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
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
–Julie Weitz

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

Buy the Issue In Our Online Shop

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
–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
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
Buy the Issue In Our Online Shop

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
Buy the Issue In Our Online Shop

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
Buy the Issue In Our Online Shop

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.)
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


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.)
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:
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)

June 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.


Christine Howard Sandoval at Parrasch Heijnen
May 27–July 16, 2022

Christine Howard Sandoval, Niniwas- to belong here (installation view) (2022). Single-channel video with audio, 9 minutes and 1 second; edition of 3. Sound design in collaboration with Luz Fleming. Image courtesy of the artist and Parrasch Heijnen.

Walking into Christine Howard Sandoval’s exhibition at Parrasch Heijnen immediately transports you into the artist’s perspective. A large video projection, which was filmed with a bodycam mounted to Howard Sandoval’s head, spans the first gallery. The camera looks down over her body as she walks barefoot across the caked earth around Mission Soledad, a Spanish mission in the Salinas Valley that settled on Chalon/Ohlone land. Howard Sandoval’s methodical, first-person tracing of the land reads as a type of reclamation, a connection to her Indigenous identity wherein memory—as well as trauma—are rooted first and foremost in the body.

Sculptural mounds made from paper and rich brown adobe span the next gallery, recalling vernacular architecture and the ancient craft of basketry. The fragility of the paper forms belies the rigid strength of the dried adobe, which maintains a soft, malleable appearance even as it weaves complex, lattice-like layers. In Split Metate, between two worlds (2022), the woven mound is split into two mirroring shapes that nestle together but never touch—a profound representation of a severed relationship with the land.

Howard Sandoval extends her exploration of adobe and paper to large drawings in which she uses tape to apply the clay in regimented lines and grids. The caked adobe clings to the paper substrate and chips away in certain areas, leaving behind a ghostly print. Reminiscent of Agnes Martin’s minimal explorations of land and meditation, these drawings seem to be studies of land that has been segmented and ordered, like crop circles and neat squares of farmland viewed from an airplane. But the exhibition’s title, the green shoot that cracks the rock, suggests the potential for the land, and those connected to it, to rebel against the oppressive order that has all but overtaken it.

–Lindsay Preston Zappas

Family Album: Dannielle Bowman, Janna Ireland,
and Contemporary Works from LACMA

at Charles White Elementary

November 27, 2021–July 30, 2022

Family Album: Dannielle Bowman, Janna Ireland and Contemporary Works from LACMA (installation view) (2022). Los Angeles County Museum of Art at Charles White Elementary School Gallery, 2021–22. Image courtesy of the artists and LACMA. Photo: Brica Wilcox; © Museum Associates/LACMA.

LACMA’s current exhibition at Charles White Elementary in MacArthur Park, Family Album, highlights photographs by Dannielle Bowman and Janna Ireland alongside a selection of works by contemporary artists of color from the museum’s permanent collection. Presented in a variety of ways (in store-bought frames, glass vitrines, and as projections), the photographs contend with what it means to create visual records of family and community. The show presents nuanced and focused, yet distinct visions of community that feel particular to this city and its accompanying history of displacement, segregation, and violence.

Bowman’s rich and evocative black-and-white photographs are a standout. They tend less toward classical portraiture than the rest of the works on view, though the presence or proximity of people is always intimately felt. In Inglewood I (2019), a basketball in an otherwise bare backyard sits nearly in shadow before a puzzle of intersecting fences, brick walls, roofs, and power lines.

The gallery’s second room deals in the past, including works by artists like Star Montana, Sandra de la Loza, Leslie Hewitt, Mercedes Dorame, and José Manuel Fors, whose practices involve the re-photographing or re-presenting of archival found and family images. (The room also includes photos by the inimitable Deanna Lawson, LaToya Ruby Frazier, and Laura Aguilar, whose contributions to the genre cannot be overstated.)

Nearby, a series of 35 mm slides by Zora J Murff are mounted in a Kodak Carousel projector. For the duration of my visit, the projector whirred and clacked rhythmically, cycling through the images, but none were visible on the wall. In the context of the show, for me, it prompted a meditation on what can and cannot be accessed in the case of certain kinds of vernacular photographs, about the emotional weight they can carry, and what they are capable of conjuring in those who were present for their making or those who otherwise love their subjects. The role of these pictures is such that they transcend art.

–Erin F. O’Leary

Vian Sora at Luis De Jesus Los Angeles
June 4–July 16, 2022

Vian Sora, An (2022). Oil and mixed media on canvas, 48 x 60 inches. Image courtesy of the artist and Luis De Jesus Los Angeles.

At first glance, Vian Sora’s works look like cosmic implosions. Flat, organic forms act as viewfinders for boisterous textures that resemble bubbling, oozing acid; wet, dense cement; and hazy cosmic dust.  But Subduction, the artist’s first solo exhibition at Luis De Jesus Los Angeles, does not speak of intergalactic or otherworldly realms. Rather, it pertains to the entropic and ever-changing geological processes of the earth.

From the Latin prefix, “sub-,” meaning under, the process of subduction occurs when two plates collide, causing one to thrust beneath the other before it is recycled into the earth’s mantle. Iraq, Sora’s native country, sits on a portion of the Arabian plate and forms part of a massive and complex zone of continental conflict. Drawing a parallel between Iraq and subduction zones as sites of collision, Sora’s works ruminate on the forces that feed the chaos and instability of the country. Echoing the way in which earthen matter is recycled post-collision, Sora contends that society, too, engages in cyclical processes of regeneration, rebirth, and replenishment.

Sinuous forms found in works such as An, Ki, and Subduction (all 2022), add the human body into this precarious mix. Heads, feet, and limbs morph into textured surfaces and compositions that reflect humankind in the face of social, ecological, and political adversity. But in materializing the entropic forces often unavoidable in life, Sora reminds us that all is not lost. Like two plates, chaos and instability collide with regeneration and rebirth. Regardless of which one plunges beneath, all will eventually be recycled, returning anew.

–Alitzah Oros


As a serial multitasker and someone who generally loves what I do (even as I am endlessly overworked), Sarah Jaffe’s Work Won’t Love You Back has been like a cool salve, coaxing me towards more days spent with my toes in the sand and fewer staring at the computer. The book charts the ways that the American system has exploited our labor, luring us to believe the myth that work is equal to love. Winding through the conventions of the nuclear family, domestic work, academia, nonprofit, and arts work, Jaffe suggests that our labors of love are siloing us into endless work and, ultimately, isolating us from community. “The compulsion to be happy at work…,” she writes, “is always a demand for emotional work from the worker. Work, after all, has no feelings. Capitalism cannot love.”1

–Lindsay Preston Zappas

I recently reread Kelly Pendergrast’s great essay “Screen Memories,” published last year in Real Life, which proposes that screenshots are part of the essential vernacular photographic language of our time. “The screenshot is a gesture that lays claim to the act of seeing,” Pendergrast writes—one that grabs visual information in a way that feels slightly antithetical to the swaths of the (largely) image-based internet that are mediated, owned, regulated, and mined by corporations.

–Erin F. O’Leary

Back in February, my professor gifted us several issues of the Smithsonian’s Archives of American Art Journal. I’m just getting around to reading them now. My favorite bits are the “Acquisitions” and “New Collections” sections at the very back of the journal—the half-page blurbs give context and/or details about the newest additions to the archive. They’re short, sweet, and perfect for my summertime goldfish brain. 

–Alitzah Oros


My husband and I recently tried Holbox after a neighbor mentioned consuming it religiously during the early pandemic, when takeout was a small glimmer of normalcy. It’s no wonder that Jonathan Gold included this spot, nestled inside the bustling Mercado La Paloma, in his annual 101 list—the ceviche is slathered in lime and avocado; the fish tacos are little pockets of joy; and even the rice and beans sing with a unique limey flavor. In recent months, Holbox has cemented itself as a regular in our takeout lineup. 

–Lindsay Preston Zappas

I’m well overdue for a visit to The Goat Mafia, which I discovered in last year when a friend and I tried to eat our way through the entirety of L.A. Taco’s annual “Taco Madness” lineup in a single weekend. They specialize in birria, but I still think about the goat cheese and beet quesadilla, topped with dill and drizzle of agave, that I ate last year while they temporarily operated out of their front yard. It has come to my attention that they can now be found at DTLA’s Smorgasburg on Sundays, where you can also now find me.

–Erin F. O’Leary

Less than one mile from my home is heaven in the form of a Lebanese restaurant. They have this otherworldly garlic sauce that you can order a to-go container of for five bucks. Since making this discovery, I’ve found a way to consume it at breakfast, lunch, and dinner. Between you and me, I’ve also definitely just grabbed a spoon and gone at it—lights off, the fridge still open—as if it were some tangy, garlicky ice cream of my dreams. I love you, Open Sesame.

–Alitzah Oros


I was overjoyed when season 2 of Hacks came out last month. There is something electric about the dynamic between Deborah Vance, the wealthy has-been Vegas comedian expertly played by Jean Smart, and Ava, the self-assured, bisexual, Gen Z comedy writer (Hannah Einbinder) who is hired to write jokes for Vance in hopes of making her act more relevant to a changing world. The show explores the generational divide between the two characters—which often manifests in the exploitative working conditions and verbal abuse Vance slings onto Ava—yet the two have a bizarre connection and tenderness that always seems to win out.

–Lindsay Preston Zappas

Not a niche recommendation by any stretch, but after the new season pulled off the villain origin story reveal that Game of Thrones couldn’t, I’ve begun a complete series rewatch of the spooky and always delightful Stranger Things.

–Erin F. O’Leary

Per Erin’s recommendation, I’ve started watching Ozark and I’m so incredibly invested. It’s funny—I feel like Jason Bateman is always in chaotic situations, trying to pick up the pieces. Except in Juno. He was the chaotic one in Juno.

–Alitzah Oros

  1.  Sarah Jaffe, Work Won’t Love You Back (New York: Bold Type Books, 2021), 15.

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

More by Alitzah Oros

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.

More by Erin F. O'Leary

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