The Winter issue of X-TRA is here.
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In this issue:
Aria Dean deliberates the non-ontology of blackness in her feature on the work of Ulysses Jenkins.
Kate Wolf considers Aura Rosenberg‘suse of the photographic frame and the power of self-professed artifice in Head Shots (1991–1996) at JOAN, Los Angeles.
Josephine Graf and Dana Kopel explore confrontation, failing monuments and making the invisible visible in Andra Ursuta: Alps at the NewMuseum.
Patrick Staff recounts the intensity of intimacy through a pamphlet by late Los Angeles artist Bob Flanagan, found photographs and a reflection on caring for the queer body in this issue’s Artist’s Project $5 for those who deserve it.
Travis Diehl pursues a path of unanswerable questions in his double reviewof Laura Owens‘Ten Paintings at CCA Wattis Institute and Lutz Bacher‘sMagic Mountain at 356 S. Mission Rd.
Bedros Yeretzian lays out the relational complexities of John Knight‘s A work in situ (2016) at REDCAT.
Sophie Hoyle investigates virtual reality as a space for potential female sexual liberation in the work of Sidsel Meineche Hansen at Gasworks, London.
Maya Kóvskaya unravels the cacophony of narrative threads and their politics in the latest series of miniatures by Waswo X. Waswo.
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X-TRA is a quarterly contemporary art journal, based in Los Angeles and founded in 1997. Edited by a collective of artists and writers, X-TRA publishes expansive features, historical essays, commissioned artist’s projects, interviews, columns, and substantive reviews.
X-TRA is available in print and digital-reader format, and the complete archive from 1997 is online. Visit x-traonline.org to browse the archive, shop our Artist’s Editions, donate, and find submission guidelines.
X-TRA is published by the nonprofit Project X Foundation for Art & Criticism, which is generously supported by The Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, Pasadena Art Alliance, Isambard Kingdom Brunel Society of North America, The Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, City of Los Angeles Department of Cultural Affairs, the Center for Cultural Information and our patrons and subscribers.
