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)

Walk Artisanal

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

It’s no secret that the eastside of Los Angeles is gentrifying fast, and that most of us in the contemporary art community wring our hands in weak perplexity over the part that we play in the process. Nevertheless, many residents of Glassell Park were happy to see a new coffee shop open on Eagle Rock Boulevard in early 2015. Yelp reviewers have approved of the “clean and creative atmosphere.” (“Super chill place and the quality of people is very high as well,” wrote Anthony E.) Notwithstanding the “rude” servers, the clientele seems broadly to approve of the new establishment.

A few years ago, next door to where the coffee shop now stands, artists Peter Harkawik and Mateo Tannatt rented, renovated, and sublet a large building as studios for artists. Now those artists are being forced out by a consortium of property speculators who are raising the rents. As a swansong to the space, Harkawik and the New York-based artist Miles Huston curated the ambitious group show Walk Artisanal, pointing at—more or less non-judgmentally—art’s contribution to the current state of affairs, in which a coffee shop called Habitat is judged on the quality of its “people” as much as on the quality of its coffee.

Walk Artisanal was not, as one might have expected, an angry protest show, nor was it what you could call a pointed critique. It included forty-six artists whose concerns and aesthetics are inevitably heterogeneous. The exhibition did not have a press release until a couple of days before the show ended, at which point the organizers emailed out a dense and circuitous text that took as its starting point meditations on the “experience economy”—a term coined in 1998 by two business management authors, B. Joseph Pine II and James H. Gilmore—and concluded by enumerating the related categories of artwork within the exhibition.

For those not already familiar with the term, the experience economy is the stage of late Capitalism that supersedes the service economy; instead of just delivering a service, a company will charge higher prices for a memorable experience (Pine and Gilmore use the example of the taxi driver Iggy, from the TV show Taxi, who sings to his passengers in order to get better tips)[1]. In their text, Harkawik and Huston don’t mention Habitat by name, but it must not have been far from their minds. Their assertion, roughly put, is that through the dematerialization of the art object—and subsequently through the 1990s discourse around Relational Aesthetics—art presaged the experience economy. “Can the re-materialization of the art object,” they ask, “constitute an ideological rejection of the fluff and fakery of contemporary Capitalism?” As previously noted, Walk Artisanal was not a polemical exhibition. Instead of directly confronting art’s entanglement in the toxic effects of gentrification, the curators soft-pedaled the subject by proposing instead a situation akin to a home-shopping network product demonstration in which non-utilitarian artworks argue for their own indispensability.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

That said, Walk Artisanal did not try to ingratiate itself to the viewer, as might an entertaining retail experience. Nor did it bend over backwards to explain the inclusion (or exclusion) of any particular works. A handwritten sign welcoming visitors was taped up outside the door; in the entrance corridor, banners pinned to the rafters announced “Art Show in L.A.” and “A Whole New Ballgame.” As with all the banners that Otis Houston makes, they were done in spray paint on white towels. Houston is normally to be found by the side of the road at the entrance to the FDR Tunnel in New York, performing to the traffic. Huston, apparently, is a fan. Spaced around the gallery, three welded amalgamations of rusted steel by Brett Goldstone were each titled Untitled Jig (1985–2015), hinting at a vague mechanical function that—in the context of the exhibition, at least—remained inaccessible. Harkawik and Huston were evidently considering the ways in which art might advertise other kinds of worth than economic value, and with more than a trace of irony.

Several works in the show seemed to make self-conscious fun of the somewhat absurd existence that is the professional artist’s métier. Amanda Ross-Ho’s laugh-out-loud BLACK GLOVE LEFT #2 (2015) is a giant rubber glove—the kind artists use when painting or when mixing toxic chemicals—with giant simulated paint spatters on the fingertips. A piece of humdrum and utilitarian studio equipment becomes a preposterously self-aggrandizing event. An untitled drawing from 2013, by Josh Mannis, shows a bearded and beret-clad painter about to put brush to canvas, while a gigantic and crudely rendered naked female looms nightmarishly on all fours above him. Shifts in scale are nearly always funny. A tiny purple yoga mat, unsmilingly titled Purple Yoga Mat (2015), by Gracie Devito, was comically positioned on a too-big and too-low white plinth.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Many artworks suggested functionality, such as Matt Paweski’s sleek beech and aluminum sculptures, or Nevine Mahmoud’s Old Slide (2015), and a few even delivered it, albeit to ambivalent ends. A hanging ceramic form by Anna Sew Hoy, titled Rear Entry (Studio) (2013), does double duty as a repository for lost keys. Another piece by the artist, Tissue Dispensing (Red/Single) (2012), consisted of an iceberg-like sculpture on red legs that proffered a tissue from a small hole, perhaps anticipating viewers being moved to tears by the nearby Untitled (Rotating Painting) (2015) by Elvire Bonduelle which, apparently, was turned 90 degrees by a gallery assistant at the start of each day.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

In 2013, Harkawik (with Laura Owens) curated an excellent exhibition called Made in Space, which was an off-kilter survey of art produced in Los Angeles—a riposte, perhaps, to the Hammer’s Made in L.A. While by no means all the artists in Walk Artisanal are hometown players, the bias towards the city inevitably produces many works, like DeVito’s, that feel parodic of L.A.’s quirks and clichés. A wonderfully weird sculpture in painted AquaResin, by Hannah Greely, depicts a life-sized man sitting cross-legged in a headband and shorts, his hands together as if in supplication. His eyes are marbles; if you poke them with your fingers (I had to be shown how by the gallery assistant) the marbles roll through channels and pop out of his wrists into his cupped hands. The work is called Beholder (2015–16); I came to wonder if it was the tubby pink truth-seeker or I, the eye-poker, who was being made fun of in the work.

Hannah Greely, Beholder (2015/2016). AquaResin, cardboard, tempera, marbles, wooden base, 65 x 33 x 31 inches. Image courtesy of the artist. Photo: Ruben Diaz.

Hannah Greely, Beholder (2015/2016). AquaResin, cardboard, tempera, marbles, wooden base, 65 x 33 x 31 inches. Image courtesy of the artist. Photo: Ruben Diaz.

Is that what was intended by Harkawik and Huston’s response to the experience economy? Artworks that seem to ask for interactive engagement, offering usefulness, but which then laughingly reject any such external validation? For every work that reflected such ideas, there were several that didn’t. Many were excellent, but by no means all argued for their own relevance or inclusion in the show. Fittingly, for an exhibition curated by artists, Walk Artisanal never reduced itself to a single, graspable point, or even (discernably, at least) into a series of different points. Instead it amounted to a demonstration of the awkwardness and incommensurability of good art; of practices that cannot be coopted by property developers to generate interest or value, nor coopted by curators to illustrate ideas read in a book on economics. Amen to that.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

Walk Artisanal (installation view (2016). Image courtesy of the artists. Photo: Ruben Diaz.

[1] B. Joseph Pine II and James H. Gilmore, ‘Welcome to the Experience Economy’ in Harvard Business Review, July-August 1998, p 98

2016-07-12 (3)Originally published in Carla Issue 4.