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
Buy the Issue In our Online Shop
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
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
Buy the Issue In Our Online Shop
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
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
Buy the Issue In Our Online Shop
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

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
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
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
Buy the Issue In Our Online Shop
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
Buy the Issue In Our Online Shop
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
Buy the Issue In Our Online Shop
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
Buy the Issue In Our Online Shop
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.)
Buy the Issue In Our Online Shop
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
Buy the Issue In Our Online Shop
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
Buy the Issue In Our Online Shop
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
Buy the Issue In Our Online Shop
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
Buy the Issue In Our Online Shop
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
Buy the Issue In Our Online Shop
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
Buy the Issue In Our Online Shop
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
Buy the Issue In Our Online Shop
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
Buy the Issue In Our Online Shop
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
Buy the Issue In Our Online Shop
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
Central Park
Cirrus Gallery
Château Shatto
Elevator Mondays
The Geffen Contemporary 
at MOCA
OOF Books @ Warehouse
François Ghebaly
ICA LA
JOAN
LACA
LADIES' ROOM
The Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Murmurs
Nicodim Gallery
Night Gallery
Royale Projects
The Box
Vielmetter Los Angeles
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
Bel Ami
Charlie James
Good Luck Gallery
Human Resources
Parrasch Heijnen Gallery
Eastside
ESXLA
Folding Days @ Eightfold Coffee
Odd Ark LA
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
LA Louver
Laband Art Gallery at LMU
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
The Pit
Los Angeles Valley College
Mid-City
1301 PE
As-Is Gallery
California African American Museum
Chimento Contemporary
Commonwealth & Council
David Kordansky Gallery
Hammer Museum
Hunter Shaw Fine Art
Kayne Griffin Corcoran
Lowell Ryan Projects
ltd Los Angeles
Ochi Projects
Park View / Paul Soto
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
Philip Martin Gallery
Roberts Projects
Hollywood
AA|LA
Bridge Projects
Diane Rosenstein
Family Books
LACE
LA> LSH CoLAB
M+B
Nino Mier Gallery
Nonaka-Hill
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Steve Turner
Tanya Bonakdar Gallery
The LODGE
Various Small Fires
Mobile
Gas Gallery
@gasdotgallery
Non-L.A.
CLOACA (San Francisco, CA)
Et al. (San Francisco, CA)
Ever Gold [Projects] (San Francisco, CA)
fused space (San Francisco, CA)
Interface Gallery (Oakland, CA)
Jessica Silverman (San Francisco, CA)
Left Field (Los Osos, CA)
McNally Jackson (New York, NY)
Minnesota Street Projects (San Francisco, CA)
San Diego Art Institute (San Diego, CA)
Santa Barbara City College (Santa Barbara, CA)
Skowhegan School of Painting and Sculpture (Skowhegan, ME)
Ulises (Philadelphia, PA)
Verge Center for the Arts (Sacramento, CA)
Wattis Institute for Contemporary Art (San Francisco, CA)
Whitney Museum Shop (New York, NY)
Wolfman Books (Oakland, CA)
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)
The 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)
NYS College of Ceramics at Alfred University, Scholes Library (Alfred, NY)
Pepperdine University (Malibu, CA)
Point Loma Nazarene University (San Diego, CA)
School of the Art Institute of Chicago, John M. Flaxman Library (Chicago, IL)
Skowhegan Archives (New York, NY)
Sotheby’s Institute of Art (New York, NY)
Telfair Museum (Savannah, GA)
University of Pennsylvania (Philadelphia, PA)
University of San Diego (San Diego, CA)
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)

Working Artist

An ICU room at the UCLA medical center, where Catherine Fairbanks works as a nurse; Paul Pescador’s Department of Cultural Affairs badge; Rachel Mason’s shoes.

Featuring: 

Catherine Fairbanks, Paul Pescador, and Rachel Mason

Photos: Jeff McLane

When I tell people that I am a writer and artist in addition to the publisher and editor of this magazine, I often get confused looks or concerned questions. “Doesn’t the magazine pull you away from the studio?” people ask in horror. Of course it does, I tell them.

An artist’s life can take on many forms, and artists often blend modes of working, making, and thinking into hybrid careers that span communities and genres. The myth that an artist must commit wholly to the solitary practice of producing their own artwork day in and day out in order to be successful still persists, but is slowly shattering. Refreshingly, the genres that creative producers work within are becoming less stringent and more playful.

Across two issues of Carla, we’ve featured portraits and words by L.A.-based artists who are also highly invested in endeavors outside of the traditional art world. These artists build things, practice law, gather communities, create platforms, and push up against value, context, and utility. Their insights reveal that switching between modes of working brings rigor and variation to their creative output. As Ragen Moss put it in our last issue, “The motion of switching across disciplines is actually a fine way to get oneself to appreciate everything.”


Catherine Fairbanks

Photo: Jeff McLane.

I split my time between being a critical care nurse and making art. I have often spoken of this as rowing two boats at once. In my mind, there is this image: it is early in the morning in a foggy river basin, I am rowing one canoe, and suddenly I dive overboard and swim to another canoe. I struggle from the water into the second canoe and begin rowing. I row until again I suddenly dive over-board and swim back to the first canoe.

This sounds rather solitary, though I don’t feel solitary in either practice. Concentrating on two diverse but equal forms of commitment does feel like something one has to be really deliberate about. I’ve been a nurse for almost 14 years, and an artist for longer. Nursing is social justice work, and though my art making is political inasmuch as it’s bound by its time and its culture, I actually don’t often make art work that attempts social justice.

My husband, artist David Zuttermeister, once said that when it comes to art, life and death ain’t a bad place to start. I feel like the hospital is a kind of father figure for me—it offers me a kind of support that art making has not offered me. It is a rather nonjudgemental environment. In general, I think I have some mottos that I travel around with in my mind; “radical empathy” is one, and “lack of empathy is a public health crisis” is another. Nursing is incredibly physical, incredibly emotional, and impossible to distill into a simplified definition of the total tasks at hand on any one day. It is subjective and it is relational, and it is a contemporary construct for the ageless act of caring for the sick and wounded among us. The idea that we are acting along trajectories shaped by humans of another era is certainly at the core of my work as both an artist and a nurse. 

I am never totally comfortable with the word community. I would rather use the word collective to get at a similar idea. I think somehow community erases the idea of the differences between us that give us each directions to pursue. In the studio, I find that I do a lot of slogging and inefficient shaping of ideas, and that it takes a while to arrive at something for my collective artist-mates to experience. I do a lot of studio visits, and that is one of the ways I find my sense of collectivity.

I feel attached to society as a whole in ways that I know are co-created by the simultaneous acts of caregiving (in a critical care unit in a huge urban medical center) and being a contemporary artist. I also know that as an artist I see the world of objects even within the walls of the medical center in a very different way. We serve our coffee in wide bottom industrial plastic mugs, while I long for ceramic! I see Roger Herman’s 1982 work, titled TV, on the 8th floor of the UCLA med center on a near-daily basis. I think about not just the perfect boredom depicted in the work, but the sense of boredom that patients often have while in a hospital. Boredom in some situations is a luxury: sometimes we talk about what a plea-sure it is to see boredom on the face of a patient, because it means they’re not in the throes of the terror of their disease. One thing I learned when I met another nurse/artist in graduate school is that art often responds poetically when it’s up against something real, like liver failure, or HIV. And that is ok. That is actually the crucial function of art— to not do the same thing as nursing, which looks for the quickest resolution. 

Paul Pescador

Photo: Jeff McLane.

I am an artist, filmmaker, performer, and writer. My practice discusses social interactions and intimacy as it pertains to my own personal experience and history. But I also work for the Department of Cultural Affairs for the City of Los Angeles in the Public Art Division. In this position, I work with artists and curators from concept to installation of temporary and permanent public projects that are installed at fire stations, libraries, parks, and police stations throughout the city.

Working at the DCA has really allowed me to think about an artist practice on a more macro level. How does artwork get situated within public space? What are the expectations from an artist a citizen of their surrounding neighborhood and community? The job has allowed me to spend a lot of time thinking about my own understanding of the city of Los Angeles. Though I have lived here for 17 years, I learn more and more about L.A. each day.

In Los Angeles, I am always struck by the manner in which people exist in various roles as part of their art practice, whether they consider it part of their artwork or not. I have found that when I talk to artists as part of my job, they appreciate that they work with someone who is an artist and can understand the challenges they face in their artistic production. The red tape and bureaucracy of moving a public project forward can be quite daunting, and I do my best to not undermine these obstacles. I always try to remind myself of the perspective of others, whether I am project managing a public artwork or working with an institution for my own projects.

After working the past six years in my position at the DCA, I have come across a wide range of audiences’ experience when it comes to contemporary art. I have found that if people are given the time and a way to under-stand a project, they truly want to understand that project. What that requires from both the artist and the institution presenting the project is to make sure that the work has accessible entry points. In any project, I try to remind myself what I want my audience to understand and ask myself, how do I make sure this occurs? What strategies can I use so that, regardless of the viewers’ background, they can walk away with an understanding of their experience?

The balancing act is hard! Aside from DCA and my own studio, I am currently adjunct teaching at Art Center in Pasadena, co-directing a project space called QUEENS in Lincoln Heights (along with artists Rochele Gomez and Daniel Ingroff), hosting a radio show on KCHUNG, and co-directing the non-profit Queer Artist Dinner. The balancing act can be quite exhausting, as much as it is fruitful. I do feel like I learn a lot from each of these different parts of my life, and they help me strengthen my own artistic output. I am not good at sitting still during lunch— at least being busy keeps me out of trouble. 

Rachel Mason

Photo: Jeff McLane.

I don’t really see a difference between art-life and non-art-life. Everything I do related to art (whether film, music, sculpture) serves my mission to create something inspiring. It doesn’t matter what the medium is, be it a film or a song, as long as the piece is executed in a way that works.

My most recent project is the documentary Circus of Books. I see this film as an extension of my prior work, and it has managed to reach a wider main-stream audience than anything I’ve ever done. The documentary also includes one of my songs, “Give You Everything.” The film at its core is about examining history, which is something I’ve always done. In Circus of Books, I look back on a time when so many of the men around my family were dying of AIDS. I was right there as a child during it all, but I only became aware of that trauma in my community when I grew up and learned about the history.

When I lived in New York, I worked in a nursing home and as an assistant to Joan Jonas. I was never without a side-line job, and often that sideline is the more interesting work. After art school, I tried every imaginable way to earn a living from my art, but when the “art” side of my profession was not sustaining me, my passion shifted to performing—something that is so much more immediate and visceral. When my focus was on making art within a gallery and museum context, I didn’t like socializing in the gallery/museum environment. I also didn’t like the feeling of waiting for someone with a lot of money to buy my work. I would rather have more people access my work, and be able to afford it. Making movies is by no means an easier path—it has just afforded me an income and I am able to still make work that matters to me.

Once I stopped expecting to earn a living from art, I was able to approach it with a lot more freedom. After switching over to film as the place where money would come in, I realized that I actually love the business side of the creative world. I find some aspects of financing large projects to be really creative. I’ll never give up performing, creating music, or making art. I see them all as branches off the same tree. I don’t like art spaces being separate from mainstream culture. Even though I’ve ended up in many elite spaces, I feel much more comfortable within the world of everyday people, performing in a nightclub at 2 a.m. with a handful of stragglers.

I think MFAs give the false hope that students will emerge with complete access to the art world, and be able to suddenly “be” an artist with no other profession. I look at my MFA education now as if I were someone who was formerly in a cult, and found my way out. I was misinformed, and thank-fully wasn’t injured, but I absorbed some very academic thinking and values that I now have completely out of my system. Now that I’ve embraced all the things that I am—a musician, an artist, a filmmaker—things feel like they’ve come together in the way they are supposed to. Now that I’m not “trying” anymore and my life feels much more interconnected. 

Jeff McLane is a Los Angeles-based photographer specializing in artwork documentation and installation photography. Notable clients include the Hammer Museum, Gagosian Gallery, David Kordansky Gallery, and L.A. Louver.

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

Catherine Fairbanks is an artist living in Los Angeles.

Paul Pescador is an artist, filmmaker, performer, and writer. Selected projects have been presented at sites and platforms including the Los Angeles County Museum of Art (LACMA); X-TRA Online; The Pit, Glendale; 18th Street Art Center, Santa Monica; UV Estudios, Buenos Aires; the Getty’s Pacific Standard Time: LA/LA at Angels Gate Cultural Center; Ashes/ Ashes; Park View; The Main Museum; and gallery1993; all in Los Angeles.

Rachel Mason is an artist, musician, and filmmaker from Los Angeles. Her first film, The Lives of Hamilton Fish, was released in 2016 and toured internationally at festivals and museums. Her second feature, the documentary Circus of Books, was acquired by Netflix prior to its premiere at the Tribeca Film Festival and will be released in 2020.


This feature was originally published in Carla issue 18.