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

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
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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
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Issue 17 August 2019

Letter From the Editor Lindsay Preston Zappas
Green Chip David Hammons
at Hauser & Wirth
–Travis Diehl
Whatever Gets You
Through the Night
The Artists of Dilexi
and Wartime Trauma
–Jonathan Griffin
Generous Collectors How the Grinsteins
Supported Artists
–Catherine Wagley
Interview with
Donna Huanca
–Lindsy Preston Zappas
Working Artist Featuring Ragen Moss, Justen LeRoy,
and Bari Ziperstein
Text: Lindsay Preston Zappas
Photos: Jeff McLane
Reviews Sarah Lucas
at the Hammer Museum
–Yxta Maya Murray

George Herms and Terence Koh
at Morán Morán
–Matt Stromberg

Hannah Hur
at Bel Ami
–Michael Wright

Sebastian Hernandez
at NAVEL
–Julie Weitz

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

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Issue 16 May 2019

Trulee Hall's Untamed Magic Catherine Wagley
Ingredients for a Braver Art Scene Ceci Moss
I Shit on Your Graves Travis Diehl
Interview with Ruby Neri Jonathan Griffin
Carolee Schneemann and the Art of Saying Yes! Chelsea Beck
Exquisite L.A. Claressinka Anderson
Joe Pugliese
Reviews Ry Rocklen
at Honor Fraser
–Cat Kron

Rob Thom
at M+B
–Lindsay Preston Zappas

Soul of a Nation: Art in the Age
of Black Power, 1963-1983
at The Broad
–Matt Stromberg

Anna Sew Hoy & Diedrick Brackens
at Various Small Fires
–Aaron Horst

Julia Haft-Candell & Suzan Frecon
at Parrasch Heijnen
–Jessica Simmons

(L.A. in N.Y.)
Shahryar Nashat
at Swiss Institute
–Christie Hayden
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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
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Issue 14 November 2018

Letter From the Editor Lindsay Preston Zappas
Celeste Dupuy-Spencer and Figurative Religion Catherine Wagley
Lynch in Traffic Travis Diehl
The Remixed Symbology of Nina Chanel Abney Lindsay Preston Zappas
Interview with Kulapat Yantrasast Christie Hayden
Exquisite L.A.
Featuring: Sandra de la Loza, Gloria Galvez, and Steve Wong
Claressinka Anderson
Photos: Joe Pugliese
Reviews Raúl de Nieves
at Freedman Fitzpatrick
-Aaron Horst

Gertrud Parker
at Parker Gallery
-Ashton Cooper

Robert Yarber
at Nicodim Gallery
-Jonathan Griffin

Nikita Gale
at Commonwealth & Council
-Simone Krug

Lari Pittman
at Regen Projects
-Matt Stromberg

(L.A. in N.Y.)
Eckhaus Latta
at the Whitney Museum
of American Art
-Angella d'Avignon
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Issue 13 August 2018

Letter From the Editor Lindsay Preston Zappas
Letter to the Editor Julie Weitz with Angella d'Avignon
Don't Make
Everything Boring
Catherine Wagley
The Collaborative Art
World of Norm Laich
Matt Stromberg
Oddly Satisfying Art Travis Diehl
Made in L.A. 2018 Reviews Claire de Dobay Rifelj
Jennifer Remenchik
Aaron Horst
Exquisite L.A.
Featuring: Anna Sew Hoy, Guadalupe Rosales, and Shizu Saldamando
Claressinka Anderson
Photos: Joe Pugliese
Reviews It's Snowing in LA
at AA|LA
–Matthew Lax

Fiona Conner
at the MAK Center
–Thomas Duncan

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

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

Mimi Lauter
at Blum & Poe
–Jessica Simmons

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

(L.A. in N.Y.)
Condo New York
–Laura Brown
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Issue 12 May 2018

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

Chris Kraus
at Chateau Shatto
- Aaron Horst

Ben Sanders
at Ochi Projects
- Matt Stromberg

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

Harald Szeemann
at the Getty Research Institute
- Olivian Cha

Ali Prosch
at Bed and Breakfast
- Jennifer Remenchik

Reena Spaulings
at Matthew Marks
- Thomas Duncan
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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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The Briar
and the Tar:
Nayland Blake at the ICA LA
and Matthew Marks Gallery

Nayland Blake, Vanity 1 (2019). Wood, steel, tin, plastic, Plexiglas, enamel paint, acrylic, and clay, 85.75 x 39 x 10 inches. © Nayland Blake. Image courtesy of the artist and Matthew Marks Gallery.

At either end of a stainless-steel industrial countertop are two sprays of white nylon on poles, hacked some-where between a mop top and a Warhol wig. The table is stocked with three cardboard buckets of tar. Workstation (_baby, _baby) (2000) stands ready— for what, it’s unclear: either a backstage dance routine á la Britney Spears, or to concoct a monstrous asphalt doughboy. Either way, for your safety or your pleasure, a pair of leather cuffs hangs from a chain.

Nayland Blake’s 30-year retrospective at the ICA LA, No Wrong Holes, bristles with suggestive work. The artist practices a found-object formalism of loops, collars, straps, and restraints; some sculptures demonstrate their potential uses on stuffed toys, while others imply that the viewer could be next. Some look ready to fit the body, others’ proportions (such as a series of long poles with cuffs, or a tabletop with a rod in its center) might require some contortions. The results aggressively obey the rules of contemporary art, the better to define their own freedom. This from a queer, mixed-race artist buoyed by the “identity art” of the 1990s, yet—as the present bounty of work makes clear—irreducible to any one moment or movement. Blake is known for their daring collapse of categories, often taking up the formal limits of both art (minimalism, appropriation) and society (repression, bigotry) in the same object. As a result, the petroleum acridity in their work is often sweetly masked and must be sussed out.

The momentum of Blake’s formal-ism is such that even decontextualized lists of their materials can seem portentous: “Sock monkey and wooden chair”; “Two stuffed bunnies, wood, leather, rope, plastic knife, birthday candles, and plastic bell”; “Steel and gingerbread.” The east gallery at the ICA, in fact, features the scent emanating from the gingerbread shingles of a small cabin (Feeder 2, 1998), part Brothers Grimm, part Uncle Tom. (Part spiced molasses; part tar.) Blake’s work leverages its charged subtext, in which the pain of bondage simmers within the pleasures of BDSM, against its pinioning on the artworld floor and wall.

Just as important as their kineticism, though, is the sculptures’ inertia. Meaning arrives in bursts— a stuffed rabbit hanging from a plastic Christmas tree in Wrong Banyan (After P.) (2000), is obviously lynched—yet it is also viscous, like the six glass bottles of “Brer Rabbit” brand molasses harnessed together in Molasses Six Pack (1998). For most folks, that’s a lifetime supply—a grotesque amount of syrup. (That is, unless—like Blake—you need to bake enough gingerbread to shingle a small log cabin.) For most folks, too, the thick problematics of those six bottles will take a minute to pour out. Today, molasses conjures up those items printed on its label: pecan pie, a gingerbread man. Molasses also has a history as the sweetener of the poor. Further back, in more colonial times, molasses arrived in the United States from sugar plantations in the Caribbean; it still retains the bitterness of slave-grown commodities.

Nayland Blake, Bottom Bunny (1994). © Nayland Blake. Courtesy of Matthew Marks Gallery. Gift to LACMA of Linda and Jerry Janger. Photo: © Museum Associates/LACMA.

You may know the story of Br’er Rabbit—a cautionary tale brought to North America by enslaved Africans, racistly deformed into Uncle Remus, then bastardized by Walt Disney—about a wily hare who uses reverse psychology on his captors (a bear and a fox). He convinces them to throw him into the briar patch then breaks out laughing: the briar is his beloved birthplace. You may not remember how Br’er Rabbit got himself in a position to be tossed in the first place. The canny predators, Br’er Fox and Br’er Bear, construct a little black child out of tar (yes, it’s a racist story). When Br’er Rabbit, passing on the road, says “Howdy-do!,” the tar baby won’t reply. Br’er gets hopping mad, punches it, and gets stuck.

Blake’s work falls somewhere between the tar baby and the briar patch. The artist approaches the structures of contemporary art with a gleeful, unbound quality, playful, and tricksterish—and they are equally willing to confront moral stickiness, at the risk of throwing the wrong punch. Restraint Shoes (1992) consists of five shiny, black, leather shoes chained to the wall at a single point: enough for permutations of two to five individuals. The shoes prompt images of how these figures, anchored together with only a little slack, would negotiate their footwear and, by extension, one another. Legs cross, bodies recline. It’s a little funny; a little sexy, and sinister; a little whatever the viewer brings. Like the rabbit in the bear’s clutches, Blake plays to survive. Installed beside the lynched, stuffed brown rabbit is a video, Gorge (1998), that depicts the white-passing artist being force-fed donuts and watermelon by a black-presenting lover/friend, while the bunny hop plays in the background.

Who is the rabbit, to Blake? They seem to have been working that out in a suite of six dozen drawings circa 2000, hung at the ICA in a handful of grids. In one, a thumbnail-sized rabbit is on fire. In another, a cottontail ass is below a sign that reads, “I have betrayed my race.” Race is a big reason for that bunny: Blake points to the stereotype— pinned to Bugs and Br’er alike—that black men are flighty, anal, and sexually obsessed. This stereotype gets a macabre, punny mascot in the video Negative Bunny (1994), in which a stuffed brown bunny tries to convince the viewer to sleep with them. Negative, because the bunny is HIV negative; negative, because the answer seems to be no. “Do I remind you of your father? Is that it? Well I’m not him,” the bunny prods. Having explored the rabbit as image, as lover, and as legacy, Blake themself puts on the skin. A number of hoods and full costumes at the ICA resemble bear-sized bunnies, like the raver gold Heavenly Bunny Suit (1994). In Costume #4 (Two Act Comedy) (1992) a pair of square nylon masks—one in white, one black—are linked together by an arc of chain weighted with a testicular pair of medieval clubs. The eye and mouth holes are the barest slits, stitched with thread, a hint of burning cross.

In their video Starting Over (2000), Blake takes on the rabbit image in a feat of endurance. The video begins with the artist on their back being tied into a pillowy white bunny suit. It is weighted with dry beans to equal the 146 pounds of Blake’s partner of many years. Once dressed and standing, the artist begins a rough, heavy clogging routine. A soundtrack of weary footsteps booms in the gallery. The suit’s weight becomes apparent as the performance drags on, and Blake grows visibly exhausted. Wrestling the rabbit, in more ways than one, Blake takes on pain for our pleasure. The rabbit suit, and the idea of rabbit, like the distinctly racialized subject, are treated like a debilitating armature daring to be performed.

Blake does one better: they outperform. A concurrent exhibition at Matthew Marks Gallery compliments Blake’s retrospective with three recent bodies of work. A 2019 series of tall, thin assemblages combine cans, paint, new and old wood, and chains, in arrangements reminiscent of the restraints of the 1990s. Like melted Gary Indiana plop art, drippy candles shaped like the letters L-O-V-E cover three low aluminum racks. But another, untitled series from the 2000s best sums up Blake’s attitude towards the restraints of the white wall, the buttoned-up kunsthalle-style contexts where his work appears: a row of small rectangles of acrylic, roughly and expressively drilled through with holes, laminated on top of mirrored acrylic and panel. Each piece hangs cheekily on a foot-long piece of wire, wrapped around a single screw. For such an expansive, dynamic artist, not afraid to show us tar babies, they’re sure comfortable in the briar patch.

This essay was originally published in Carla issue 18.

Nayland Blake, Starting Over (video still) (2000). DVD video projection, 23 minutes. Image courtesy of the artist and Matthew Marks Gallery, New York.

No Wrong Holes: Thirty Years of Nayland Blake (installation view) (2019). Image courtesy of the artist and ICA LA. Photo: Jeff McLane.

No Wrong Holes: Thirty Years of Nayland Blake (installation view) (2019). Image courtesy of the artist and ICA LA. Photo: Jeff McLane.

No Wrong Holes: Thirty Years of Nayland Blake (installation view) (2019). Image courtesy of the artist and ICA LA. Photo: Jeff McLane.

Nayland Blake’s Opening (installation view) (2019). © Nayland Blake. Image courtesy of the artist and Matthew Marks Gallery.

Nayland Blake, Rafts (2019). Wax and aluminum shelves, each: 8 x 20 x 60 inches, wax candles, each: 7.5 x 7 x 1.50 inches. © Nayland Blake. Image courtesy of the artist and Matthew Marks Gallery.

Nayland Blake’s Opening (installation view) (2019). © Nayland Blake. Image courtesy of the artist and Matthew Marks Gallery.

Nayland Blake, Untitled (2007). Plexiglas with mirror coated Plexiglas paper mounted on panel and wire, 14 x 11 inches. © Nayland Blake. Image courtesy of the artist and Matthew Marks Gallery.

Nayland Blake, Pink Posture (installation view) (2019). Leather and steel, 74 x 8.50 x 5.50 inches. © Nayland Blake. Image courtesy of the artist and Matthew Marks Gallery.

Travis Diehl has lived in Los Angeles since 2009. He is a recipient of the Creative Capital / Andy Warhol Foundation Arts Writers Grant (2013) and the Rabkin Prize in Visual Arts Journalism (2018).

More by Travis Diehl