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
    & Schimmel
917 E. 3rd St.
Los Angeles, CA 90013

Baert Gallery
2441 Hunter St.
Los Angeles, CA 90021

Central Park
412 W. 6th St. #615
Los Angeles, CA 90014

CES Gallery
711 Mateo St.
Los Angeles, CA 90021

Cirrus Gallery
2011 S. Santa Fe Ave.
Los Angeles, CA 90021

Château Shatto
406 W. Pico Blvd.
Los Angeles, CA 90015

Club Pro
1525 S. Main St.
Los Angeles, CA 90015

Fahrenheit
2245 E. Washington Blvd.
Los Angeles, CA 90021

Ghebaly Gallery
2245 E. Washington Blvd.
Los Angeles, CA 90021

The Geffen Contemporary
    & at MOCA
152 N. Central Ave.
Los Angeles, CA 90012

Harmony Murphy
358 E. 2nd St.
Los Angeles, CA 90012

LACA
2245 E. Washington Blvd.
Los Angeles, CA 90021

MAMA
1242 Palmetto St.
Los Angeles, CA 90013

Mistake Room
1811 E. 20th St.
Los Angeles, CA 90058

MOCA Grand Avenue
250 S. Grand Ave.
Los Angeles, CA 90012

Monte Vista Projects
1206 Maple Avenue, #523
Los Angeles, CA 90015

Night Gallery
2276 E. 16th St.
Los Angeles, CA 90021

The Box
805 Traction Ave.
Los Angeles, CA 90013

Wilding Cran Gallery
939 S. Santa Fe Ave.
Los Angeles, CA 90021
Chinatown
A.G. Geiger
502 Chung King Ct.
Los Angeles, CA 90012

Charlie James
969 Chung King Rd.
Los Angeles, CA 90012

EMBASSY
422 Ord St., Suite G
Los Angeles, CA 90012

Human Resources
410 Cottage Home St.
Los Angeles CA, 90012

Ooga Booga
943 N. Broadway
Los Angeles, CA 90012
Mid-City
1301PE
6150 Wilshire Blvd.
Los Angeles, CA 90048

Big Pictures Los Angeles
2424 W Washington Blvd.
Los Angeles, CA 90018

California African American Museum
600 State Dr.
Los Angeles, CA 90037

Chainlink Gallery
1051 S. Fairfax Ave.
Los Angeles, CA 90019

Commonwealth and Council
3006 W. 7th St. #220
Los Angeles CA 90005

David Kordansky Gallery
5130 W. Edgewood Pl.
Los Angeles, CA 90019

HILDE
4727 W. Washington
Los Angeles, CA 90016

JOAN
4300 W. Jefferson Blvd. #1
Los Angeles, CA 90016

Kayne Griffin Corcoran
1201 S. La Brea Ave.
Los Angeles, CA 90019

ltd Los Angeles
1119 S. La Brea Ave.
Los Angeles, CA 90019

Marc Foxx
6150 Wilshire Blvd. #5
Los Angeles, CA 90048

Martos Gallery
3315 W. Washington Blvd.
Los Angeles, CA 90018

Ms. Barbers
5370 W. Adams Blvd.
Los Angeles, CA 90016

Ochi Projects
3301 W. Washington Blvd.
Los Angeles, CA 90018

The Landing
5118 W. Jefferson Blvd.
Los Angeles, CA 90016

Park View
836 S. Park View St. Unit 8
Los Angeles, CA 90057

Skibum MacArthur
712 S. Grand View St., #204
Los Angeles, CA 90057

SPRÜTH MAGERS
5900 Wilshire Blvd.
Los Angeles, CA 90036

The Underground Museum
3508 W. Washington Blvd.
Los Angeles, CA 90018

VACANCY
2524 1/2 James M. Wood Blvd.
Los Angeles, CA 90006

Visitor Welcome Center
3006 W. 7th St., Suite #200A
Los Angeles, CA 90005
Culver City
Anat Ebgi
2660 S. La Cienega Blvd.
Los Angeles, CA 90034

Arcana Books
8675 W. Washington Blvd.
Culver City, CA 90232

Blum and Poe
2727 S. La Cienega
Los Angeles, CA 90034

Cherry and Martin
2712 S. La Cienega Blvd.
Los Angeles, CA 90034

Honor Fraser
2622 S. La Cienega Blvd.
Los Angeles, CA 90034

Klowden Mann
6023 Washington Blvd.
Culver City, CA 90232

Luis De Jesus
2685 S. La Cienega Blvd.
Los Angeles, CA 90034

MiM Gallery
2636 La Cienega Blvd.
Los Angeles, CA 90034

Roberts and Tilton
5801 Washington Blvd.
Culver City, CA 90232

Samuel Freeman
2639 S. La Cienega Blvd.
Los Angeles, CA 90034

Susanne Vielmetter
6006 Washington Blvd.
Culver City, CA 90232
Silverlake/ Echo Park
Smart Objects
1828 W. Sunset Blvd.
Los Angeles, CA 90026

Otherwild
1768 N. Vermont Ave.
Los Angeles, CA 90021
Hollywood
Diane Rosenstein
831 Highland Ave.
Los Angeles, CA 90038

Family Books
436 N. Fairfax Ave.
Los Angeles, CA 90036

GAVLAK
1034 N. Highland Ave.
Los Angeles, CA 90038

Hannah Hoffman
1010 Highland Ave.
Los Angeles, CA 90038

LAXART
7000 Santa Monica Blvd.
West Hollywood, CA 90038

M+B
612 N. Almont Dr.
Los Angeles, CA 90069

Mier
1107 Greenacre Ave.
Los Angeles, CA 90046

Moskowitz Bayse
743 N. La Brea Ave.
Los Angeles, CA 90038

Regen Projects
6750 Santa Monica Blvd.
LLos Angeles, CA 90038

Shulamit Nazarian
616 N. La Brea
Los Angeles, CA 90036

Various Small Fires
812 Highland Ave.
Los Angeles, CA 90038
Westside
18th Street Arts
1639 18th St.
Santa Monica, CA 90404

Ben Maltz Gallery at Otis
    College of Art and Design
9045 Lincoln Blvd.
Los Angeles, CA 90045

Christopher Grimes Gallery
916 Colorado Ave.
Santa Monica, CA 90401

DXIX Projects
519 Santa Clara Ave.
Los Angeles, CA 90291

Five Car Garage
(Emma Gray HQ)

Team (Bungalow)
306 Windward Ave.
Venice, CA 90291
Eastside
67 Steps
2163 Princeton Ave.
Los Angeles, CA 90026

ACME.
2939 Denby Ave.
Los Angeles, CA 90039

ESXLA
602 Moulton Ave.
Los Angeles, CA 90031

SADE
204 S. Avenue 19
Los Angeles, CA 90031
Boyle Heights
BBQLA
2315 Jesse St.
Los Angeles, CA 90023

Chimento Contemporary
622 S. Anderson St., #105
Los Angeles, CA 90023

Ibid.
670 S. Anderson St.
Los Angeles, CA 90023

Ooga Twooga
356 Mission Rd.
Los Angeles, CA 90033

Parrasch Heijnen Gallery
1326 S. Boyle Ave.
Los Angeles, CA 90023

Museum as Retail Space (MaRS)
649 S. Anderson St.
Los Angeles, CA 90023

Nicodim Gallery
571 S. Anderson St.
Los Angeles, CA 90033

Venus Over Los Angeles
601 S. Anderson St.
Los Angeles, CA 90023
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
145 N. Raymond Ave.
Pasadena, CA 91103

Los Angeles Valley College
5800 Fulton Ave.
Valley Glen, CA 91401

Natural
15168 Raymer St.
Van Nuys, CA 91405

The Pit
918 Ruberta Ave.
Glendale, CA 91201

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.