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
Launch Party February 2019
Frieze Los Angeles, ALAC,
Spring Break Art Fair, Felix
Buy the Issue In our Online Shop
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
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
Launch Party November 18, 2018
at Odd Ark L.A.
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
Letter From the Editor Lindsay Preston Zappas
Letter to the Editor Julie Weitz with Angella d'Avignon
Don't Make
Everything Boring
Catherine Wagley
The Collaborative Art
World of Norm Laich
Matt Stromberg
Oddly Satisfying Art Travis Diehl
Made in L.A. 2018 Reviews Claire de Dobay Rifelj
Jennifer Remenchik
Aaron Horst
Exquisite L.A.
Featuring: Anna Sew Hoy, Guadalupe Rosales, and Shizu Saldamando
Claressinka Anderson
Photos: Joe Pugliese
Launch Party August 18, 2018
At Praz-Delavallade
Reviews It's Snowing in LA
at AA|LA
–Matthew Lax

Fiona Conner
at the MAK Center
–Thomas Duncan

Show 2
at The Gallery @ Michael's
–Simone Krug

Deborah Roberts
at Luis De Jesus Los Angeles
–Ikechukwu Casmir Onyewuenyi

Mimi Lauter
at Blum & Poe
–Jessica Simmons

(L.A. in N.Y.)
Math Bass
at Mary Boone
–Ashton Cooper

(L.A. in N.Y.)
Condo New York
–Laura Brown
Poetic Energies and
Radical Celebrations:
Senga Nengudi and Maren Hassinger
Simone Krug
Interior States of the Art Travis Diehl
Perennial Bloom:
Florals in Feminism
and Across L.A.
Angella d'Avignon
The Mess We're In Catherine Wagley
Interview with
Christina Quarles
Ashton Cooper
Object Project
Featuring Suné Woods, Michelle Dizon,
and Yong Soon Min
Lindsay Preston Zappas
Photos: Jeff McLane
Launch Party May 19, 2018
at Karma International
Reviews Meleko Mokgosi
at The Fowler Museum at UCLA
-Jessica Simmons

Chris Kraus
at Chateau Shatto
- Aaron Horst

Ben Sanders
at Ochi Projects
- Matt Stromberg

iris yirei hsu
at the Women's Center
for Creative Work
- Hana Cohn

Harald Szeemann
at the Getty Research Institute
- Olivian Cha

Ali Prosch
at Bed and Breakfast
- Jennifer Remenchik

Reena Spaulings
at Matthew Marks
- Thomas Duncan
Letter from the Editor Lindsay Preston Zappas
Museum as Selfie Station Matt Stromberg
Accessible as Humanly as Possible Catherine Wagley
On Laura Owens on Laura Owens Travis Diehl
Interview with Puppies Puppies Jonathan Griffin
Object Project Lindsay Preston Zappas, Jeff McLane
Launch Party
Reviews Dulce Dientes
at Rainbow in Spanish
- Aaron Horst

Adrián Villas Rojas
at The Geffen Contemporary at MOCA
- Lindsay Preston Zappas

Nevine Mahmoud
at M+B
- Angella D'Avignon

Radical Women: Latin American Art, 1960- 1985
at the Hammer Museum
- Thomas Duncan

Hannah Greely and William T. Wiley
at Parker Gallery
- Keith J. Varadi

David Hockney
at The Metropolitan Museum of Art (L.A. in N.Y.)
- Ashton Cooper

Edgar Arceneaux
at Yerba Buena Center for the Arts (L.A. in S.F.)
- Hana Cohn
Letter from the Editor Lindsay Preston Zappas
Barely Living with Art:
The Labor of Domestic
Spaces in Los Angeles
Eli Diner
She Wanted Adventure:
Dwan, Butler, Mizuno, Copley
Catherine Wagley
The Languages of
All-Women Exhibitions
Lindsay Preston Zappas
L.A. Povera Travis Diehl
On Eclipses:
When Language
and Photography Fail
Jessica Simmons
Interview with
Hamza Walker
Julie Wietz
Reviews Cheyenne Julien
at Smart Objects

Paul Mpagi Sepuya
at team bungalow

Ravi Jackson
at Richard Telles

Tactility of Line
at Elevator Mondays

Trigger: Gender as a Tool as a Weapon
at the New Museum
(L.A. in N.Y.)
Launch Party November 18, 2017
at the Landing
Object Project
Featuring: Rosha Yaghmai,
Dianna Molzan, and Patrick Jackson
Lindsay Preston Zappas
Photos by Jeff McLane
Pacific Standard Time: LA/LA
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
Letter from the Editor Lindsay Preston Zappas
Women on the Plinth Catherine Wagley
Us & Them, Now & Then:
Reconstituting Group Material
Travis Diehl
The Offerings of EJ Hill
Ikechukwu Casmir Onyewuenyi
Interview with Jenni Sorkin Carmen Winant
Letter to the Editor Lady Parts, Lady Arts
Launch Party August 19th at Blum and Poe
Object Project
Featuring: Rebecca Morris,
Linda Stark, Alex Olson
Lindsay Preston Zappas
Photos by Jeff McClane
Reviews Mark Bradford
at the Venice Biennale

Broken Language
at Shulamit Nazarian

Artists of Color
at the Underground Museum

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects

Home
at LACMA

Analia Saban at
Sprueth Magers
Letter from the Editor Lindsay Preston Zappas
Kanye Westworld Travis Diehl
@richardhawkins01 Thomas Duncan
Support Structures:
Alice Könitz and LAMOA
Catherine Wagley
Interview with
Penny Slinger
Eliza Swann
Exquisite L.A.
Featuring:
taisha paggett
Ashley Hunt
Young Chung
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Letter to the Editor
Launch Party May 13, 2017
at Commonwealth and Council
Reviews Alessandro Pessoli
at Marc Foxx

Jennie Jieun Lee
at The Pit

Trisha Baga
at 356 Mission

Jimmie Durham
at The Hammer

Parallel City
at Ms. Barbers

Jason Rhodes
at Hauser & Wirth
Letter from the Editor Lindsay Preston Zappas
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
Launch Party February 18, 2017
at Shulamit Nazarian
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
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
Launch Party Carla Issue 6
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.)
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
Launch Party Carla Issue 5
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.)
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
Launch Party Carla Issue 4
Interiors and Interiority:
Njideka Akunyili Crosby
Char Jansen
Reviews L.A. Art Fairs

Material Art Fair, Mexico City

Rain Room
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.)
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
Launch Party Carla Issue 3
Share Your Piece
of the Puzzle
Federica Bueti
Amanda Ross-Ho Photographs
Erik Frydenborg
Reviews Honeydew
at Michael Thibault

Fred Tomaselli
at California State University, Fullerton

Trisha Donnelly
at Matthew Marks Gallery

Bradford Kessler
at ASHES/ASHES
Letter from the Editor Lindsay Preston Zappas
Hot Tears Carmen Winant
Slow View:
Molly Larkey
Anna Breininger and Kate Whitlock
Americanicity's Paintings:
Orion Martin
at Favorite Goods
Tracy Jeanne Rosenthal
Layers of Leimert Park Catherine Wagley
Junkspace Junk Food:
Parker Ito
at Kaldi, Smart Objects,
White Cube, and
Château Shatto
Evan Moffitt
Melrose Hustle Keith Vaughn
Reviews Mary Ried Kelley
at The Hammer Museum

Tongues Untied
at MOCA Pacific Design Center

No Joke
at Tanya Leighton
(L.A. in Berlin)
Snap Reviews Martin Basher at Anat Ebgi
Body Parts I-V at ASHES ASHES
Eve Fowler at Mier Gallery
Matt Siegle at Park View
Max Maslansky Photographs
Monica Majoli
at the Tom of Finland Foundation
White Lee, Black Lee:
William Pope.L’s "Reenactor"
Travis Diehl
Dora Budor Interview Char Jensen
Letter from the Editor Lindsay Preston Zappas
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
Launch Party Carla Issue 1
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.)
Distribution
Downtown
ARTBOOK @ Hauser & Wirth
Baert Gallery
Cirrus Gallery
Château Shatto
Elevator Mondays
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at MOCA
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ICA LA
JOAN
LACA
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MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
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Eastside
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ESXLA
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Oof Books
Otherwild
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Women's Center for Creative Work
Westside
18th Street Arts
Ben Maltz Gallery at Otis 
College of Art and Design
DXIX Projects
Christopher Grimes Gallery
DXIX Projects
Five Car Garage
Laband Art Gallery at LMU
team (bungalow)
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
The Pit
Los Angeles Valley College
Mid-City
1301 PE
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California African American Museum
E.C. Liná
Commonwealth & Council
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Hunter Shaw Fine Art
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ltd Los Angeles
Shoot the Lobster
Ochi Projects
Praz-Delavallade
the Landing
SPRÜTH MAGERS
The Underground Museum
USC Fisher Museum of Art
Visitor Welcome Center
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AA|LA
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Family Books
GAVLAK
LACE
LA> M+B
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Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Steve Turner
Tanya Bonakdar Gallery
The LODGE
Various Small Fires
Mobile
Gas Gallery
@gasdotgallery

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

Outliers and American
Vanguard Art

at LACMA

Outliers and American Vanguard Art (2018) (installation view). Image courtesy of the artists and LACMA.

I searched and searched, but nowhere could I find, explicitly stated, the proposition that seems to be at the heart of Lynne Cooke’s Outliers and Vanguard American Art: that the categorical separation upheld primarily by specialist dealers, curators, and historians of “outsider art” between self-taught artists and those with college or university degrees is untenable, and should be henceforth abandoned.

That idea, at this point in time, is not even so controversial, having begun gathering steam as early as 1992, when LACMA mounted Parallel Visions: Modern Artists and Outsider Art, and arguably reaching its apotheosis in 2013 with Massimiliano Gioni’s the Encyclopedic Palace exhibition for the Venice Biennale and the 2013 Carnegie International.

I, for one, had half expected—hoped for, even— Cooke’s show to be the final word on the matter, a definitive demonstration that categorizations like “outsider,” “folk,” “visionary,” or “naïve” are not only inaccurate but also ethically compromised. What separates sculptor John Flannagan, for instance, who incorporated ancient Celtic references into his stone carvings, from William Edmondson, whose motifs often came from African American burial traditions, but race and class? Evidently, it was me who was naïve. While Outliers seeks to broaden the art historical conversation to include voices previously ignored, drowned out or condescended, Cooke is rightly careful never to blithely paper over the divisions that have long existed, and which continue to exist, in the contemporary art world as in American society at large.

Outliers maintains focus on three periods in the last 100 years or so when the boundaries between the center and the margins were especially porous. (Retrenchment usually followed.) The implication is that these are moments to be celebrated— and indeed the brilliance of the work in the exhibition backs this up—but the presentation and the interpretive didactics retain the dispassion and fastidiousness of historical analysis.

Cooke’s study begins in the 1930s, when WPA programs allowed a host of skilled amateurs to be employed in artistic pursuits. Concurrently, Alfred H. Barr was making compelling arguments at the nascent Museum of Modern Art for the significance to American Modernism of what he regrettably termed the “modern primitive.” (His ridiculed exhibition of the self-taught artist Morris Hirshfield contributed to his dismissal in 1943.) What is clear from the outset is that in the 1930s, “primitive” was usually was usually a euphemism for work by African American or Latinx makers. Artists such as Horace Pippin—whose Holy Mountain III (1945) recalls the jungle scenes in Henri Rousseau’s Tropical Forest with Monkeys (1910), in the previous gallery—were not so much uneducated as schooled in a different set of folk aesthetics that they each applied to contemporary subjects and themes.

Next, we leap forward to the early 1970s, when Chicago Imagists and Bay Area Funk artists such as Jim Nutt, Gladys Nilsson, Roy De Forest, and William Wiley enthusiastically promoted “outsiders” including Joseph Yoakum and Martín Ramírez, influenced not only by their styles but also by their aberrant relation to the mainstream. While this section of the exhibition contains some of the most powerful work from both sides of the academic divide—notably Ramírez’s grand Untitled (Madonna) (c.1948–63)—it is also not without ethical unease. What were the power dynamics of these relationships, especially when one artist could not speak for himself? (Yoakum died in 1972; Ramírez in 1963.) Did the academically credentialed younger artists really consider their unschooled colleagues to be equals? (We can never know.)

Outliers and American Vanguard Art (2018) (installation view). Image courtesy of the artists and LACMA.

Instead of “outsider,” Cooke proposes the more sympathetic term “outlier”—a word implying unexpected exceptionalism rather than inevitable exclusion. My guess is that, sadly, it won’t catch on, not because it isn’t better but because it lacks the tragic romance of “outsider”—a romance that is especially appealing to the “insider” art world.

It is in the third section of the exhibition that we become most aware that Outliers offers no overarching thesis about the relationship of the artistic center to the margins—still less a model by which we might proceed in the future. Cooke observes that in the late 1990s and early 2000s, when photography, performance, and text-based work was prominent in American contemporary art, self-taught artists working in those media, such as Lee Godie or Eugene von Bruenchenhein, were championed by the vanguard. Separately, the quilters of Gee’s Bend, Alabama, were celebrated thanks in part to their affinity with textile artists and abstract painters like Mary Heilmann, whose gorgeous Orchid Lady (1994) features here. In the final gallery, Cooke enacts what in her catalog essay she calls “curatorial fabulations,” in which artists who may not have been aware of each other’s work are placed together, such as Nancy Shaver, Jessica Stockholder, and Judith Scott.

Curatorial fabulations may be the most honest and least objectionable means of bringing together the schooled and the unschooled, but they are nevertheless somewhat unsatisfying. Is there anything more than a coincidental relationship between the severely handicapped Scott, who created her bound yarn and fabric totems at the Creative Growth Art Center in Oakland, and Stockholder, who graduated with an MFA from Yale and is currently a professor at the University of Chicago? By the conclusion of this exhibition, I was hungry for something more hopeful, less arbitrary and speculative. While Outliers might be the most substantive contribution to this debate in years, it provides no bromides, no facile generalizations, and no remediations for past injustices.

Jonathan Griffin is a contributing editor for Frieze magazine, and also writes for publications including Art in Review, Art Agenda, The Art Newspaper, Cultured, and New York Times T Magazine.

Horace Pippin, Interior (1944). Oil on canvas, 24 ⅛ x 30 inches. Image courtesy of the artist and the National Gallery of Art, Washington.

Outliers and American Vanguard Art (2018) (installation view). Image courtesy of the artists and LACMA.

Rosie Lee Tompkins, Untitled (1996). Cotton, cotton flannel, cotton feed sack, linen, rayon, flocked satin, velvet, cotton-synthetic blend, cotton-acrylic jersey, acrylic double-weave, cotton-polyester, polyester double knit, acrylic and cotton tapestry, silk batik, polyester velour, rayon or acrylic embroidery on cotton, wool, needlepoint, and shisha-mirror embroidery (quilted by Irene Bankhead in 1996), 88 x 146 inches. Image courtesy of the artist and the Eli Leon Trust. Photo: Sharon Risedorph.

Outliers and American Vanguard Art (2018) (installation view). Image courtesy of the artists and LACMA.

Lonnie Holley, The Boneheaded Serpent at the Cross (It Wasn’t Luck) (1996). Metal, bones, and dried flowers. Image courtesy of the artist and Artists Rights Society (ARS), New York. Photo: Stephen Pitkin.

Judith Scott, Untitled (2004). Fiber and mixed media, 21 x 16 x 16 inches. Image courtesy of the artist and The Museum of Everything, London and Creative Growth Art Center.

Barbara Rossi, Rose Rock (1972). Acrylic on Plexiglass panel, artist’s frame, 27 ¾ x 23 ¾ inches. Image courtesy of the artist and Corbett vs. Dempsey, Chicago. Photo: Tom VanEynde.

Marsden Hartley, Adelard the Drowned, Master of the “Phantom” (1938–39). Oil on board, 28 x 22 inches. Image courtesy of the artist and The Frederick R. Weisman Art Museum at the University of Minnesota, Minneapolis.

Outliers and American Vanguard Art (2018) (installation view). Image courtesy of the artists and LACMA.

Alan Shields, Shape-Up (1976-77). Acrylic, thread, and beads on canvas belting, 75 x 72 inches. Image courtesy of the artist, The Drawing Room Gallery, East Hampton Section, and Alan Shields Estate. Photo: Gary Mamay.

Sister Gertrude Morgan, Revelation 7. chap (1970). Paint on wood, 32 ¼ x 15 ⅜ inches. Image courtesy of the artist and The Museum of Everything, London. Photo: Todd-White Art Photography.


This review was originally published in Carla issue 15.