Issue 40 May 2025

Against Symbolic Inclusion

Investing in Black Art
—Evan Nicole Brown

Love at First Sight

On Scientist Ed Wortz's Relationship with Artists
—Catherine G. Wagley

Artmaking and Apocalypse

Four Artists on Octavia E. Butler
—Jessica Simmons-Reid

Carla, a Timeline in 10 Years

Interview with Erin Christovale

—CJ Salapare

Through the Lens of Loss

Rebuilding Art Practices in the Wake of Wildfires
—Monica Orozco

Reviews

Kati Kirsch at Cheremoya
—Zoey Greenwald

Kenneth Webb at Huma Gallery
—Steven Vargas

jinseok choi at Peter and Merle Mullin Gallery
—Hande Sever

Sasha Fishman at Murmurs
—Qingyuan Deng

Charlie Engelman at Château Shatto
—Ashlyn Ashbaugh

Issue 39 February 2025

PST ART

Art & War Collide in
Cai Guo-Qiang’s WE ARE
—Chelsea Shi-Chao Liu

Grief is a Filipino
Boxing Match

—jonah valdez

Adaptive Theory

On the Evolution of
Ecofeminism
—Ashlyn Ashbaugh

Interview with
Dashiell Manley

—Mateus Nunes

Reviews

Ben Caldwell
at Art + Practice
—Allison Noelle Conner

Jonathan Casella
at Gross! Gallery
—Tina Barouti

Scientia Sexualis
at the Institute of
Contemporary Art,
Los Angeles
—Ashton S. Phillips

Demetri Broxton
at Patricia
Sweetow Gallery
—Taylor Bythewood-Porter

Post Human
at Jeffrey Deitch
—Zoey Greenwald

Evan Apodaca
at Grand Central
Art Center
—Aaron Katzeman

Issue 38 November 2024

(Re)claiming Sanctity

Harmony Holiday’s
Black Backstage
—Shameekia Shantel Johnson

To Live and Work in L.A.

The Recent Rise of
Alternative Art Spaces
—Keith J. Varadi

Collective Memory and
Coded Histories at the 60th
Venice Biennale

—Jenny Wu

Interview with
Andra Nadirshah and
Stevie Soares

—Molly Larkey

Michael Oxley Wants
to Show You Something

Photography & Interview:
Brandon Tauszik

Reviews

Jordan Strafer
at the Hammer Museum
—Laura Brown

Keith Mayerson
at Karma
—Alexander Schneider

Robert Andy Coombs
at ONE Archives
at the USC Libraries
—Philip Anderson

Tamara Cedré
at the California
Museum of Photography
—April Baca

Dogs & Dads
at Diane Rosenstein
—Aaron Boehmer

(L.A. in São Paulo)
Catherine Opie
at Museu de Arte
de São Paulo
—Mateus Nunes

Issue 37 August 2024

Sirens in New Pitches

Immersive Art and Violence
—Isabella Miller

The Connective Role
of Art in UCLA’s
Pro-Palestine Encampment

—Aidann Gruwell, Alex Bushnell,
Alex Yang, Katherine Sanchez,
and Ricky Shi

Interview with
Sofía Córdova

—Carmen Winant

Works in Progress

Featuring: Njideka Akunyili Crosby
Photos: Leah Rom

Reviews

Annabeth Marks
at Parker Gallery
—Natasha Boyd

Maura Brewer
at Canary Test
—Sampson Ohringer

Familial Technologies
at Commonwealth
and Council
—Ashlyn Ashbaugh

Bruce Richards
at Sea View
—India Mandelkern

Maya Buffett-Davis
at Soldes
—Hannah Tishkoff

(L.A. in N.Y.)
Jesse Stecklow
at Dracula’s Revenge
—Jenny Wu

Issue 36 May 2024

Defying Narrative
Containment, for
E.L. and Others

–Maya Gurantz

Does it Move You?

How to Look at Art,
According to
the Late Robert Irwin
–Janelle Zara

From Earthwork
to Test Plot

Transdisciplinary Approaches
to Ecological Reparation
–Emma Kemp

Interview with
Paulina Lara

–Joseph Daniel Valencia

Works in Progress

Featuring: Soo Kim
Photos: Leah Rom

Reviews

Teddy Sandoval and
the Butch Gardens
School of Art
at the Vincent Price
Art Museum
–Philip Anderson

Lex Brown
at Bel Ami
–Isabella Miller

Hugh Hayden
at Lisson Gallery
–Alexander Schneider

Diana Yesenia Alvarado
at Jeffrey Deitch
–Eva Recinos

(L.A. in N.Y.)
Cauleen Smith
at 52 Walker
–Shameekia Shantel
Johnson

(L.A. in São Paulo)
Candice Lin
at Almeida & Dale
–Mateus Nunes

Carla en Español

Issue 35 February 2024

CalArts and
the Rediscovery of
the Feminist Art
Program

–Catherine Wagley

Made in L.A. 2023:
Acts of Living

Formulas for Doing
the Right Thing
–Yxta Maya Murray

Dominique Moody
as Citizen Architect
–Tina Barouti

Refusing
Identification,
Not Identity:
Contemporary Positions
in Abstraction

–Jonathan Griffin

Interview with
Elmer Guevara

–Sigourney Schultz

Works in Progress
Featuring: Sharif Farrag

Photos: Leah Rom

Reviews

Sun Woo
at Make Room
–Claudia Ross

Alex Da Corte
at Matthew Marks
Gallery
–Isabella Miller

MUXXXE
at Long Beach City
College Art Gallery
–Thomas J. Stanton

Yalda Afsah
at JOAN
–Caroline Ellen Liou

A Project Curated
by Artists: 15 Years of ACP
at Morán Morán
–Natasha Boyd

Carla en Español

Issue 34 November 2023

Our Visuality:
Abortion Care Work
and Photography

–Carmen Winant

Tuning In and
Dropping Out:
Spiritual Frontiers in
Recent Art and Curation

–Isabella Miller

Inhabiting the
In-Between:
Silke Otto-Knapp’s
Permeable Worlds

–Jessica Simmons-Reid

Interview with
Devon Tsuno

–Ana Iwataki

Works in Progress
Featuring: Tanya Aguiñiga

Photos: Leah Rom

Reviews

Alberta Whittle
at the Institute of
Contemporary Art,
Los Angeles
–Alitzah Oros

Urs Fischer
at Gagosian
–Ikechukwu Onyewuenyi

for the sake of
dancing in the street
at OXY ARTS
–Nahui Garcia

Van Leo
at the Hammer
Museum
–Christie Hayden

(L.A. in Mexico City)
Nancy Lupo
at Morán Morán
–Lee Purvey

Carla en Español

Issue 33 August 2023

Absurd, Mischievous,
and Hoaxy:
Horvitz, Cadere,
and Artist Estates

–Tina Barouti

Horsepower:
Rethinking the Equine
in Contemporary Art

–Isabella Miller

Dawoud Bey’s
Somatic Landscapes

–Jessica Simmons-Reid

Interview with
Alison O’Daniel

–Irina Gusin

L.A. Harvest
Featuring: iris yirei hu, Paige Emery,
and Gerald Clarke

Photos: Paloma Dooley

Reviews

Olga Balema
at Hannah Hoffman
Gallery
–Alec Recinos

Anthony Olubunmi
Akinbola
at Night Gallery
–Ikechukwu Onyewuenyi

Wayfinding
at Craft Contemporary
–Rachel Elizabeth Jones

Chase Biado
at The Pit Los Angeles
–Justin Duyao

(L.A. in N.Y.)
Lauren Halsey
at The Metropolitan
Museum of Art
–Donasia Tillery

(L.A. in London)
Francesca Gabbiani
at Cedric Bardawil
–Rosa Tyhurst

Carla en Español

Issue 32 June 2023

The Ache of Rebellion:
Nan Goldin’s
Chosen Family

–Jessica Simmons-Reid

Another Kind of Freedom
Milford Graves and
the Art of Interconnectivity

–Thomas Duncan

Gathering Around
What We Love:
On Increased Institutional Interest
in Black Figuration

–Neyat Yohannes

Interview with
Elliott Hundley

–Sampson Ohringer

L.A. Harvest
Featuring: Emma Robbins,
Sam Shoemaker, and
Paul Mpagi Sepuya

Photos: Paloma Dooley

Reviews

Justen LeRoy
at Art + Practice
–Allison Noelle Conner

Esther Pearl Watson
at Vielmetter Los Angeles
–Justin Duyao

Mungo Thomson
at Karma
–Isabella Miller

Muscle Memory
at The Fulcrum
–Erin F. O’Leary

Bhabha Williams
at David Kordansky Gallery
–Reuben Merringer

Entanglements
at Hollyhock House
–Christie Hayden

Carla en Español

Issue 31 February 2023

The Scatological
Disembodiment of Tala
Madani’s Shit Mom

–Jessica Simmons-Reid

The Power of Objects:
On Afro-Atlantic Histories
at LACMA

–Yxta Maya Murray

Anachronism and
Apocalypse:
Notes on the
Contemporary Medieval

–Isabella Miller

Interview with
rafa esparza

–stephanie mei huang

L.A. Harvest
Featuring: Evan Walsh &
Alika Cooper, Esteban Schimpf,
and Crenshaw Dairy Mart

Photos: Paloma Dooley

Reviews

Lauren Bon and
the Metabolic Studio
at Pitzer College
Art Galleries
–Nick Earhart

a time to tear and
a time to mend
at Wönzimer
–Donasia Tillery

Maria Maea
at Murmurs
–Tina Barouti

The New Bend
at Hauser & Wirth
–Isabelle Rust

Chris Warr
at Phase Gallery
–Serena Caffrey

(L.A. in London)
John Knight
at Cabinet
–Rosa Tyhurst

Carla en Español

Issue 30 November 2022

Opacity and the Spill:
The Photographs of
Clifford Prince King, Shikeith,
and Paul Mpagi Sepuya

–Allison Noelle Conner

Andrea Bowers:
An Ethos of Resistance

–Jessica Simmons-Reid

Lumbung in Los Angeles

–Julie Weitz

Interview with
Amia Yokoyama

–Yves B. Golden

L.A. Harvest
Featuring: Diane Williams,
Heather Rasmussen, and Mimi Lauter

Photos: Paloma Dooley

Reviews

Kaari Upson
at Sprüth Magers
–Isabella Miller

Nadia Lee Cohen
at Jeffrey Deitch
–Erin F. O’Leary

Wendy Park
at Various Small Fires
–Neyat Yohannes

Paul McCarthy
at Hauser & Wirth
–Janelle Zara

L.A. Memo: Chicana/o
Art from 1972–1989
at LA Plaza de
Cultura y Artes
–Rosa Tyhurst

(L.A. in Venice, Italy)
Kelly Akashi
at Barbati Gallery
–Vanessa Holyoak

Carla en Español

Issue 29 August 2022

Going Back:
Kevin Beasley and the Power
of Homecoming

–Allison Noelle Conner

From Both Sides
of the Lens:
Ulysses Jenkins'
Self-Reflexive Video Practice

–Neyat Yohannes

Sara Cwynar and
the Texture of
Digital Pictures

–Erin F. O'Leary

Existing is Resisting:
AAPI Artists at Work

–Vanessa Holyoak

Interview with
Genevieve Gaignard

–Colony Little

Reviews

Derek Fordjour
at David Kordansky Gallery
–Amy Mutza

Jimena Sarno
at the Los Angeles State
Historic Park
–Hande Sever

Pool at JOAN
–Nahui Garcia

Ei Arakawa
at Overduin & Co.
–Niall Murphy

EXTRACTION:
Earth, Ashes, Dust
at the Torrance Art Museum
–Alitzah Oros

Jacci Den Hartog
at STARS
–Irina Gusin

Carla en Español

Issue 28 May 2022

The Performance
Artist and
the Politican

–Julie Weitz

Turn and Return
The Artist's Practice
During Trauma

–Beth Pickens

In Formation
How Early SoCal Feminist Artists
Forged their Identities through
Collaborative Practice

Ashton Cooper

Interview with
Tidawhitney Lek

–Tina Barouti

Tertiary
On Workers, Pictures,
and Power

–Rodrigo Valenzuela

Reviews

Who is it that I am writing for?
at Certain Fallacies
–Vanessa Holyoak

Clarissa Tossin
at Commonwealth
and Council
–Reuben Merringer

Dale Brockman Davis
at Matter Studio Gallery
–Georgia Lassner

Alicia Piller
at Track 16
–Renée Reizman

(L.A. in Manchester)
Suzanne Lacy
at the Whitworth and
Manchester Art Gallery
–Rosa Tyhurst

(L.A. in Long Island)
Mis/Communication:
Language and Power in
Contemporary Art
at Paul W. Zuccaire Gallery
–Diana Seo Hyung Lee

Carla en Español

Issue 27 February 2022

I Don't Think I Belong
On Niki de Saint Phalle's
(Auto)biography)

–Catherine Wagley

Time After Time

–Melissa Lo

Abundant Frequencies
Black Abstraction
in Motion

–Nneka Jackson

Dreaming the Neighborhood
The Communal Visions
of Pipilotti Rist

–Vanessa Holyoak

Interview with
Haena Yoo

–stephanie mei huang

So Close Right Now

–Ian Byers-Gamber

Reviews

Devin Troy Strother
at The Pit
–Neyat Yohannes

Katherina Olschbaur
at Nicodim Gallery
–Lindsay Preston Zappas

Sam Richardson
at Human Resources
–Erin F. O'Leary

Umar Rashid
at Blum & Poe
–Reuben Merringer

(L.A. in France)
Ser Serpas
at Balice Hertling
–Rosa Tyhurst

Carla en Español

Issue 26 November 2021

Raul Guerrero’s
Deflated Mythologies

–Catherine Wagley

How virtual care lab
Builds Community
in Online Spaces

–Ceci Moss

Artists Examining Themselves
On Nao Bustamante’s Speculum

–Neyat Yohannes

Interview with L. Frank

–Julie Weitz

Exquisite L.A.
Featuring: Yves B. Golden,
Amanda Harris Williams,
and Lauren Halsey

–Claressinka Anderson
Photos: Joe Pugliese

Reviews

Kenneth Tam
at ICA LA
–Joseph Daniel Valencia

The Going Away Present
at Kristina Kite Gallery
–Reuben Merringer

Aria Dean
at REDCAT
–Aaron Horst

Eliza Douglas
at Overduin & Co.
– Renée Reizman

Lee Bontecou
and Michelle Stuart
at Marc Selwyn Fine Art
–Peter Frank

(L.A. in S.F.)
Julie Weitz
at The Contemporary
Jewish Museum
–Amy Mutza
and Ariel Zaccheo

Carla en Español

Issue 25 August 2021

Eating the Self:
Arnold J. Kemp's Hungry Hydras

–Allison Noelle Conner

More than Not:
LACMA's "Not I" and
the Necessity of History

–Melissa Lo

Learn From This Community:
Resisting Hierarchy through
a Return to Community Arts

–Catherine Wagley

Interview with
Taylor Renee Aldridge

–Eva Recinos

Exquisite L.A.
Featuring: Kang Seung Lee,
Leslie Dick, and Amia Yokoyama

–Claressinka Anderson
Photos: Joe Pugliese

Reviews

Sessa Englund
at Hunter Shaw Fine Art
–Matt Stromberg

Em Kettner
at François Ghebaly
–Lindsay Preston Zappas

Beverly Fishman
at GAVLAK
–Neyat Yohannes

Marisa Takal
at Night Gallery
–Nick Earhart

"Intergalactix: against isolation/
contra el aislamiento"
at LACE
–Nahui Garcia

"If it's good for you,
it's fine by me"
at Real Pain
–Sampson Ohringer

Carla en Español

Issue 24 May 2021

Hidden Archives
L.A.'s Historic-Cultural Monuments and the Women They Leave Out

–Neyat Yohannes

Zombie(s in Candy)land
Sula Bermúdez-Silverman's Sugar and Salt

–stephanie mei huang

On Making Photographs in a Surveillance State

–Erin F. O'Leary

Correcting the Record to Preserve It
The Art of the Intersectional Archive

–Catherine Wagley

Interview with Cauleen Smith

–Madeleine Seidel

Exquisite L.A.: Featuring Lila de Magalhaes, Young Joon Kwak, and Beatriz Cortez

–Claressinka Anderson
Photos: Joe Pugliese

Reviews

Sarah Rosalena Brady at Blum & Poe
–Allison Noelle Conner

Alex Prager at LACMA
–Travis Diehl

Richard Tuttle at David Kordansky Gallery; Stanley Whitney at Matthew Marks Gallery
–Jessica Simmons

Xylor Jane at Parrasch Heijnen
–Matt Stromberg

(L.A. in N.Y.)
Thomas Fougeirol | Tony Marsh at albertz benda
–Leah Ollman

(L.A. in N.Y.)
Becky Kolsrud at JTT
–Anthony Hawley

Carla En Español

Issue 23 February 2021

Your Turn, My Turn, Our Turn
How Christine Sun Kim Reimagines Sound

–Allison Noelle Conner

Bodies that Move
On Process Over Product

–Catherine Wagley

Interview with Brianna Rose Brooks

–Neyat Yohannes

Made in L.A. 2020: a version

Crosstown Traffic
–Matt Stromberg
Kahlil Joseph's BLKNWS
–Nahui Garcia

Reviews

Ben Sanders
at Ochi Projects
–Aaron Horst

Sean Townley
at Kristina Kite Gallery
–Travis Diehl

Carrie Cook
at Tyler Park Presents
–Lauren Maya Ford

(L.A. in S.F.)
Candice Lin
at Friends Indeed
–stephanie mei huang

Carla en Español

Issue 22 November 2020

Maija Peeples-Bright's Anti-Hierarchical Utopias and the Art of World-Building

–Catherine Wagley

The Lighthouse
Drinking the Fuel/On the Rocks

–Travis Diehl

The Glitch Strikes Back
Legacy Russell's Feminist Manifesto

–Allison Noelle Conner

Linda Stark's Covert Emotion

–Lindsay Preston Zappas

Interview with Patty Chang

–stephanie mei huang

Reviews

WE LIVE!
Memories of Resistance
at Oxy Arts
–Joseph Daniel Valencia

Colleen Hargaden
at Hunter Shaw Fine Art
–Hannah Sage Kay

Duke Riley
at Charlie James Gallery
–Matt Stromberg

Amir H. Fallah
at Shulamit Nazarian
–Aaron Horst

Cody Critcheloe
at The Gallery @
–Gracie Hadland

Carla en Español

Issue 21 August 2020

Days of Take

–Travis Diehl

A Chinese Cure

–stephanie mei huang

Where is Our Reckoning?

–Catherine Wagley

Forged by Fire
How a Ceramic Studio is Creating a Radical Community

–Eva Recinos

Ground Control
Picturing Land Use in the Uninhabitable Desert of Los Angeles

–Paloma Dooley

Reviews

Films for Escapism
at Women's Center for Creative Work
–Allison Noelle Conner

Guadalupe Rosales
at Los Angeles Nomadic Division
–Matt Stromberg

Paul Mpagi Sepuya
at Vielmetter Los Angeles
–Erin F. O'Leary

Simone Leigh
at David Kordansky Gallery
–Jessica Simmons

(L.A. in S.F.)
Stimulus
at Guerrero Gallery
–Ariel Zaccheo

Carla en Español

Issue 20 May 2020

Spiritual Coroner:
Gala Porras-Kim

–Travis Diehl

New New Images of Man

–Catherine Wagley

Catastrophe

–Jessica Simmons

Walking in L.A.

–Aaron Horst

Carla,
a Timeline in 5 Years

Art in Isolation Interviews

Diedrick Brackens, Amy Bessone, Julia Haft-Candell, Ry Rocklen, Paul Mpagi Sepuya, and Lita Albuquerque
–Lindsay Preston Zappas

Reviews

Michael Ray
at Philip Martin Gallery
–Keith J. Varadi

Alex Anderson
at GAVLAK
–Julie Weitz

All of Them Witches
at Jeffrey Deitch
–Michael Wright

Ree Morton
at ICA LA
–Molly Larkey

Rodrigo Valenzuela
at Klowden Mann
–Matt Stromberg

Lynette Yiadom-Boakye
at the Huntington
–Jennifer Remenchik

Gallery Viewing Room

Angels Gate Cultural Center,
Big Pictures Los Angeles,
Blum & Poe, Bridge Projects, Charlie James Gallery, Feuilleton, Five Car Garage, Klowden Mann, Moskowitz Bayse, Nicodim Gallery, Parrasch Heijnen, Philip Martin Gallery, Regen Projects, Telluride Gallery of Fine Art, The Pit, Wilding Cran Gallery

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
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
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
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
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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
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.)
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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

Home
at LACMA

Analia Saban at
Sprueth Magers
Letter to the Editor Lady Parts, Lady Arts
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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
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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
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Issue 6 November 2016

Letter from the Editor Lindsay Preston Zappas
Kenneth Tam
's Basement Travis Diehl
The Female
Cool School Catherine Wagley
The Rise
of the L.A.
Art Witch Amanda Yates Garcia
Interview with
Mernet Larsen Julie Weitz
Agnes Martin
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.)
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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.)
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Issue 4 May 2016

Letter from the Editor Lindsay Preston Zappas
Moon, laub, and Love Catherine Wagley
Walk Artisanal Jonathan Griffin
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.)
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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:
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
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Issue 2 November 2015

Letter from the Editor Lindsay Preston Zappas
Hot Tears Carmen Winant
Slow View:
Molly Larkey Anna Breininger and Kate Whitlock
Americanicity's Paintings:
Orion Martin
at Favorite Goods Tracy Jeanne Rosenthal
Layers of Leimert Park Catherine Wagley
Junkspace Junk Food:
Parker Ito
at Kaldi, Smart Objects,
White Cube, and
Château Shatto Evan Moffitt
Melrose Hustle Keith Vaughn
Max Maslansky Photographs
Monica Majoli at the Tom of Finland Foundation
White Lee, Black Lee:
William Pope.L’s "Reenactor" Travis Diehl
Dora Budor Interview Char Jensen
Reviews Mary Ried Kelley
at The Hammer Museum

Tongues Untied
at MOCA Pacific Design Center

No Joke
at Tanya Leighton
(L.A. in Berlin)
Snap Reviews Martin Basher at Anat Ebgi
Body Parts I-V at ASHES ASHES
Eve Fowler at Mier Gallery
Matt Siegle at Park View
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Issue 1 August 2015

Letter from the Editor Lindsay Preston Zappas
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.)
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Interview with Erin Christovale

June 24, 2025

Text by CJ Salapare

Image courtesy of the
artist. Photo: Adam Davis.

I first met curator Erin Christovale in 2020 during the early days of the COVID-19 pandemic. At the time, I was a Getty Marrow intern at the Hammer Museum working with Erin on her 2022 exhibition Ulysses Jenkins: Without Your Interpretation. In the months that followed, the power and prescience of Jenkins’ work was undeniable amid Zoom calls and Black Lives Matter protests. I admired his radical sensibility homegrown in Los Angeles, and I soon realized that Erin also embodied this very spirit.

The ensuing years that I’ve known Erin have only confirmed this belief. Los Angeles, with all of its enigmas and edges (including Long Beach, where we were both raised), is inextricable from her ways of working and being. Her curatorial work—from the 2018 edition of Made in L.A., to Jenkins’ long- overdue survey, to the 2022 Sylvia Wynter-inspired exhibition No Humans Involved—is grounded in the intergenerational practices of Black radical imagination, archival preservation, and local experimentalism.

Alice Coltrane, Monument Eternal (February 9–May 4, 2025), which Erin recently curated at the Hammer with Nyah Ginwright, is her latest imagining brought to fruition. The multimedia exhibition brings together the visionary musician and spiritual guru’s music and archives alongside works by 19 multi-generational artists. What emerges is a dual portrait of a dynamic life and legacy.

For this interview (which took place on Valentine’s Day), I asked Erin to reflect on her sense of place, and her answers unfolded into a love letter to the L.A. region. Our conversation opened up into a larger continuum of histories: collectively understood, spoken, carried—and intimately interconnected.

CJ Salapare: How did your personal relationship with L.A. come to be?

Erin Christovale: I’ve lived in L.A. County for practically my entire life. I grew up in Long Beach and the city has always been a cornerstone to my existence, to the way that I think, the way that I move, the way that I navigate spaces. […] I always think of L.A. as, like, this sort of B [or] C-list actress who had that one breakout role and her career didn’t really take off after that. She’s a glamour girl, but she’s also very raw and gritty and seedy. [L.A. is] ruled by the entertainment industry. […] It’s also a city that has very deep political and racial underpinnings. I think about the LAPD being one of the most militarized police departments in the country. I think about a history of uprisings from Watts to South Central.

I think about a city that’s always sunny… To say that imbues some positivity or beauty, but actually what it means is the city [rarely] gets rain. What does it mean if the city is never sort of replenished in that way. There’s so many layers to this incredible city. I love just being in the thick of all of that… and also incorporating that into what I do as a curator.

CJS: Can you expand on this dissonance between the region’s associations with Hollywood’s glitz and glamour and these more visceral layers of meaning that inform your curatorial work?

EC: I’ve always been interested in the study of film. […] I remember so clearly one of the classes at USC that really had an impact on me was a class taught by Professor Kara Keeling on the history of African-American cinema, and one of the first films that she showed was The Birth of a Nation.

I’m thinking, what does this film have to do with African-American cinema? But you come to understand that [this 1915] film—by D.W. Griffith, who’s actually one of the founders of Hollywood—was in part made to convince people, and mainly new immigrants to the country, that Black people were savage, bad, and not to be messed with or engaged with. […] So I’ve always been fascinated by the way that moving image has been deeply instrumentalized to sway the opinions and ideas of the collective.

CJS: I’m curious about what or who gets brought along from your approach to the moving image, specifically in terms of the archival and social impulses central to your practice, in shows like Ulysses Jenkins or Alice Coltrane.

EC: I formed this project Black Radical Imagination [with filmmaker Amir George] and the title of that project ties directly back to…Freedom Dreams: The Black Radical Imagination [2002] by Robin D.G. Kelley. He does this brilliant job of outlining all of these Black liberation movements over the years and [is] always coming back to the simple idea that if someone wasn’t courageous enough to radically imagine another way of existing, a new future, that none of these movements would have been in place. Amir and I applied that philosophy to the moving image space, particularly experimental video.

My curatorial practice is deeply tied to this notion of Black radical imagination and if you look at any
of my projects [or] exhibitions, there’s always a nod or [a] direct tie back to a Black cultural figure, back to Black scholarship, back to an essay or a person. And what I find important about [this] excavating is my intention to…offer up an extension of those thoughts or ideas…through the art space, but also point at the fact that these thoughts are universal and Black radical thought is actually global and is a cornerstone for many liberation movements.

CJS: The exchange that an exhibition can make possible, that transmission of knowledge, also feels fundamental to the way that you think. If we framed the exhibition space as a matrix—art, artists, and audiences as the trifecta—is there anything specific or singular about these three coalescing in L.A.?

EC: I think that’s a really beautiful question… Just the way that L.A. artists have come together, regardless of

the institution, regardless of the validation of the larger art world, regardless of the market, has always been deeply inspirational to me and a reminder that art happens and exists beyond the framework of the art world. Art happens every day in the smallest of moments and in the strangest of places.

I’ve been so proud and have loved the fact that the L.A. art scene has these historical roots. It’s not about the gallery or the fair or the institution. […] I think L.A. has always been a city of artists for artists. The L.A. art
scene has always been doing its thing regardless of these other powers that be, and there’s something very punk and rebellious and almost anarchist about that, [which] I love. […] Historically, the artist in L.A. has always needed the collective, as opposed to other art centers.

Alice Coltrane, Monument Eternal (installation view) (2025). Image courtesy of the artists and Hammer Museum. Photo: Joshua White.

No Humans Involved (installation view) (2021–22). Image courtesy of the artists and Hammer Museum. Photo: Jeff McLane.

CJS: I wonder how the collective manifests through [trailblazing] spaces in LA, like Self-Help Graphics & Art and the ONE Archives at the USC Libraries, or the Museum of Latin American Art in Long Beach.

EC: Those spaces raised me. I could not exist as the person that I am now, in the institution that I’m very consciously aware of that I exist in now, without those spaces. I think those spaces are actually the most important spaces within [this] ecosystem because those are where deep experimentation and innovation are still alive and well and accessible… I often feel they don’t get the credit that they deserve, or the deep labor that goes into making those spaces possible is never really praised.

Human Resources has always been an incredibly important space for me and for young curators who have the opportunity to put on shows. LACE [Los Angeles Contemporary Exhibitions] has always been an incredible space that has a very rich history and was started by artists and I think still has that sort of flair. The Echo Park Film Center [Collective] is another space [where] I could screen films or friends of mine learned how to shoot on film for the first time.

CJS: You mentioned that you carry L.A. around with you wherever you go. How do you feel that your community in L.A. informs this belief?

EC: So many of the artists that I have worked with are my peers, and we’ve grown up together, and I’ve been in and out of their studios over years. […] These spaces are the genesis of the work that I bring to the Hammer now and the group of artists that I’m constantly in conversation with.

CJS: In creating a sense or form of the collective, there needs to be a kind of magnetism, or this ability to connect with others that you undeniably possess.

EC: Thank you for seeing that in me… This is something I can’t overthink. I just do, it’s just intuitive. […] I’ve always understood that to be a human is to be in constant connection, refraction, reflection, projection, a collective of others that are all working through this notion of the human condition.

I think also that space always reminds me that we are all still learning… and when you enter other people’s spaces [you] come in those spaces with an open mind, come in those spaces knowing that these people are the authority, the legacy keepers of what those spaces mean to them, and what your contribution is from there.

CJS: Can you elaborate on being in this learning mindset? Especially in terms of the curator historically being a bastion of expertise, or a gatekeeper.

EC: I think being a curator now in this contemporary world is so vast and it has truly broken from those early constructs. I consider myself to be a part of a larger group of specifically Black contemporary curators who
for the first time en masse have come into these institutional spaces. What that has meant for me and so many of my colleagues is these spaces don’t always know what we need [and] how to treat us. I’ve had to be deeply creative and I’ve had to take care of myself in these spaces in order to survive. I think with that labor in mind, I have to be open, I have to be receptive, I have to learn from others because I too am sort of learning on the spot as I go about what I need, what I want, how to advocate for myself. Shout out to our elders and our mentors who [didn’t have] the network that we have now.

I think being a good curator in this contemporary world calls you to be…a person of the world. You’re constantly in the flux and flow of society and culture, and you’re moving between so many different spaces and classes and types of people. I think in order to do that well, you kind of have to be fluid, you have to have an open mind, you have to be willing to learn, or else you miss the point of what this incredible job and position can be.

Alice Coltrane, Monument Eternal (installation view) (2025). Image courtesy of the artists and Hammer Museum. Photo: Joshua White.

CJS: I think what you’re describing so profoundly is the reality that the curator isn’t solely in the business of aesthetics anymore. I want to focus on the ethics that come with such a position of responsibility.

EC: This…notion of care has to extend beyond the object. At least that’s how I feel. The Latin word for curator [cūrātor] stems from this idea of caring… if you don’t care about or for the objects and the people and the audience that you are hoping to manifest in these spaces, then what are you actually gaining from this experience? This is the rhetorical question that I always toy with.

I remember one of the most brilliant things that the artist Martine Syms said. She was like, “I make shows for my mom.” It’s so simple, but so profound. Because what she is getting at is if grandma doesn’t feel it, if my little niece is not engaged, if my mother is not interested, who am I doing this for? I acknowledge not everyone thinks like this or has this set of priorities or even ethics, but the community of art people and workers that I keep close to me are those that feel similarly and do similarly.

I also just want to shout out certain art workers and curators in the city who have laid the groundwork for me to exist in this space, like Alma Ruiz who was at MOCA, or Rita Gonzalez who is at LACMA now, or Essence Harden, who’s curating the next Made in L.A. biennial. So many of these people who are often women of color have been the foundation of these institutions in this city, and I think that just needs to be reiterated over and over again.

CJS: Naming these people and spaces, calling to mind these different sensibilities and ideas—these are ways of keeping memories and archives alive, of making sure that they don’t fade away.

EC: Yeah, absolutely. I think that is part of the work. That’s…why oral history too is so deeply important. Saying those names, getting those names in print, circulating those names in digital spaces. […] These are the blueprints. These are the thought partners. These are the people who have made the L.A. art world what it is and what it will be. That is incredibly important to me.

belonging (installation view) (2019). Image courtesy of the artists and Hammer Museum. Photo: Jeff McLane.

Ulysses Jenkins: Without Your Interpretation (installation view) (2022). Image courtesy of the artist and Hammer Museum. Photo: Jeff McLane.

CJ Salapare is a Filipino-American arts worker and writer based in Brooklyn, NY. He currently works in the Modern and Contemporary department at the Metropolitan Museum of Art.

More by CJ Salapare