Essays, nonfiction, reporting

Finding Meaning in Forgotten Objects: Pamela Ramos Interviewed, Variable West

But is it Junk?
AIGA Eye on Design

Wayne Thiebaud and Ghia’s Le Spritz, Variable West

Power Exhibited Through Sexualized Desire: Julie Henson Interviewed, Variable West

Dirt: Bootleg Sunset, for DIRT by Daisy Alioto and Kyle Chayka

Dirt: Liminal potato house, on a 4-ton fiberglass potato turned AirBnB for DIRT by Daisy Alioto and Kyle Chayka

Dirt: Affirmation memes for millennial dreams, on mass delusion and memes for DIRT by Daisy Alioto and Kyle Chayka

On Tenderness, a letter to editor Liana Jegers, a personal note about tenderness in the time of Coronavirus for The Smudge Vol. 5, Issue 2

On Corn Society or Uncle Bobby's Mystical Journey, a eulogy to my young Uncle and Nebraska for The Smudge Vol. 4, Issue 8

Distancing #29: Fading Frontier, on accident and recovery and mortality, for The Believer Logger

They Live Alone in Ghost Towns, living or vacationing in ghost towns (with the attendant ghosts!) for New York Times Styles

On Being "Wrong": An Ode to John Baldessari, a personal essay on how the late pioneer of conceptual art, John Baldessari, influenced the way I think about art, for Degree Critical

Holy Water, a personal essay on ocean rituals, baptism, and swimming for The Smudge Vol. 3 Issue 9, Tan & Loose Press

Ghost Towns of Instagram, ghost towns, influencers, and luxury development in the California desert for The Baffler

The Butterfly Effect, extinction, but make it fashion for GARAGE

Location Not Found, mapping loss, wildfire season, digital ghost towns and Paradise, California, for Real Life Magazine

There it is, Drink it., on drinking water politics and why I'm a freak for New York City tap water, for The Smudge, Vol. 2, Issue 12, Tan & Loose Press

How Close to Reality is Velvet Buzzsaw's Depiction of the LA Art World?, while I don't believe this to be an effective way to analyze fiction, Dan Gilroy claimed this to be a project of ~realism~ so I conducted a light roast of Los Angeles complete with not-so-blind items about parties, for i-D

Union at Cal State Long Beach Leaks Email from Fired Museum Director, Revealing Divisive Perspectives, a reported piece on a leaked email regarding the firing of the university's art museum director during a controversial exhibition, for Hyperallergic, October 2018

Tanya Brodsky, a profile on a woman who melts metal and forages for architectural detritus in junkyards, for Women Artists Five, September 2018

Decoding the Whitney's Art Haul, a round up of significant, rare, and timely selections from this year's recent acquisitions at the Whitney, for GARAGE Magazine, October 2018

Los Angeles Gallery Takes Down Exhibition After Anti-Gentrification Protest, a reported piece on an anti-gentrification protest at a contemporary art gallery in Los Angeles, for Hyperallergic, September 2018

The Joker: The Art World’s Best Patron, an aesthetic investigation of The Joker's love for abjection and his unlikely preservation of a Francis Bacon painting, for GARAGE Magazine, September 2018

Neighbors Converge and Share Their Memories Around a Public Art Project in LA, a write-up on a temporary public sculpture by artist Tanya Brodsky, and the incomplete story of the lot it stands on, for Hyperallergic, September 2018

A Concise Guide to LA’s Outdoor Art Spaces, from a Pool to a Garage, a round-up of alternative art spaces in Los Angeles that host exhibitions outdoors, for Hyperallergic, August 2018

Los Angeles: The City of Dreams and Sprawling Art Book Fairs, a reported piece on Los Angeles' art book fair boom the year after Printed Matter's Los Angeles Art Book Fair was canceled, for GARAGE Magazine, August 2018

Perennial Bloom: Florals in Feminism and Across L.A., an art essay digging into why so much floral work has cropped up recently in Los Angeles art made by women and a history of flowers’ link to femininity, printed in Carla 12, May 2018

How to Write About The Richest Artist in The World, about the exquisite pain of writing about Damien Hirst and writing for money in general, printed in The Smudge, Vol 2. No. 5, Tan & Loose Press (PDF), May 2018

These Surreal Paintings Embody L.A.’s Hedonism and Spirituality, an art essay about the psychedelic air-brushed paintings inspired in church by Ben Sanders, for Artsy, 2018

This Joyful Video of Women Laughing Sends a Strong Feminist Message, about a small TV sitting in a storefront window, playing a loop of women laughing uninterrupted, for Artsy, 2018

The Power Suit's Subversive Legacy, an aesthetic history of women wearing pant suits to try and gain power in public space, for The Atlantic, 2017

To Live and Fade in LA an art essay about drifting, looking, and the physical choreography of graffiti and those who are tasked to erase it, for Open Space (SFMOMA), Fall 2017

Here's What Little Girls Are Made Of, a visual narrative about the confidence gap and young girls, for TOPIC STORIES, July 2017

Not Driving in California, a nonfiction essay about all the walking I’ve done in California and all the feelings I had, the people I met, and the things I saw, printed in The Smudge Vol. 1, No. 5, Tan & Loose Press, May 2017

Nazi Chic: The style that just won't go away, a historical series about what people wore to the revolution, to the battlefront, and while dismantling the rights of others, for Medium (Aesthetics of Fascism series), 2017

#999966, a short nonfiction piece about the summer of 1996, based on a greenish html hex hue, for Websafe2k16, Summer 2016

I Waited Until I was 30 to Go to College., I which I avoid joining a sorority and debunk the myth of what a “traditional” college experience looks like, for The Washington Post, 2016

Late Superbloom, a nonfiction essay about walking, California wildflowers, and depression for Notes on Looking, 2016

A Brief History of Women's Housing in Los Angeles, I dive into where women have lived throughout history in Los Angeles and how homelessness affects women and trans individuals for The Atlantic's CityLab, 2016

Going with the Flow, Los Angeles’s first biennial, I traced the Los Angeles river all summer and the art installed along the way deterred only by wildfires (typical!) for the city’s first biennial, themed on water, printed in Public Art Review magazine, Summer/Fall 2016

Why Have We Always Been So Obsessed With Virginity?, about the history of virginity and the patriarchal obsession with controlling women’s bodies for The Establishment, 2016

Cities May Alienate Women, But ‘Hypersolitude’ Is a Way to Reclaim Lost Space, an art essay based on my research of how performance art points to unlikely methods to mitigate harassment in public space, for How We Get To Next, 2016

Pretty in Pink: How a Color Came to Represent a Gender, a historical essay asking why we associate the color pink with femininity and gender, for Broadly, 2016

A Woman Shorn: The Disruptive History of the Female Shaved Head, It’s Britney, bitch. It’s Joan of Arc, too. for VICE, 2016


Seth Bogart's Feelin' Fruity is Bringing a Punk Aesthetic to TV, a profile on queer punk musician and art hero Seth Bogart who produced his TV series Feelin' Fruity entirely himself (with help from friends of course), for Vulture, June 2018

Interview with Artemisa Clark, “Like if you’re naked and tied up for your performance, you should make sure you have someone to check in on you. You should also probably stretch!”, an interview with performance artist and brainiac Artemisa Clark for Art Practical, 2018

"Car Culture" Takes on a New Meaning in This Mobile Gallery, about a gallery that lives in the cabin of a champagne-colored Crown Vic as it drifts through the streets of Los Angeles, for GARAGE Magazine, December 2017

Meet Big Sal, Jewelry District Security Guard, Historian and Ghostbuster, a profile on Sal Licone, a DTLA security guard who protects a historic theater, now a jewelry store, where he used to see John Wayne movies in as a kid, for the original LA Weekly, 2017

John Early has taken to LA like a Scientologist to a Celebrity Centre, a profile on comedian John Early who had just moved to LA where he ordered the chopped cobb for lunch at the iconic 101 Diner and draped his pale body across the marquee of the Scientology Celebrity Centre, for the original LA Weekly, 2017


40 Years Later, Rigoberto Torres and John Ahearn Are Still Making Life Casts of Bronx Residents, for Hyperallergic

A Review of: "Death in Her Hands by Ottessa Moshfegh", for The Believer

Review: (LA in NY) Mike Kelley at Hauser & Wirth, even in his paintings, Kelley rooted around at the rot of American nostalgia and yanked it clean out of its socket, for Carla 19

Review: (LA in NY) Catherine Opie at Lehmann Maupin, arson, mid century modernism, and ambivalence, for Carla 15

Review: POSSESSED: Eckhaus Latta at the Whitney, I went to the Eckhaus Latta special exhibition store and couldn't afford the concept, for Carla 14

The Price is Wrong, a review and roast of the art world and its bloated art market and self-satisfied crowd for The Baffler

Inspired by the Story of a Women’s Sanitarium, a Book Explores Mental Health as a Feminist Issue, a book review on an independently published art book of essays on mental health and feminism, for Hyperallergic

Review: Oren Pinhassi at Skibum MacArthur, “Pinhassi’s sculptures are monuments to connections lost—whether by withering bodies, bad politics, or a compulsive use of technology,” a Snap Review for Carla, May 17 2018

Review: Angie Jennings at Abode Gallery, "She rigs blanket-like tapestries smothered with house paint, compost, sand, beads, yarn, and lace ripped from old quilts to protect her,” a Snap Review for Carla, March 28 2018

Review: Nevine Mahmoud at M+B, a long review about stone fruit, marble carving, Greek sculpture, Medusa’s hair, and Anne Carson, printed in Carla 11, 2018

Review: Tactility of the Line at Elevator Mondays, long review about teenage driving, line work, and the constraints of a freight elevator turned gallery space, printed in Carla 10, 2017

Review: Conceding, our eyes shift at Basement Projects, “burning candles gripped in fists pop through satin fabric and let the wax drip over knuckles,” a Snap Review for Carla, October 25 2018

Review: Jessica Williams at SADE, “Women sigh on balconies, at beaches, and in suburban bedrooms, perhaps mistaking one another for their own reflections,” a Snap Review for Carla, October 12 2017

Review: Broken Language at Shulamit Nazarian, “In the early days of the internet, fluency was self-determined. Intimacy blossomed between keystrokes. Without body language, a typed-out affectation negated grammar,” a long review, printed in Carla 9, 2017

Review: Camille Schefter at NowSpace, “a bored suburban home, a grandfather’s auto garage, a pietá hewn in the heartland,” a Snap Review for Carla, August 2 2017

Review: The Dick Pic Show at Chimento Contemporary, “In contrasting the preciousness of penile depictions of the past with the understanding that jpegs of dicks float wild and free in the digital cloud (milieu?), the curators encapsulate a cultural threshold and suggest the dick is more of a mortal than a god.,” a Snap Review for Carla, June 30 2017

Review: Flowerland at Charlie James Gallery, “ambrosia-colored and lopsided, as if arranged by a distracted florist. Asymmetry makes more sense when measuring frustration,” a Snap Review for Carla, June 15 2017

Review: PARATEXTUAL at Samuel Freeman Gallery, “photographic images help sift the density of each work’s context, but without them, other works feel laborious or overwrought,” a Snap Review for Carla, June 1 2017

Review: Weird Rain at Garden, “Each honors interiority with tenderness, and if the body is a biosphere, home was first the womb,” a Snap Review for Carla, May 19 2017

Review: Apollo on Earth at HILDE, “disembodiment, presence, and abstraction draw a link between classical antiquity and a genderfluid future,” a Snap Review for Carla, March 22 2017

Review: Kathleen Ryan, Weightless Again at Ghebaly, “Where levity feels unachievable, Ryan’s perception of heft and lightness feels preternatural and witchy; levitation and balance somehow come easily,” a Snap Review for Carla, February 8 2017

Review: Slippery When Wet at GAIT LA, Carla

Review: Figure as Form at ltd Los Angeles, Hollywood Hills House, Carla

Review: LET LOVE BURN IN ALL THE LAMPS at Ms Barbers, Carla

Review: Marwa Abdul-Rahman at Museum as Retail Space, Carla

Review: Hannah Boone, Aria Dean, Merideth Hillbrand at Club Pro Los Angeles, Carla

Review: Sarah Cain at Honor Fraser, Carla, 2015

Curatorial Text

A Perfect Ocean, or A Losing Guide to Beachcombing, an essay about loss, the tide, throwing things back and letting them come back to you for Chantal Wnuk: I Dream of a Perfect Ocean, I Dreamt of Stepping in a Hole at Best Practice, San Diego, CA.

Etymology of a Ghost, the trajectory of a folk song sung by a cartoon, rotoscoped ghost of Cab Calloway, for Joe Yorty: The Ghost I Love the Most at Southwestern College, San Diego, CA.

SUPERSTAR, a nonfiction prose piece about the technological mechanics of heartbreak for catalog text for Andy Ralph: Idle Cure & The Deep Tissue at New Release, Small Editions, New York City, NY.

New Narratives from Los Angeles, curatorial text for the grad student art exhibition at Cal State Long Beach, for GLAMFA 2017, Long Beach, CA.

Calling from Vermont, a combination of found text wrangled into curatorial prose for Bruna Massadas: Calling from Vermont at Room & Border, Long Beach, CA.