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)

Working Artist

Ragen Moss’ bookshelf, signage of the SON. barbershop, a shelf in Bari Ziperstein’s studio.

Featuring: 

Ragen Moss Justen LeRoy, and Bari Ziperstein

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 the next two issues of Carla, we will feature 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 puts it, “The motion of switching across disciplines is actually a fine way to get oneself to appreciate everything.”


Ragen Moss

I’m an artist, and also I’m a practicing lawyer. Being an artist and a lawyer has just made sense to me, and I experience them linked rather than compartmentalized. I’m also into both of them, at the level of genuine interest. It’s rarely occurred to me internally that being both is odd although externally I’m aware that having an MFA and a JD is not the most obvious and it does make for a complex weekly rhythm—I have taken conference calls while mixing cement, which is not ideal.

Moving back-and-forth across analytic legal work and building sculptures is good mind exercise. I swim and run, and alternating across a few different areas of brain-work is not that different from physical cross-training. It’s productive for me to organize the formlessness of the studio with specific, concrete thinking; and it’s productive for me to upend a legal problem with the thoughtfulness inherent in making a work of art. I also really understand legal processes like a doer—like someone who hammers and saws and drills and ratchets within law—and not just someone who reads or talks or thinks about law. This makes the use of law within the artworks that I make slightly different than many artworks that have engaged with law. All to say: I less make work “about” law and more make work “with” law. That’s been good for me and for the work and possibly for viewers too.

Having to answer to a client or respond to business emails is sobering and grounding. It’s a clear reminder that I am not apart from or above a social-political-economic system, whether I like it or not. It also keeps me from getting too tidy or too loose in any single work pattern. I feel most alive and fresh when I am both thinking and doing, so I’ve been working on building a life that permits this as much as possible. Most importantly: the motion of switching across disciplines is actually a fine way to get oneself to appreciate everything. Life is (potentially) long.

Justen LeRoy

SON. is a platform that showcases the multi-dimensional experience of the black male identity on a global scale. SON. was established to provide an innovative space in media for the creative excellence and activism of black male-identifying bodies. Our intention is to transform how these bodies view themselves, how they view women, and how they view the structures and systems that operate around them. Through music, film, art, culture, and activism, SON. aims to inspire creative leadership and contribute to a cultural shift that reframes, reenergizes, and reimagines the black male body. This fall, SON. will partner with Touched By An Angel, a barbershop founded by my father in South Central, to bring our programming directly to our core audience.

I’m super focused on world building. Developing SON. was really the first time I realized I could do it all. I could create an umbrella that housed my interests in community, identity, and art. I was able to bring people into rooms with others they may have never met and didn’t know they needed. Seeing these interactions let me know I could create the world I wanted to live in.

Lately, I’ve been getting “what do I introduce you as?” It’s hard trying to execute a lot of ideas all at once— the messages can get a little blurry. People are my priority and my work building community at The Underground Museum really helped build and communicate that interest. People have come to understand that interest, and the next step is to expand their understanding of what community and art can do together.

Barbershops and museums are some of our most important social structures. Living in both for so many years of my life, I couldn’t help but begin to develop an eye for what might happen if these elements were to meet. I’m excited by the idea of bringing emerging contemporary artists’ work to the barbershop, a space for conversation that can develop so many more layers when art enters the room. Also, pushing the lines of accessibility by not only viewing galleries and museums as homes for art, but considering the everyday spaces people view as home. If art can change the world, why keep it locked away in so few places around the city?

Stick to your path! Sometimes it may seem crazy, even to you, but you’re onto something. Write everything down and allow your ideas time to mature. All of your ideas represent the core of you. Show ’em all.

Bari Ziperstein 

I am a Los Angeles based sculptor and also the founder and creative director of BZIPPY & Co., a production pottery studio located in my 3,300 square foot East L.A. studio. The plural practice as an artist/designer has become more normalized within the design world, but in the larger framework of the art world, people don’t always accept or have time for artists who have an outward plurality.

I had an art dealer in the studio a few summers ago who eloquently summed up the relationship of the design practice to my work making art. He said that the design practice is like a boxer who trains and trains for the match with discipline and craft day in and day out. The boxer only goes up for a match every so often, but it’s that training  that allows him to be ready. From that perspective, the design practice helps my team and I sharpen our skills, gain dexterity with our materials, and experiment with our craft and engineering.

It all depends on who you talk to, but in general my colleagues are very proud of what I’ve accomplished in the arts—having a full-time studio practice is a feat in and of itself! But the things that stick to me most are when some people ask me, “Why do you work so hard?” or “Why, if you are successful in design, would you need to be successful in the art world too?” (As if I’m taking up too much space by striving for both at the same time.)

I’m not working hard to compete with anyone; I’m working hard in order to compete with myself and the visions I have for my own practices. There is plenty of room for everyone. When a female clay artist is successful in any version of the art or design world, it opens doors for the rest of us. Her success is all of our successes.

It’s important to stay grounded and innovative within every step of your business and to become a mentor to your employees. They are our future. Having a child and husband only adds to the richness of my life—being grounded and loved by my little family is a place of solace amidst a busy career.

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

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.

Bari Ziperstein is a Los Angeles-based artist who received her MFA from CalArts, Valencia in 2004. Her studio-based sculptures and experimental public art have been featured in numerous exhibitions. She is the creator of BZippy & Co., whose intimately- and architecturally-scaled vases, vessels, and lamps are highly regarded among interior designers, private collectors, and the trade press.

Justen Leroy is a curator and artist focusing on bringing art out of the white cube and into the streets of his native Los Angeles, where he’s worked to build community initiatives at The Underground Museum and now at his family-run barbershop in South Central, Touched By An Angel.

Ragen Moss has had solo exhibitions at Ramiken Crucible (N.Y.), Redling (L.A.), and LA><ART (L.A.), and will hold a forthcoming solo exhibition at Bridget Donahue (N.Y.) in November 2019. Moss is a participant in the 2019 Whitney Biennial (N.Y.) and has been included in group shows internationally. Her work has been published in The New Yorker, The New York Times, The Washington Post, and more. Moss holds an MFA from UCLA, a JD from the UCLA School of Law, and a BA in Art History from Columbia University.


This feature was originally published in Carla issue 17.