
Philip Martin Gallery
Roberts Projects
Shoshana Wayne Gallery
the Landing
The Wende Museum
Thinkspace Projects
Eagle Rock/Cypress Park
BOZOMAG
Gattopardo
la BEAST gallery
La Loma Projects
OXY ARTS
Historic South Central
Sow & Tailor
USC Fisher Museum of Art
Hollywood/Melrose
Bridge Projects
Diane Rosenstein
Harper's Gallery
Helen J Gallery
Lauren Powell Projects
LAXART
MAK Center for Art and Architecture
Make Room Los Angeles
Matthew Brown Los Angeles
Meliksetian | Briggs
Moskowitz Bayse
Nino Mier Gallery
Nonaka-Hill
Rele Gallery LA
Shulamit Nazarian
Simchowitz
STARS
Steve Turner
Tanya Bonakdar Gallery
The Hole
The LODGE
Various Small Fires
MacArthur Park/Pico-Union
as-is.la
Commonwealth & Council
Hannah Hoffman
O-Town House
Mid-City
Chris Sharp Gallery
Harkawik
Hunter Shaw Fine Art
Lowell Ryan Projects
Matter Studio Gallery
OCHI
Park View / Paul Soto
r d f a
Shoot the Lobster
Mid-Wilshire
1301 PE
Anat Ebgi
Craft Contemporary
David Kordansky Gallery
Hamzianpour & Kia
Kayne Griffin
One Trick Pony
Pace
Praz-Delavallade
SPRÜTH MAGERS
Pasadena/Glendale
Junior High
The Armory Center for the Arts
The Pit
Office Space Burbank
Atwater Village/ Silver Lake/ Echo Park
Marta
No Moon LA
Smart Objects
Tyler Park Presents
Umico Printing and Framing
Westside
18th Street Arts
Five Car Garage
L.A. Louver
L E  M A X I M U M
Laband Art Gallery at LMU
Marshall Contemporary
Paradise Framing
Von Lintel
Westwood/ Beverly Hills
CLEARING
Hammer Museum
M+B
Simchowitz
UTA Artist Space
Non-L.A.
Angels Gate Cultural Center (San Pedro, CA)
BEST PRACTICE (San Diego, CA)
Bread & Salt (San Diego, CA)
Beverly's (New York, NY)
Bortolami Gallery (New York, NY)
Buffalo Institute for Contemporary Art (Buffalo, NY)
DOCUMENT (Chicago, IL)
Et al. (San Francisco, CA)
Left Field (Los Osos, CA)
Minnesota Street Project (San Francisco, CA)
Mrs. (Queens, NY)
OCHI (Ketchum, ID)
Office Space (Salt Lake City, UT)
Santa Barbara City College (Santa Barbara, CA)
South Gate Museum and Art Gallery (South Gate, CA)
University Art Galleries, UC Irvine (Irvine, CA)
Verge Center for the Arts (Sacramento, CA)
Wattis Institute for Contemporary Art (San Francisco, CA)
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 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)

July 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.

Exhibitions

Ross Hansen at Marta
June 25–August 6, 2022

Ross Hansen, Tino’s White Horses (installation view) (2022). Image courtesy of the artist and Marta.

Los Angeles-based designer Ross Hansen’s solo exhibition at Marta is hinged to Ojo Caliente, New Mexico, where he splits his time. Titled Tino’s White Horses after his new equine neighbors, the suite of objects invite soft earth tones and delicate fabrics alongside resin and other more industrial materials.

Hansen’s Basket series (all works 2022) is emblematic of this tension. Made from strands of hemp fabric that the artist sews into tubes and layers into simple basket shapes using a mold, the pieces are drenched in resin that calcifies their soft material, transforming them into hard, utilitarian objects. Similarly, Filter B is a long, shelf-like lamp structure that is covered in a globby epoxy resin and shrouded in a gauzy, nude fabric that diffuses the light and gently conceals the minimal sculpture.

Elsewhere, such as with a coffee table and a low bench, the artist embraces organic abstractions—both forms feel bodily and fleshy despite their slick sheen. Like the duality between the urban and rural spaces in which Hansen resides, this body of work oscillates between a polished aesthetic and a more quiet, organic wildness, the two caught in a blissful balance.

–Lindsay Preston Zappas

Jordie Oetken at No Moon LA
June 28–July 26, 2022

Jordie Oetken, Hippocrene (installation view) (2022). Image courtesy of the artist and No Moon LA.

At the core of Jordie Oetken’s current exhibition at No Moon LA, Hippocrene, is a series of three photographs hanging in the right corner of the gallery. In sequence, they depict a vivid blue streak of bioluminescent algae rolling across a dark shoreline; a series of plastic-y pink stitches closing a wound above a horse’s eye; a statue behind a chainlink fence, truncated cleanly above its ankles. Together, they evidence Oetken’s penchant for ambiguous and affective imagery, concentrated not on a single subject but a particular mood. Her eye feels agile, the pace of her picture-making made both quick and slow as she approaches landscapes and monuments as if they have the same kind of temporal softness as the body.

Including the stitched-up one, two horses appear across the show. The second is in a highly textural black-and-white image of a rearing horse statue, its stone mouth open as if emitting a roar. The crux of the tension at play in Oetken’s work can be understood through the relationship between these two images, which both suggest a kind of violence—one bodily and temporary and the other preserved. But across the photographs, a pervasive sense of temporality is felt, even in the two statue images. Both appear behind fencing or netting and show signs of damage and decay, highlighting not their status as monuments, but as living objects ultimately susceptible to impact.

Oetken’s images demand close, in-person looking. Their formal simplicity offers an opportunity to notice small textures that originate in the camera’s translation of the world—artifacts that are not always permitted, such as digital noise and motion blur. While these images do not reveal their project easily (or much more than the press release, which, as is the gallery’s tradition, offers an astrological reading rather than a description of the show), it is perhaps a good reminder that clean revelation need not be the purpose of photographs.

–Erin F. O’Leary

Conversations at Subliminal Projects
June 25–July 23, 2022

CONVERSATIONS (installation view) (2022). Image courtesy of the artists and Subliminal Projects.

Five ghoulish acrylic and plywood heads greet you upon entering the gallery space at Subliminal Projects. CONVERSATIONS, a group show curated by artist Russ Pope, features his work alongside Nathaniel Russell, Lori D., Jahmal Williams, Marco Zamora, and Lauren Beauchner. While the artists are united by their ties to art, design, skateboarding, and surf culture, CONVERSATIONS investigates the larger nuances of connection, a popular concept following the past several years of on-and-off isolation.

For his sculptures and mixed-media collages, Williams draws inspiration from urban environments, history, and the vibrant conversations had between instruments in jazz melodies. Syncopated rhythms are visualized in Dharma and Source of Strength (both 2022) through a language that melds bold hues with organic, abstract forms. On the adjacent walls, frenzied text roars across the canvas in Williams’ Reverse Freedom Rides #1 and #2 (both 2021). Referring to the Reverse Freedom Rides of 1962—Southern segregationists’ attempts at tricking African American families into moving North— the works appear like intrusive thoughts or a nasty conversation that replays in your head over and over again. Together, the crazed canvases capture the fury and fervor of hateful language.

With the exception of Williams’ two textual works, Russell’s are the only other pieces in the show that utilize text. Four small paintings on wood each feature a long, scraggly figure as their subject. In the first, the figure stretches toward the sky, exclaiming “Finally: Oh sweet relief!” In a work hanging below, the figure appears with his back to the viewer, shoulders slumped. Above him, text reads, “Now back to the start.” Russell’s gawky figure captures the sort of internal connection that we all may have grown too familiar with since the spring of 2020. Yet, alongside these four works is a painting by Russell titled OPEN SESAME (2022). A white sunburst appears carved from an opaque, black background. The phrase “open sesame” appears above, as if commanding the world to open up again.

–Alitzah Oros


Reading 

After the official reversal of Roe v. Wade, Jia Tolentino’s widely circulated article, “We’re Not Going Back to the Time Before Roe. We’re Going Somewhere Worse,” was a chilling read. The article charts the attendant criminalization of women’s bodies—“whereby women can be arrested, detained, and otherwise placed under state intervention for taking actions perceived to be potentially harmful to a fetus”—which has been further normalized due to the Supreme Court’s decision. “Anyone who can get pregnant must now face the reality that half of the country is in the hands of legislators who believe that your personhood and autonomy are conditional,” Tolentino writes, clearly demonstrating that legal access to abortion is a necessary part of equality and social justice.

–Lindsay Preston Zappas

Since discovering the fashion industry’s insane rebrand of literal plastic as “vegan leather,” I have been awaiting its mainstream exposure. It came in June, with Hiroko Tabuchi’s article “How Fashion Giants Recast Plastic as Good for the Planet” for The New York Times. The article is an interesting read that delves into larger questions about what is, and is not, actually sustainable. 

–Erin F. O’Leary

Lisa Hanawalt’s mind is a beautiful, hilarious, and funky place. Her 2016 graphic novel Hot Dog Taste Test makes me giggle like a maniac, and her illustrations are lovely, whimsical brain cleansers. It’s possibly a book about food, but it’s really a buffet of random and quirky thoughts about food culture, birds, travel, and Argentina.

–Alitzah Oros


Eating 

On a recent visit to Rory’s Place in Ojai, I felt like an absolute queen. Rounds of orange wine were accompanied by an array of salads and sides: a halibut agua chile, briny tinned fish, a perfectly salted flatbread served with an herby spread and tangy feta. We ate family-style; a tender roast half-chicken and a grass-fed ribeye were precursors to an ice cream sandwich like none other. With a delicate macaroon sandwich, some kind of rhubarb compote (don’t quote me… I was adequately blissed out by this point), and soft strawberry ice cream, this thing honestly stole the show—a temporary salve to the absolute horror show that is America.

–Lindsay Preston Zappas

I make Christina Chaey’s recipe, “Spicy Chicken Lettuce Wraps,” near-weekly. Bon Appétit describes it as “low investment and high reward,” which is precisely my current vibe/capacity. It is flavorful and customizable, requires only pantry staples, and comes together in sincerely 15 or so minutes (really 15, not like when recipes pretend that it only takes 5 minutes to caramelize onions).

–Erin F. O’Leary

After the truly disappointing month that was June, my brain constantly pleads for sugar-induced dopamine rushes. Enter: Trader Joe’s Sea Salt Brownie Bites. These tiny, gooey, fudgy brownies topped with flaky salt and dark chocolate chips give me hope on the darkest of days. For extra dopamine (and maybe a brain freeze), microwave the brownies and crumble them over ice cream.

–Alitzah Oros


Watching 

As someone who grew up in and out of dance studios but gave it up when the demands of a double pirouette proved too elusive, I’m pretty jazzed on the return of So You Think You Can Dance. The show took a hiatus for a few years, and watching it again now, I’m reminded of both its campiness and its charm. Like most reality shows, there are cringe self-congratulatory moments and endless chatter from a panel of judges, but these are coupled with sincerely beautiful choreography that sees the performers dancing out of their typical styles—ballroom dancers blow minds when they tackle contemporary, hip hop dancers jump into the bunny hop, etc.

–Lindsay Preston Zappas

I can absolutely not be bothered to watch anything other than the new season of Love Island (U.K.). Upon streaming the first episode a couple of weeks ago, my boyfriend—the tension melting from his body—exclaimed, only half-joking, that it had arrived just in time to save the summer. While I generally don’t believe that we can afford to check out of the absolute trash fire state of things, the hour or so that we spend absorbed in the low-stakes drama of their campy world has offered an oddly restorative moment of relief. I love their stretchy mesh dresses and tight white jeans and giant strip lashes; I love their accents, for which I require subtitles; I love thinking about the art department responsible for fabricating a host of exquisite and wild props. Watching Love Island feels like watching The Sims, and I do not look forward to its conclusion.

–Erin F. O’Leary

Joachim Trier’s The Worst Person in the World was truly splendid following the 20 hours of Love Island Australia I watched in a single weekend. The story, told in 12 chapters (plus a prologue and an epilogue), touches on themes of angst and anxiety, the meaning of life, one’s purpose on this planet, and the often passionate and frenzied quest for love. After watching hours of hot young Aussies tirelessly discuss the “spark” they either do or do not feel with one another, the film felt like a cold drink splashed right in my face.

–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. Through research, criticism, prose, and personal essay, she explores photography along artistic and sociocultural lines—her work concerned not only with how pictures look, but how the camera is used and what these images mean in, and for, our contemporary 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