Tracey Emin’s coterminous who (brilliantly!) handed out My Bed (1998) (unmade, and cards to people that explained Sarah Lucas littered with vodka bottles), that she was rendered uncom- at the Hammer Au Naturel doesn’t evoke fortable by their racist remarks. deep feeling. The presence In the 1990s, Lucas’ refusal Museum of a gritty bare mattress on to agonize may have made the foor does convey a sense viewers feel less accused by June 9–September 1, 2019 of emotional poverty, but its her work, allowing them to straightforward allusion to consume it without shutting If you’re going to depict a body parts lacks the emotional down defensively. In this way, woman bending over a toilet depth of Emin’s scorching perhaps Lucas’ art belongs with a cigarette stuck up document of loneliness. more in the company of her anus, you should have Lucas’ work helps us Andrea Fraser’s bananas a good reason. Unfortunately, understand how certain artis- Museum Highlights: A Gallery a compelling motivation, tic gestures once loosened Talk (1989), which wrapped up aside from a loosely articulated an ossifed social structure gender critique in wisecracks. impatience with gender without necessarily ofering The meaning of Lucas’ discrimination, does not fully a way forward. In the 1980s and work dries up a lot faster than reveal itself in Sarah Lucas’ ’90s, Emin harnessed pathos Fraser’s, however, because retrospective, Au Naturel, to describe women’s condi- it doesn’t speak to the larger now on view at the Hammer tions, and Adrian Piper reveled scope of human existence. Museum by way of the New in raced and sexed confronta- Simply put, intersectional Museum. Still, visitors excited tions in ways that still shed light feminism’s emphasis on the to see the work of this grunge- on the current moment. For her connection between sex, class, era bad girl will encounter part, Lucas didn’t muck around race, sexuality, and disability, seven plaster casts of women’s explicitly with the agonies has taught us that we can’t just cigarette-em bedded bodies, of racism, rape, or the denial talk about gender anymore. 40 naked from the waist down, of reproductive freedoms. Lucas makes herself the some splayed on a table Rather, in her smoggy Smoking dominant subject of her photo- (Michele, 2015), while others (1998), we see Lucas staring graphs and installations, faint across refrigerators calmly at a ceiling while blow- which also allows her to side- (Margot, 2015). ing smoke from her mouth, and step the calls to actions of Lucas, who is associated in Self-Portrait #1, #3, and #5 her peers. Meanwhile, Fraser with the Young British Artists (all 1993), she faces the viewer followed up Museum Highlights (YBAs), became famous in with wide-legged, IDGAF with installations like Down the 1990s for works like Eating charisma. In the ’90s, her the River (2016), which flled a Banana (1990) (a black and ability to unneurotically take the Whitney Museum with white photo of the artist mood- up space was thrilling, but in the ambient sounds of correc- ily fruit munching) and Get the new millennium, the long- tional facilities, thus bringing Hold of This (1994) (two green standing problems of white race into her circle of care. rubber arms positioned in an supremacy, class warfare, In works such as Self- obscene faggoussa gesture). and sexual trauma make such Portrait With Fried Eggs (1996) In the 1990s, this female eforts seem incomplete. (Lucas looking blasé while defance went a long way in Lucas’ work raises the wearing eggs on her breasts), espousing Lucas’ disruptive question of what we should Lucas is confrontational but brand of feminism, but today, expect of female artists who noncommittal towards it feels thin in its lack of a more delve into themes of gender any specifc cause or senti- specifc critique. within their work—can’t they ment, and so she remains hip Perhaps the most telling just wittily observe and dissem- without becoming shrieky product of Lucas’ oeuvre is the inate? Lucas seems to argue and embarrassing. Yet today’s title work, Au Naturel (1994): for such a position with her mix of cultural horrors— a slumped mattress littered refusal to lose control. And, prevalent racism, classism, with objects symbolizing in her use of humor and and sexism—don’t leave much female (two melons and a pail) exhaustion, she does allow room for skirting the issues. and male (a cucumber and two for a calmer conversation It is unfair to judge work oranges) anatomy. Unlike about politics than, say, Piper, made in the 1990s according
Yxta Maya Murray to the cultural standards of broader. The exhibition was than Joseph Cornell’s discreet today, yet this retrospective, an homage, a collaboration, boxes, Herms’ seemingly shown in two major cities this and a look at the personal slapdash arrangements beg year, brings renewed attention connection between artists a similar kind of poetic free
to Lucas and the gender politic of two generations. Yet, more association in the viewer. Reviews that she espoused, and begs suspect, the exhibition also In Therapeutic Rose (2001), the question, why now? In felt like a cribbing of the older a paint can supported the the ’90s, Lucas’ self-possessed, artist’s work by the younger, slipcase for the three book gentle jokes were ground- illustrating what can happen set, The Life and Work of breaking and new, and her when reverential homage Sigmund Freud, itself topped by disruptive punk rock attitude slouches towards undistin- a suggestive frework canister. felt thrilling in the face of overly guished appropriation. The elegiac For Dizzy (1993) sexed depictions of women in The frst room in the was a metal hoop holding art and culture, but c. 2019, we gallery set up a respectful a feather, a scrap of red velvet, desperately need feminist hierarchy, honoring Herms as and the L.A. Times obit for jazz artists who admit that we’re in a godfather of West Coast legend Dizzy Gillespie. The trouble. And that’s what we assemblage art. A dozen or pleasure in these works came require this minute, a show so modestly-sized sculptures not just from what Herms has in a powerful venue like the by Herms were displayed assembled, but how he put it Hammer, which can devote across an L-shaped plinth, all together. Each work set up money and space to work that from simple abstract composi- a tension between its compo- expresses this time of anguish. tions of wood and metal to nents’ previous lives and the In its straightforward way, more complex juxtapositions new formal and narrative Lucas’ work keeps its shit of once-purposeful objects. context Herms has established. together, but what we need Since the mid-1950s, Herms Economy never looked so rich. now is honest, raw art that has been trafcking in his In the second gallery, Koh feels unfettered and ready to own brand of Beat-infected drew on Herms’ large archive fght—a more apt depiction assemblage, piecing together of found materials to create his 41 of the dangerous and chaotic found and discarded objects own installation, simply titled times that we live in. into constructions that are boats (2019). Using “assem- more than the sum of their blage materials relinquished by George Herms parts. “I turn shit into gold,” George Herms,”² Koh created he remarked in 2013.¹ an armada of boats laid out and Terence Koh Herms’ works in the Morán on the foor in a triangular at Morán Morán Morán show were dated formation, all headed towards from 1983 to 2013, but they a sculpture at the far end June 1–July 6, 2019 all had the worn, sepia-toned of the room. Herms’ familiar patina of neglect and disuse. pie tins, books, and medical The pairing of Herms and Koh Assembled from chunks of apparatuses, along with may feel like an odd one at frst: wood, tin cans, pine cones, weathered wood and metal, Herms, the bohemian elder light bulbs, rusted metal, and were fashioned into little statesman of assemblage, who more contemporary—but boat-like assemblages. Each has been consistently experi- still dated—detritus like CDs held a candle or small plant, menting in his signature mode and an old fip phone, Herms’ which stood in for the ships’ for the past 60 years, and Koh, abstract fabrications were all masts in several instances: the fashionable, shape-shifting form, material, and whimsy. a fip-fop sported a paper sail, bad boy who got his start Like junk shop Calders. a speaker was tethered to making zines under the moni- In Nose Cone Rose (2005), a black light bulb, twin IV bags ker “asianpunkboy” before a pine cone hung of the end trailed long tubes in their wake. becoming a rapidly rising of a metal rod, part of some The overall efect made the art star with a penchant for disassembled machine, simple efcacy of Herms’ performative spectacle. Billed elegantly balanced by a curv- sculptures that much more as a two-person exhibition, ing piece of wood. Onto this, impressive by comparison. a recent show at Morán Morán Herms stamped “LOVE,” Pressed into service as one big featuring the two artists in a phrase repeated on several illustrative metaphor, Koh’s fact ofered something much other works. More exuberant boats had little of the charm
1. Fan Zhong, “George Herms 2. Morán Morán, George Herms and Re-Emerges,” W Magazine, September 13, Terence Koh, checklist, 2019. Matt Stromberg 2013, https://www.wmagazine.com/ 3. Morán Morán, sleeping in a beam of story/george-herms-emergio. sunlight, press release, 2017. 42
Sarah Lucas: Au Naturel (installation view) (2019). Image courtesy of the artist and the Hammer Museum, Los Angeles. Photo: Jef McLane. and complexity of Herms’ The press release captured three- dimensional collages, the deadpan mix of self- Hanna Hur in which he elevates and trans- seriousness and tongue-in- forms his simple materials, cheek absurdity that often at Bel Ami taking them beyond their characterizes Koh’s persona, initial function. Koh’s objects specifying that for the duration June 7–July 20, 2019 tightly hinged on being of the show he would live in adapted Hermses—banking the gallery. “Snacks are pages As a writer with a seminary on the use of the older artist’s from ayn rand’s anthem background, I wanted to idiosyncratic found materials— marinated in honey and baked unquestionably support and the one-note boats never at 450 farenheit to a bitter Hanna Hur’s recent spiritually- managed to escape this sweet crisp,” he wrote. “My infected solo exhibition, provenance. toilet for the next month and Signal at the Wheel, Hover at The sculpture the boats half will bee [sic] a compost the Gate. “Art” and “spirituality,” pointed to is called honey toilet six feet up in the air that already unwieldy words on boat (2019), an assemblage will drop poop from the sky.”³ their own, have had a compli- work based around a hive Before the bees though, cated history—so much so box flled with buzzing bees. Koh was more well-known that it’s often easier to nod our A boxwood tree sprung from for the immaterial and pristine heads along with Harry Cooper, a can strapped to the front of than the worn and tactile. senior curator at the National the box, joined by solar panels, He crawled around a white Gallery of Art, who argues a speaker, and a small wax pillar of salt on his knees eight that “art has replaced religion: efgy of a person. Apparently hours a day for a month, shot In a secular, modern, disen- semen, as well as ashes from a bright foodlight across chanted world, art is as close the Woolsey fre (which raged the Whitney Museum, gold- as we can come to the divine.”¹ across parts of Ventura and plated his excrement, took But a quick glance around Los Angeles counties last to wearing all white, and recent museum and gallery November), were sprinkled hobnobbed with celebrity exhibitions will reveal that 43 in somewhere too. A plastic art world crossovers like Lady this viewpoint oversimplifes tube led bees out of the hive Gaga and Marina Abramovic. a much more complex through a large gash in the In 2014, he withdrew to the relationship. Today, monks gallery wall and a smashed Catskills in a drop-out stunt host meditation practices in window out into the gallery’s that simultaneously screamed museums,² artists self-identify parking lot. The piece was not for attention. Then he returned as witches,³ and exhibitions without poetic moments— with the bees, wax, dirt, plants, with spiritual themes break a branch extending from the and an aesthetic that aligns attendance records.⁴ The box out through the hole in well with Herms’ timeworn belief that art replaced the wall, just caressed the archive. Although Koh seems religion—that it was an easy vines outside—but the work to genuinely honor Herms’ switch, like a change of generally failed to capitalize precedent—and Herms has clothes—misses how art and on the potential of its loaded given the younger artist his spirit are blending in compli- parts. Koh pulled together blessing—the show ended cated ways now. I wanted several elements that allude up highlighting the gulf, rather to leave Bel Ami celebrating to some sort of transformative, than the implied synergy, another show that could deftly ritualistic function, but an between them. Herms’ assem- navigate these two worlds, overwhelming vagueness blages explore the tension more proof that spirituality hampered any explicit or between original function and religion continue to ofer evocative reading. and new meanings derived vital ways of engaging with This was not the frst time through juxtaposition, and art. Instead, I left feeling Koh has used bees in his work. while Koh’s works were conficted and struggled for Two years ago he built a bee constructed from the same weeks to understand why. chapel atop the roof of Morán cache of found objects, they For Hur, her paintings Morán (then called Morán lacked the same sense of function as documentation, Bondarof) for his solo show open-ended resonance. notes from spiritual quests. Her sleeping in a beam of sunlight. investigations developed out
Michael Wright 44
Above: George Herms, Light Cone Rose (2005). Below: Terence Koh, boats (detail) (2019). Assemblage sculpture, 9.5 × 26 × 5.5 inches. Assemblage materials relinquished by George Image courtesy of the artist and Morán Morán. Herms, beeswax candles, and sunlight, dimensions variable. Image courtesy of the artist and Morán Morán. 45
Hanna Hur, The Wheel (2019). Colored pencil on silk, 48 × 36 inches. Image courtesy the artist and Bel Ami, Los Angeles. Photo: Naoki Sutter-Shudo. of her departure from Korean- drawn repetitions of an Agnes especially for viewers unfamil- American Christianity and Martin. All of these works felt iar with (or uninterested in) later work she did with Korean hypnotic, even centrifugal— religion. According to the shamans (mudangs) in Seoul as if by staring at the patterns logic of the press release, to navigate spiritual and long enough, they might there would be little diference ancestral realms. More than expand beyond the frame. between looking at the dabbling in spirituality, Hur’s There was a meditative repeti- artworks and participating in return to shamanism reads as tion that Hur invited her hours-long gut rites performed postcolonial recovery. A reli- viewers to experience, a kind by a Korean shaman—both gious practice long-banished of visual mantra to encourage open the same doorways “to by missionaries, shamanism’s a common spiritual practice: an alternate world.” So if both revival in South Korea has been the difcult task of slowing Hur’s painting and the ritual decades in the making as the down the ego to see beyond objects of the mudang serve country recognized its cultural its limiting boundaries (what the same purpose, what is the importance as a “repository the novelist Iris Murdoch artwork or its gallery for? Or of Korean culture” with rituals calls “unselfng”). the shaman for that matter?⁷ that have “preserved tradi- But more than just depict- It’s a similar dynamic that L.A. tional costumes, music, and ing religious subject matter or art critic Christopher Knight dance forms.”⁵ translating spirituality through noticed in LACMA’s didactic This religious biography geometric abstraction, Hur show on Buddhism. Troubled directly entered Hur’s exhibi- sees these artworks function- by how the “embodiment tion as subject matter: in ing as ritual artifacts created of a religious philosophy” Mother ix (2019) and to transform consciousness obscured the materiality and Moonbather (after Laurie) and literally limn the other- aesthetic properties of certain (2018), clothed fgures, evoking worldly. Certainly, Hur is not art objects, he ultimately the costume of the mudang, alone in this blending of ritual concludes that “an art museum open geometric gates and and artistic practice (see cannot be a Buddhist shrine.”⁸ 46 walk through metaphysical fellow L.A. artists like Carolina In our current moment, borderlands. In The Wheel Caycedo, Candice Lin, art and spirituality can be in (2019), ethereal fgures congre- Betye Saar, and Veronique fruitful dialogue, even as they gate around central orbs on a D’Entremont), but the press allow each other slippage translucent silk surface. These release—a genre meant to between genre and context. bulbous, Matisse-like fgures contextualize a gallery This complex relationship reappear in The Gate and The artwork, and ultimately posi- works as long as both tradi- Gate iv (both 2019), drifting tion it for sale—pushed this tions remain distinct enough through geometric patterns of spiritual function of her work that neither obscures the other. soft grids and circles like spirit hard, describing Hur as When placed within a gallery, guides in action. opening channels to “another an artwork, no matter how Hur’s spiritual quest also dimension, immaterial and spiritually infected, should be infuenced her geometric unseen” somewhere “beyond freed from its author enough abstractions, works in the veil.” In preparation for to function as a stand-alone dialogue with a long history this show, the artist performed aesthetic object, open for of artists painting patterns to private ceremonies in the multiple interpretations. In reach beyond the canvas.⁶ gallery space to “open a Signal at the Wheel, Hover at Like Hilma af Klint’s spiritualist gate for spirits to enter” and the Gate, the preemptive spiri- abstractions, Hur’s Through co-mingle with gallery goers. tual claims for the artworks and Through ii (both 2014– Viewers were asked to not exaggerated the role of the 2018) balance whorls of only look at contemplative gallery to religious dimensions. organic and geometric shapes paintings, but to believe in Dislocated from its historical in harmony. Elsewhere, as in them as literal gates to other function, the gallery space Signal (2019), delicate circlar dimensions. became ambiguous: is this grids endlessly repeat and It’s this uncritical merger a space for viewing (and transfgure—meditative move- of explicit spiritual claims purchasing) art objects or for ments that slow down the with the actions of art-making participating in the rituals viewer’s eyes like the faintly that can feel transgressive, of Korean shamanism? This
1. Harry Cooper, “The Whole Truth,” 2. Sophia Kamps, “Buddhist monks to 3. Amanda Gates Garcia, “The Rise of the Artforum, May 2018. lead meditation at New York’s Museum L.A. Art Witch,” Carla Issue 6. of Modern Art,” Lion’s Roar, July 10, 2018, https://www.lionsroar.com/buddhist- monk-to-lead-meditation-at-the- museum-of-modern-art/. 47
Sebastian Hernandez, Pistil (performance view) (2019). Image courtesy of the artist and NAVEL. Photo: Jonas Wendelin. ambiguity of the purpose of invoked voyeurism as a the show worked against the theatrical ploy by openly viewer’s ability to see Hur’s Sebastian indulging in onlookers’ stares work as aesthetic pieces Hernandez while strutting around wearing in their own right. Without pore-cleaning face masks, this pretext, Hur’s graceful at NAVEL crop tops, and lowriders. geometric works would have When the main lights switched done plenty to slow the breath May 16, 2019 on and the dark synth music and the eyes—ofering if started, the performers not a doorway into another Midway through an hour paraded out, blowing up world, at least a clearer vision long performance, Sebastian balloons, tossing them into of our own. Hernandez stood, wearing the crowd, and popping them only a thong and heels, on with their stilettos. For almost a glass tabletop being held 20 minutes, they indulged in up by three practically nude a techno-infused rave of four, performers in tightly coiled vogueing and pulsating their fetal positions. With a micro- bodies against the foor and phone in hand, Hernandez each other, while progressively declared themself a game- stripping down to only their changer within the context thongs. In any other context, of Los Angeles art history. this sensual live performance The performance was commis- would have been perceived sioned by NAVEL, and was as a striptease. However, at presented as part of No NAVEL, an institution which Cruising—a multi-day event fosters experimental collabo- organized by Chris Tyler. ration and diverse viewpoints, Titled Pistil, it was performed Hernandez’s performance felt 48 by the artist alongside three more like a healing ritual. The additional performers (Nareg queer-centric crowd shouted Nikolay Karamyan, Miguel and snapped in approval at Reyna, and Chen Di Xuan). this trans femme celebration. This declarative moment by As the music dissipated, Hernandez would later be Hernandez, Karamyan, encapsulated on Instagram Reyna, and Chen grabbed as emblematic of their perfor- a circular glass tabletop which mance: it presented the they carried around, at one paradoxical drives at work in point lifting it above their 4. Annie Armstrong, “Guggenheim’s this highly sexualized display heads like Greek caryatids. Hilma af Klint Survey Is Most of trans femme brown bodies. Hernandez’s three sweaty Popular Show in Its History,” ARTnews, April 18, 2019, http://www.artnews. Exposing a split desire to be muses then crouched to the com/2019/04/18/guggenheims-hilma- intellectually historicized foor, positioned themselves af-klint-survey-is-most-popular-show- and sexually objectifed, head to groin and laid the in-its-history/. Hernandez measured their heavy glass table top upon 5. Choe Sang-Hun, “Shamanism Enjoys Revival in Techno-Savvy South cultural value against a back- their intertwined bodies Korea,” New York Times, https://www. drop of euphoric exhibitionism. for Hernandez to step atop nytimes.com/2007/07/07/world/ Within the confnes of and read from a pre-scripted asia/07korea.html. one’s safe community, claiming four-minute monologue. 6. See LACMA’s “The Spiritual in Art: Abstract Painting 1890-1985” exhibition space and historical agency for a thorough overview. is a cathartic exercise, particu- “Assigned male at birth. 7. For more on how images operate in larly in a political climate Here I am making a highly religious contexts see David Morgan’s dominated by xenophobia and compromised work of Images at Work: The Material Culture of Enchantment. sexual repression. Hernandez’s art. Still, in this safe space 8. Christopher Knight, “Overstating the performance began inside called an art institution. Religious?” Los Angeles Times, https:// NAVEL’s glass-enclosed back- Still, too uncomfortable www.latimes.com/archives/la-xpm- room, where the performers to do something like this 2003-oct-06-et-knight6-story.html.
Julie Weitz out in public… What is in my experience is a critical form studio at the Pacifc Design immediate future? Being of resistance, Hernandez’s Center in West Hollywood.¹ the frst indigenous queer performance rode a fne line Sitting upright and still, any trans femme, queer indige- between overindulgent sexual expression in his eyes hidden nous trans-woman to make display and ritualistic group behind his Freeway sunglasses Los Angeles art history.” care. For the fnal act, the (his own brand), he asks performance accelerated into random and unconnected Physically standing upon the sexual overdrive as the questions to his celebrity shoulders of others to declare performers spread gelatinous subjects—to Marilyn Manson, one’s cultural value in a society material over one another “Did you have a childhood that consistently diminishes, while kissing, moaning, and comfort object?”; to Jamie Lee ignores, or misiden tifes sliding across each other’s Curtis, “Do you scrapbook?”; one’s existence is powerful. bodies. Under a fashing and to Christina Ricci, “What Predetermining one’s impact green strobe light, Hernandez did you eat for breakfast this solely on the basis of identity, strapped on a half-cut papaya morning?” Israel repeatedly however, limits the scope of between their legs while the fails to respond or react to any interpretation. The critical others vigorously licked, of their answers, regardless intent seemed inverted as sucked, and munched on it. of how convivial they are. Hernandez literalized in By this point, my experience These eight- to twelve-minute language what we had just as a viewer toggled between skits are as hilarious as they witnessed energetically. easy arousal and skeptical are bafing. Israel’s banal The performance was amusement, making it difcult interview style is a Trojan horse framed in the press release to integrate the larger histori- for an interrogation of these as being in response to the cal connection, or mythical lauded individuals. Seeing Cooper’s Donuts riot of 1959. proclamations of the artist. how a celebrity deals with his Believed to be one of the frst As I considered Hernandez’s antics is far more revealing gay uprisings in the United earlier announcement in which than the answers they provide. States, a small riot in down- they predetermined their In some ways, these videos 49 town Los Angeles ensued cultural impact on art in Los unmask Hollywood’s sleaze— when a group of drag queens, Angeles, I was left feeling that how someone with power and transgender women, gay, the sensuality of the acts being money can have access to and lesbian customers threw played out were undermined anyone—and here Israel donuts, trash, and cofee by an anxiety to label, defne, inserts himself into this scheme. at police ofcers as they and contextualize. In the act The interviewees generally attempted to arrest LGBTQ of myth-making, artists risk prove kind and interesting, customers for presenting as overexposing their ambition, and Israel, who produced the a gender other than the one restricting the interpretation videos a few years after gradu- represented on their govern- of their work and alienating ating with his MFA from USC, ment IDs. Sixty years later, their audience. Hernandez’s becomes the center of atten- laws and cultural perceptions unfettered, choreographed tion. A celebrity in waiting. have dramatically shifted, and group play was evidence Recently, As it Lays came yet societal discrimination, enough of the defant attitude back. Israel is older, has better familial rejection, and police they pose as an artist. hair, a new Giorgio Armani harassment remain, particu- suit, and if it’s possible, an even larly for trans and queer people (L.A. in N.Y.) more wooden approach to of color. Seen in this light, the interviewing. The upgraded set promenading of the four queer Alex Israel resembles a Grecian-style performers felt revelatory, at Greene Naftali living room with an oil-painted as if they were impersonating trompe l’oeil background; the defant attitude demon- April 30–June 15, 2019 replacing the original faded, strated by the Cooper’s Donuts faux Breuer chairs are two customers decades ago. Seven years ago, Alex Israel regency style tub chairs While holding energetic recorded As it Lays, a series of purportedly snagged from space for historical trauma interviews with “iconic and a yard sale at Oprah Winfrey’s. through one’s own embodied infuential” Angelenos in his The intro music is a classy,
1. Reena Spaulings Fine Art, Alex Israel, As it Lays, press release, 2012,
2. Running concurrently to As it Lays, Israel presented Solo, an exhibition at Reena Spaulings Fine Art, featuring a hologram of the artist playing a saxophone. 51
Above: Alex Israel, As It Lays 2 Below: Alex Israel, As It Lays 2 (installation view) (production still with Paris Hilton and Alex Israel) (2019). Image courtesy of the artist and Greene (2019). Talk show set and video installation, Naftali, New York. Photo: Tom Powell. 33 episodes, total running time: 5 hours, 47 minutes. Image courtesy of the artist and Greene Naftali, New York. Photo: Sarah Bradham. Photo Essay Rosa Tyhurst is a curator and writer based in the north Jef McLane is a Los Angeles-based photographer of California and the south of the U.K. specializing in artwork documentation and installation photography. Notable clients include the Hammer Portrait artists Museum, Gagosian Gallery, David Kordansky Gallery, Bari Ziperstein is a Los Angeles-based artist who and L.A. Louver. received her MFA from CalArts, Valencia in 2004. Her studio-based sculptures and experimental public Lindsay Preston Zappas is the founder and art have been featured in numerous exhibitions. She editor-in-chief of Carla. is the creator of BZippy & Co., whose intimately- and architecturally-scaled vases, vessels, and lamps Review Contributors are highly regarded among interior designers, private Yxta Maya Murray is a law professor and writer living collectors, and the trade press. in Los Angeles. She received a 2018 Art Writers Grant. Advice and Consent, her one-act play about the Justen LeRoy is a curator and artist focusing on bring- Christine Blasey Ford hearings, has just been published ing art out of the white cube and into the streets of his by LARB Books. native Los Angeles, where he's worked to build commu- nity initiatives at The Underground Museum and now Matthew Stromberg is a freelance arts writer based at his family-run barbershop in South Central, Touched in Los Angeles. In addition to Carla, he has contributed By An Angel. to The Los Angeles Times, The Guardian, LA Weekly, KCET Artbound, Hyperallergic, Artsy, Frieze, Terremotto, Ragen Moss has had solo exhibitions at Ramiken and Daily Serving. Crucible (N.Y.), Redling (L.A.), and LA> PARK VIEW / PAUL SOTO LOS ANGELES Victoria Colmegna Andy Giannakakis Aidan Koch Dylan Mira Alex Olson Matt Paweski Autumn Ramsey Mark A. Rodriguez Kate Spencer Stewart J. Parker Valentine BRUSSELS SOTO PAUL VIEW PARK / Corrections Review Sebastian Hernan- dez at NAVEL 1. An earlier version of this review incor- rectly identifed the organizer of No Cruising. It was organized by Chris Tyler. Last updated: October 1, 2019