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
Launch Party May 18th, 2019
@ The Pit
Buy the Issue In Our Online Shop
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
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
A+D Museum
Artbook @ Hauser & Wirth
Baert Gallery
Cirrus Gallery
Château Shatto
Elevator Mondays
The Geffen Contemporary 
at MOCA
Ghebaly Gallery
ICA LA
JOAN
LACA
Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
Charlie James
Good Luck Gallery
Human Resources
Ibid Gallery
Parrasch Heijnen Gallery
Nicodim Gallery

Eastside
ESXLA
Odd Ark LA
Oof Books
Otherwild
River Gallery
Smart Objects
Women's Center for Creative Work
Westside
18th Street Arts
Ben Maltz Gallery at Otis
Crap Eyewear
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
Big Pictures Los Angeles
California African American Museum
E.C. Liná
Commonwealth & Council
David Kordansky Gallery
Hunter Shaw Fine Art
Kayne Griffin Corcoran
Lowell Ryan Projects
ltd Los Angeles
Marciano Art Foundation
Ochi Projects
Praz-Delavallade
the Landing
Shoot the Lobster
SPRÜTH MAGERS
The Underground Museum
USC Fisher Museum of Art
Visitor Welcome Center
Culver City
Anat Ebgi
Arcana Books
Blum & Poe
Honor Fraser
Klowden Mann
Luis De Jesus
Philip Martin Gallery
Roberts Projects
Susanne Vielmetter
Hollywood
AA|LA
Diane Rosenstein
East Hollywood Fine Art
Family Books
GAVLAK
LACE
LA> M+B
Nino Mier Gallery
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Steve Turner
Tanya Bonakdar Gallery
The LODGE
Various Small Fires
Mobile
Gas Gallery
@gasdotgallery
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)
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)
McNally Jackson (New York)
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)
University of Pennsylvania (Philadelphia, PA)
USC Fisher Museum of Art (Los Angeles, CA)
University of San Diego (San Diego, CA)
Walker Art Center (Minneapolis, MN)
Whitney Museum of American Art, Frances Mulhall Achilles Library (New York, NY)
Yale University Library (New Haven, CT)

Rob Thom
at M+B

Rob Thom, MMAF (2019). Signed, titled and dated verso, oil and wax on canvas, 46 x 56.5 inches. Image courtesy of the artist and M+B Gallery. Photo: Ed Mumford.

Rob Thom’s paintings have you mining your brain to connect dots, eager to name what you are looking at. “It’s like the elongated figures and warped perspectives of Mernet Larsen, but with less geometry,” you posit. “The orgiastic bacchanal of Hieronymus Bosch, but with more pizza; the chaos of Where’s Waldo but with more carnage; the depiction of white America similar to Celeste Dupuy Spencer’s, but less Trumpy.” Thom’s oil paintings—which have not been shown in his hometown Los Angeles for several years—are all these things and none of them, and it is this audacious amalgam of the familiar and the nameless that is so captivating. Thom scans crowds across America to present a mish-mashed collection of scenes—track and field meet, carnival, wrestling match, crowded beach—that feel rooted in everyday leisures while also feeling, at moments, dreamily otherworldly. “Here are the crowds,” proclaimed the press release.

Across the work, wax was mixed with oil paint to create a surface that absorbs light with its textural matte finish. Garishly-colored underpaintings in bright orange or neon turquoise peek through his rendering of ghoulish faces or choppy waves, adding an off-kilter energy to his banal American scenes. Stylistically, the paintings feel older than they are; an approach to figuration that feels more educational— like you might find in an old Highlights magazine— than the Quarelses and Schutzes that currently populate contemporary galleries. The non-descript clothing that Thom’s subjects wear (blank baggy tees, high-waisted jean shorts, subtle mullets) feels vaguely ’90s, as if you might spot a shy and braces-laden childhood version of yourself lingering in the background. Although in a couple of paintings, figures hold smart phones, the scenes feel decidedly pre-internet.

In Fair Walkers (all works 2019), a family skulks along in white tennis shoes pushing a stroller past rows of carnival stalls and plush banana toys. In the back- ground, other fair-goers amble, and in a cacophony of abstracted shapes and colors, the people become indistinguishable from the rows of cheaply made baubles. Strangley, in the foreground, a woman walks off the canvas, though her face lags behind, dripping down her shoulder with a macabre and angular jawline. So, here, Thom sets the stage, and invites you to play along: look for clues, oddities, and strange occurrences.

These strange inclusions don’t quite disrupt the believability of the crowded scenes. Instead they suggest that what we are looking at, while rooted in truth, may also be a partial fiction. The paintings traipse into fantasy as in Drive-Thru Zoo, whose title explains exactly what’s depicted on canvas (a cavalcade of safari animals stampeding around a zagging line of gawking cars). One woman leans out of a sedan tempting a hyena with a slice of pepperoni ’za. Like any good fiction, the painting almost reads as an impending eventuality—soon, nature will be relegated to an experience enjoyed while sitting back on a shaded tram, slurping a Big Gulp.

Rob Thom, Drive-Thru Zoo (2019). Signed, titled and dated verso, oil and wax on canvas, 49 x 55 inches. Image courtesy of the artist and M+B Gallery. Photo: Ed Mumford.

In other paintings, the outlier is more apparent. FYB (The Juice), pictures the frenzy of a grape stomping festival, wherein a worker dumps a bucket of crabs into the masticated wine mixture. Reverse Beach shows a dense vacation scene where sun-screened tourists wade through a choppy ocean, clinging to inflatable rafts. It’s not until you’ve spent several minutes delight- ing in the activities of the pot-bellied tourists that you notice a man in the left corner of the composition menacingly holding a chainsaw while wading onto the shore. In Thom’s America, banality can flip to nightmare in a matter of seconds.

The artist pulls his dense crowds from a variety of sources—events he attends where he now lives in the Pacific Northwest, discarded books, and online sourced images of shopping malls, fairs, and rallies. The jeering crowd in BRWC—the largest and most dense painting in the show, depict- ing a swarm of wrestlers punching and drop kicking each other while rowdy onlookers cheer with arrested attention—becomes isolated in another painting titled MMAF. Here, Thom gives a close-up of the crowd itself: an overalls-sporting, visibly angry woman points and yells, while others cheer and clap, and still others grin excitedly, recording the unseen action on their phones. Plain colored t-shirts and blazers devoid of any campaign slogans, logos, or sports team insignias allow this rag tag bunch to exist as any crowd, anywhere. Still, West Coast liberals they are not, and their expressive jeers point to a more base level event—whether wrestling match, cock fight, or Trump rally. By removing any demarcating details, the crowd comes to represent the buzz of flagrant anxiety so ready to flare and flout these days, in response to any action.

After the various throngs of people portrayed across many of Thom’s paintings, The Cold Room is almost completely devoid of them. Save for a few small figures hemmed into the bottom corner of the composition, the discordant crowds here are replaced with an unruly trash heap spilling across the canvas. While elsewhere we see the silly, stupid, and entertaining realities of daily life, here we are confronted with its wreckage—after the carnival closes, and the wrestling match lets out, there will be trash.

And too, after the political candidates have come and gone, our emotions properly manipulated in pious and contorted rage— there will be trash. Yet more than a stern political or environmental warning, Thom’s outlook seems broadly un-sermonic, as if collapsing all of our frenzied human activity (whether responding to Trump’s wall or tossing back cocktails on a Carnival cruise to the Bahamas) into an equal hum of emotional wattage. Amidst the chaos of a teetering world, someone somewhere is dumping a bucket of crabs into a vat of grapes. And, why the hell not?

Rob Thom, The Beast (2019) (installation view). Image courtesy the artist and M+B Gallery. Photo: Ed Mumford.

Rob Thom, Reverse Beach (2019). Signed, titled and dated verso, oil and wax on canvas, 38.5 x 44 inches. Image courtesy of the artist and M+B Gallery. Photo: Ed Mumford.

Rob Thom, The Beast (2019) (installation view). Image courtesy the artist and M+B Gallery. Photo: Ed Mumford.

Rob Thom, Fair Walkers (2019). Signed, titled and dated verso, oil and wax on canvas, 40 x 43.5 inches. Image courtesy of the artist and M+B Gallery. Photo: Ed Mumford.

Lindsay Preston Zappas is the founder and editor-in-chief of Carla.

This review was originally published in Carla issue 16.