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
by Thomas Duncan

Broken Language
at Shulamiit Nazarian
by Angella d'Avignon

Artists of Color
at the Underground Museum
by Matt Stromberg

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects
by Aaron Horst

Home
at LACMA
by Simone Krug

Analia Saban at
Sprueth Magers
by Hana Cohn
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
Reviews Alessandro Pessoli
by Jonathan Griffin

Jennie Jieun Lee
by Stuart Krimko

Trisha Baga
by Lindsay Preston Zappas

Jimmie Durham
by Molly Larkey

Parallel City
by Hana Cohn

Jason Rhodes
by Matt Stromberg
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
Exquisite L.A.
Featuring:
Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Creature by Thomas Duncan
Sam Pulitzer & Peter Wachtler by Stuart Krimko
Karl Haendel by Aaron Horst
Wolfgang Tillmans by Eli Diner
Ma by Claire de Dobay Rifelj
The Rat Bastard Protective Association by Pablo Lopez
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
Doug Aitken Electric Earth
Mertzbau

Jean-Pascal Flavian and Mika Tajima
Mark A. Rodruigez
The Weeping Line
Molly Larkey, Aaron Horst,
Keith J. Varadi, Katie Bode,
Stuart Krimko, Matt Stromberg
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 Hana Cohn, Eli Diner,
Claire De Dobay Rifelj,
Katie Bode, Molly Larkey,
Keith J. Varadi
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 Claire de Dobay Rifelj,
Matt Stromberg, Hana Cohn,
Lindsay Preston Zappas,
Simone Krug, Keith Vaughn,
Ikechukwu Casmir Onyewuenyi
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 Eli Diner, Jonathan Griffin,
Don Edler, Aaron Horst
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 Benjamin Lord, Aaron Horst, Stephen Kent
Top-Down Bottom-Up Jenny Gagalka
Snap Reviews Aaron Horst, Char Jansen, Randy Rice, Lindsay Preston Zappas
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
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
VESSEL // CINS and
VESSEL // PERF
Ben Medansky
I've been a lot of places,
seen so many faces
Nora Slade
Launch Party Carla Issue 1
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
Reviews Tracy Jeanne Rosenthal, Catherine Wagley, Keith Vaughn, Aaron Horst, Kate Wolf, Mateo Tannatt, Evan Moffitt, Cal Siegel
We’re in This Together Lauren Cherry & Max Springer
Distribution
Downtown
ARTBOOK @ Hauser & Wirth
Baert Gallery
Cirrus Gallery
Château Shatto
Club Pro
Dalton Warehouse
Elevator Mondays
The Geffen Contemporary 
at MOCA
Ghebaly Gallery
ICA LA
LACA
MAMA
Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
BBQLA
Chimento Contemporary
Charlie James
Human Resources
Ibid Gallery
Ooga Booga
Ooga Twooga
Parrasch Heijnen Gallery
Museum as Retail Space (MaRS)
Nicodim Gallery
Venus Over Los Angeles
Eastside
AWHRHWAR
67 Steps
ESXLA
Otherwild
SADE
Smart Objects
Skibum MacArthur
Westside
18th Street Arts
Ben Maltz Gallery at Otis 
College of Art and Design
Christopher Grimes Gallery
DXIX Projects
Five Car Garage
Team (Bungalow)
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
The Pit
Los Angeles Valley College
Natural
The Art Gallery @ GCC
Mid-City
1301 PE
Big Pictures Los Angeles
California African American Museum
Chainlink Gallery
Commonwealth & Council
David Kordansky Gallery
H I L D E
JOAN
Kayne Griffin Corcoran
LACMA
ltd Los Angeles
Marc Foxx
Shoot the Lobster
Ochi Projects
Park View
Praz-Delavallade
The Landing
SPRÜTH MAGERS
The Underground Museum
USC Fisher Museum of Art
Visitor Welcome Center
Culver City
Anat Ebgi
Arcana Books
Blum & Poe
Cherry and Martin
Honor Fraser
Klowden Mann
Luis De Jesus
Roberts and Tilton
Susanne Vielmetter
Hollywood
Diane Rosenstein
Family Books
GAVLAK
Hannah Hoffman
LACE
LA><ART
M+B
Nino Mier Gallery
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Various Small Fires
South Bay
DMV
Grab Bag Studios
The Torrance Art Museum
Elsewhere in CA
Alter Space (San Francisco)
City Limits (Oakland)
Et al. (San Francisco)
Ever Gold Projects (San Francisco)
fused space (San Francisco)
Gym Standard (San Diego)
Helmuth Projects (San Diego)
Interface Gallery (Oakland)
Jessica Silverman (San Francisco)
Left Field (San Luis Obispo)
San Diego Art Institute (San Diego)
Verve Center for the Arts (Sacramento)
Wattis Institute for Contemporary Art (San Francisco)
Non CA
Artbook @ MoMA PS1 (Long Island City, NY)
Editions Kavi Gupta (Chicago, IL)
Good Weather (North Little Rock, AK)
Nationale (Portland, OR)
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)
Cranbrook Academy of Art (Bloomfield Hills, MI)
El 123 (México City, MX)
John M. Flaxman Library at SAIC (Chicago, IL)
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)
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)
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)

A Conversation With Amalia Ulman

Amalia Ulman, The Importance Of The Nest (detail) (2014), curtain, laser cut vinyl, thread, 80 x 72 inches. Image courtesy of the artist and Smart Objects.

Amalia Ulman, The Importance Of The Nest (detail) (2014). Curtain, laser cut vinyl, thread, 80 x 72 inches. Image courtesy of the artist and Smart Objects.

Los Angeles is a mecca of middlebrow consumerism. Airbnb, Starbucks, fitness fads, Groupon spa deals, macaroons. Holiday discounts on breast enhancements air on the radio, and Botox coupons can be cut out of the back of the LA Weekly.

Amalia Ulman studied in London but now works out of her office in Downtown L.A. Her materials are the language, codes, and conduits (visual, textual, invisible) inscribed in the propaganda of current consumer culture. Our reactions to her works are the same contradictory feelings we get from consuming. We pick things off the store shelf that are pretty, clean, and neatly packaged—artisan soap, organic coffee beans—but we’re repulsed when confronted with the violence of the system that produces them. In some works Ulman presents this hypocrisy in literal forms: twee, heart-shaped products stained with blood. In others, the message is played out more subtly: an installation of a corporate office space spliced with words taken from Zen philosophy.

Ulman is very good at emulating the cozy comfort of little indulgences. In Excellences & Perfections, a project that still populates her Instagram account @amaliaulman, she plays the role of a socialite who gets Botox and then a boob job. (The boob job was faked, but Ulman did get botox, an action that recalls Orlan’s work with body modification). Ulman’s was a fiction so authentic that it gamed the Internet, until the ruse was revealed—it was a piece that captivated a much wider audience than the usual art crowd, and remains perhaps her best known work.

In Ulman’s work, something unsettling eventually emanates from perfect taste. Excellences & Perfections turned into the chronicle of a young girl’s meltdown. Ulman’s creations are always ambivalent: part sympathetic, part victims of a collective social order that evaluates and judges with a scrolling thumb.

Amalia Ulman, International House of Cozy (installation view) (2014). Image courtesy of the artist and Showroom MAMA, Rotterdam.

International House of Cozy (installation view) (2014). Image courtesy of the artist and Showroom MAMA, Rotterdam.

Amalia Ulman: Delicious Works (installation view) (2014), Martha Stewart golden paint, blanket, tulle, lights, glitter, fairy dust, gold powder, 32 x 22 inches. Image courtesy of the artist and Smart Objects.

Delicious Works (installation view) (2014). Martha Stewart golden paint, blanket, tulle, lights, glitter, fairy dust, gold powder, 32 x 22 inches. Image courtesy of the artist and Smart Objects.

Char Jansen: Your work deals so much with consumerism, and the physical and emotional pain it can inflict. L.A. is often portrayed as the pinnacle of western consumerist ideals. Is that reputation something that youve found to be true, or apocryphal since you moved here?

Amalia Ulman: Primarily, I moved to Los Angeles for very basic physical reasons. I suffer from depression and sunny weather helps. Also, after many surgeries, dry weather’s a preference. In places like London or Asturias, my chronic pain gets to its worst levels. On the other hand, Los Angeles is a very interesting place in relation to my work. I’m interested in how people present themselves to others. I’m fascinated by people who edit their own life stories, and that’s a very Hollywood thing to do.

I don’t think L.A. has necessarily shaped my work, it is just there in the background because here’s where I live. As any immigrant I bring my own world with me. But I’ve had very intense revealing and beautiful experiences in Los Angeles, like driving all the way down Santa Monica Boulevard from east to west, seeing the changes in class as you drive towards Beverly Hills. Or seeing the most depressing characters shopping for luxury goods at Neiman Marcus.

CJ: When you say depressing, it makes me curious as to how you really feel about consumerism. At your recent International House of Cozy exhibition in Rotterdam, for example, you highlighted the emotional contradictions of consuming, the compulsion and subsequent revulsion.

AU: Consumerism is like drinking. If you don’t do it often you just get drunk and have a good time. If you do it all the time you just start feeling shitty. I don’t think that anyone who has experienced love—physical love, religious love, fraternal love—can say that consuming objects is the best and healthiest thing in the world. We all know it’s not really that necessary, but we all still do it. It is not only about buying a pair of shoes, but about driving nowhere, or walking around at night on a lit-up street, or taking a bath. Those are pleasurable things that are unnecessary and consume resources. I’m interested in that contradictory behavior that defines humanity.

International House Of Cozy (installation view) (2015). Image courtesy of Showroom MAMA (Rotterdam).

International House Of Cozy (installation view) (2015). Image courtesy of the artist and Showroom MAMA, Rotterdam.

International House Of Cozy (installation view) (2015). Image courtesy of Showroom MAMA (Rotterdam).

International House Of Cozy (installation view) (2015). Image courtesy of the artist and Showroom MAMA, Rotterdam.

CJ: You seem to pick up on self-indulgence a lot, the sensual comfort of objects. It comes through particularly strongly and humorously in your video piece, International House of Cozy.

AU: Yes, exactly. International House Of Cozy was a pornographic video based on an infomercial that a famous blogger did for Zara. It is a short film where two porn actors role-play hipster aesthetics, using the language of porn as a legitimizing tool for explaining the transition from indie to mainstream and from mainstream to corporate—to ultimately become an invisible template.

CJ: Ha! I really like how you bring out gesture in your work in that way, to show the proximity of congruous and incongruous language and behavior that is shaped by different contexts and environments. Based on what I’ve ascertained from our exchanges up to now, youre very concerned with these latent inequalities in the neoliberal system. Whether thats in the effect of the beauty industry on individual women or political propaganda on whole societies.

AU: Any system that runs solely on meritocracy leaves people behind. That’s why I personally believe that it is important for the state to take care of basic things like housing, medical care, and a minimum wage. It is not fair to leave people behind because of a disability, or because a sudden illness, or even because of not being a workaholic overachiever. The system is shaped in a linear manner and human beings don’t function in that way.

CJ: You grew up in a tattoo shop, and you’ve experienced poverty personally. I was curious as to whether your success now has changed you. I read a tweet you wrote about having your own Soho House card, as a small triumph over the art bros. How do you feel in an art world that is full of privileged, upper-class people?

AU: Yes, my upbringing, for many different reasons, provided me with the perspective of being an outsider almost 100 percent of the time. I don’t think there was one moment in my life when I felt like a part of something, I’ve always seen things from the outside.

I don’t think having a Soho House card is a sign of success, and I feel fine with the upper class because I don’t really value money that much and I’m not a fan girl. I like people’s humor, that’s what I fall in love with. I actually feel embarrassed that I participate in a system where I materialize my thoughts into objects to be exhibited. Most of my favorite people, the most brilliant minds I’ve met, don’t have a CV.

CJ: Youve said that you dont feel successful, but more like your life is a string of funny tragedies. Success in the capitalist sense often seems ominous, threatening, in your work

AU: I feel blessed on a daily basis, and sometimes I’m overwhelmed by the fact that I’m able to rent a beautiful apartment, and an office, and a car. Or that I can order a book and get it delivered to my house in 24 hours. It feels like a fairy tale. Is it sustainable? It doesn’t feel like it. Mainly because I’m not part of a stable system: firstly because I’m an artist and I rely on one of the weirdest economies there is, and secondly because I currently reside in the US, the capitalist potency par excellence. Easy come, easy go.

Amalia Ulman: Delicious Works (installation view) (2014), Martha Stewart golden paint, blanket, tulle, lights, glitter, fairy dust, gold powder, 32 x 22 inches. Image courtesy of the artist and Smart Objects.

Delicious Works (installation view) (2014). Martha Stewart golden paint, blanket, tulle, lights, glitter, fairy dust, gold powder, 32 x 22 inches. Image courtesy of the artist and Smart Objects.

Delicious Works (installation view) (2014). Martha Stewart golden paint, blanket, tulle, lights, glitter, fairy dust, gold powder, 32 x 22 inches. Image courtesy of the artist and Smart Objects.

Delicious Works (installation view) (2014). Martha Stewart golden paint, blanket, tulle, lights, glitter, fairy dust, gold powder, 32 x 22 inches. Image courtesy of the artist and Smart Objects.

Delicious Works (installation view) (2014). Martha Stewart golden paint, blanket, tulle, lights, glitter, fairy dust, gold powder, 32 x 22 inches. Image courtesy of the artist and Smart Objects.

Delicious Works (installation view) (2014). Martha Stewart golden paint, blanket, tulle, lights, glitter, fairy dust, gold powder, 32 x 22 inches. Image courtesy of the artist and Smart Objects.

2016-07-12 (1)

Originally published in Carla Issue 3.