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
    & 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
Koreatown / Pico-Union
Commonwealth & Council
3006 W. 7th St., #220
Los Angeles CA 90005

Dalton Warehouse
447 E. 32nd St.
Los Angeles, CA 90011

Elevator Mondays
1026 Venice Blvd., Suite E
Los Angeles, CA 90015

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

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

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

Visitor Welcome Center
3006 W. 7th St., #200 A
Los Angeles, CA 90005
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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

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

Praz Delavallade
6150 Wilshire Blvd.
Los Angeles, CA 90048

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

SPRÜTH MAGERS
5900 Wilshire Blvd.
Los Angeles, CA 90036

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

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.