Letter From the Editor Lindsay Preston Zappas
Letter to the Editor Julie Weitz with Angella d'Avignon
Don't Make
Everything Boring
Catherine Wagley
The Collaborative Art
World of Norm Laich
Matt Stromberg
Oddly Satisfying Art Travis Diehl
Made in L.A. 2018 Reviews Claire de Dobay Rifelj
Jennifer Remenchik
Aaron Horst
Exquisite L.A.
Featuring: Anna Sew Hoy, Guadalupe Rosales, and Shizu Saldamando
Claressinka Anderson
Photos: Joe Pugliese
Launch Party August 18, 2018
At Praz-Delavallade
Reviews It's Snowing in LA
at AA|LA
–Matthew Lax

Fiona Conner
at the MAK Center
–Thomas Duncan

Show 2
at The Gallery @ Michael's
–Simone Krug

Deborah Roberts
at Luis De Jesus Los Angeles
–Ikechukwu Casmir Onyewuenyi

Mimi Lauter
at Blum & Poe
–Jessica Simmons

(L.A. in N.Y.)
Math Bass
at Mary Boone
–Ashton Cooper

(L.A. in N.Y.)
Condo New York
–Laura Brown
Poetic Energies and
Radical Celebrations:
Senga Nengudi and Maren Hassinger
Simone Krug
Interior States of the Art Travis Diehl
Perennial Bloom:
Florals in Feminism
and Across L.A.
Angella d'Avignon
The Mess We're In Catherine Wagley
Interview with
Christina Quarles
Ashton Cooper
Object Project
Featuring Suné Woods, Michelle Dizon,
and Yong Soon Min
Lindsay Preston Zappas
Photos: Jeff McLane
Launch Party May 19, 2018
at Karma International
Reviews Meleko Mokgosi
at The Fowler Museum at UCLA
-Jessica Simmons

Chris Kraus
at Chateau Shatto
- Aaron Horst

Ben Sanders
at Ochi Projects
- Matt Stromberg

iris yirei hsu
at the Women's Center
for Creative Work
- Hana Cohn

Harald Szeemann
at the Getty Research Institute
- Olivian Cha

Ali Prosch
at Bed and Breakfast
- Jennifer Remenchik

Reena Spaulings
at Matthew Marks
- Thomas Duncan
Letter from the Editor Lindsay Preston Zappas
Museum as Selfie Station Matt Stromberg
Accessible as Humanly as Possible Catherine Wagley
On Laura Owens on Laura Owens Travis Diehl
Interview with Puppies Puppies Jonathan Griffin
Object Project Lindsay Preston Zappas, Jeff McLane
Launch Party
Reviews Dulce Dientes
at Rainbow in Spanish
- Aaron Horst

Adrián Villas Rojas
at The Geffen Contemporary at MOCA
- Lindsay Preston Zappas

Nevine Mahmoud
at M+B
- Angella D'Avignon

Radical Women: Latin American Art, 1960- 1985
at the Hammer Museum
- Thomas Duncan

Hannah Greely and William T. Wiley
at Parker Gallery
- Keith J. Varadi

David Hockney
at The Metropolitan Museum of Art (L.A. in N.Y.)
- Ashton Cooper

Edgar Arceneaux
at Yerba Buena Center for the Arts (L.A. in S.F.)
- Hana Cohn
Letter from the Editor Lindsay Preston Zappas
Barely Living with Art:
The Labor of Domestic
Spaces in Los Angeles
Eli Diner
She Wanted Adventure:
Dwan, Butler, Mizuno, Copley
Catherine Wagley
The Languages of
All-Women Exhibitions
Lindsay Preston Zappas
L.A. Povera Travis Diehl
On Eclipses:
When Language
and Photography Fail
Jessica Simmons
Interview with
Hamza Walker
Julie Wietz
Reviews Cheyenne Julien
at Smart Objects

Paul Mpagi Sepuya
at team bungalow

Ravi Jackson
at Richard Telles

Tactility of Line
at Elevator Mondays

Trigger: Gender as a Tool as a Weapon
at the New Museum
(L.A. in N.Y.)
Launch Party November 18, 2017
at the Landing
Object Project
Featuring: Rosha Yaghmai,
Dianna Molzan, and Patrick Jackson
Lindsay Preston Zappas
Photos by Jeff McLane
Pacific Standard Time: LA/LA
Reviews
Regen Projects
Ibid Gallery
One National Gay & Lesbian Archives and MOCA PDC
The Mistake Room
Luis De Jesus Gallery
the University Art Gallery at CSULB
the Autry Museum
Letter from the Editor Lindsay Preston Zappas
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

Broken Language
at Shulamit Nazarian

Artists of Color
at the Underground Museum

Anthony Lepore & Michael Henry Hayden
at Del Vaz Projects

Home
at LACMA

Analia Saban at
Sprueth Magers
Letter from the Editor Lindsay Preston Zappas
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 May 13, 2017
at Commonwealth and Council
Reviews Alessandro Pessoli
at Marc Foxx

Jennie Jieun Lee
at The Pit

Trisha Baga
at 356 Mission

Jimmie Durham
at The Hammer

Parallel City
at Ms. Barbers

Jason Rhodes
at Hauser & Wirth
Letter from the Editor Lindsay Preston Zappas
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 February 18, 2017
at Shulamit Nazarian
Exquisite L.A.
Featuring:
Brenna Youngblood
Todd Gray
Rafa Esparza
Intro by Claressinka Anderson
Portraits by Joe Pugliese
Reviews Creature
at The Broad

Sam Pulitzer & Peter Wachtler
at House of Gaga // Reena Spaulings Fine Art

Karl Haendel
at Susanne Vielmetter

Wolfgang Tillmans
at Regen Projects

Ma
at Chateau Shatto

The Rat Bastard Protective Association
at the Landing
Letter from the Editor Lindsay Preston Zappas
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
at The Hammer Museum

Doug Aitken
at The Geffen Contemporary at MOCA

Mertzbau
at Tif Sigfrids

Jean-Pascal Flavian and Mika Tajima
at Kayne Griffin Corcoran

Mark A. Rodruigez
at Park View

The Weeping Line
Organized by Alter Space
at Four Six One Nine
(S.F. in L.A.)
Letter form the Editor Lindsay Preston Zappas
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 Revolution in the Making
at Hauser Wirth & Schimmel

Carl Cheng
at Cherry and Martin

Joan Snyder
at Parrasch Heijnen Gallery

Elanor Antin
at Diane Rosenstein

Performing the Grid
at Ben Maltz Gallery
at Otis College of Art & Design

Laura Owens
at The Wattis Institute
(L.A. in S.F.)
Letter from the Editor Lindsay Preston Zappas
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 L.A. Art Fairs

Material Art Fair, Mexico City

Rain Room
at LACMA

Evan Holloway
at David Kordansky Gallery

Histories of a Vanishing Present: A Prologue
at The Mistake Room

Carter Mull
at fused space
(L.A. in S.F.)

Awol Erizku
at FLAG Art Foundation
(L.A. in N.Y.)
Letter from the Editor Lindsay Preston Zappas
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 Honeydew
at Michael Thibault

Fred Tomaselli
at California State University, Fullerton

Trisha Donnelly
at Matthew Marks Gallery

Bradford Kessler
at ASHES/ASHES
Letter from the Editor Lindsay Preston Zappas
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 Mary Ried Kelley
at The Hammer Museum

Tongues Untied
at MOCA Pacific Design Center

No Joke
at Tanya Leighton
(L.A. in Berlin)
Snap Reviews Martin Basher at Anat Ebgi
Body Parts I-V at ASHES ASHES
Eve Fowler at Mier Gallery
Matt Siegle at Park View
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
Letter from the Editor Lindsay Preston Zappas
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
Launch Party Carla Issue 1
Slow View:
Discussion on One Work
Anna Breininger
with Julian Rogers
Reviews Pierre Huyghe
at LACMA

Mernet Larsen
at Various Small Fires

John Currin
at Gagosian, Beverly Hills

Pat O'Niell
at Cherry and Martin

A New Rhythm
at Park View

Unwatchable Scenes and
Other Unreliable Images...
at Public Fiction

Charles Gaines
at The Hammer Museum

Henry Taylor
at Blum & Poe/ Untitled
(L.A. in N.Y.)
Distribution
Downtown
ARTBOOK @ Hauser & Wirth
Baert Gallery
Cirrus Gallery
Central Park
Château Shatto
Elevator Mondays
The Geffen Contemporary 
at MOCA
Ghebaly Gallery
ICA LA
JOAN
LACA
Mistake Room
MOCA Grand Avenue
Monte Vista Projects
Night Gallery
The Box
Wilding Cran Gallery
Boyle Heights/ Chinatown
A.G. Geiger
Charlie James
Good Luck Gallery
Human Resources
Ibid Gallery
Parrasch Heijnen Gallery
Museum as Retail Space (MaRS)
Nicodim Gallery

Eastside
AWHRHWAR
67 Steps
ESXLA
Odd Ark LA
Oof Books
Otherwild
SADE
Smart Objects
Women's Center for Creative Work
Westside
18th Street Arts
Ben Maltz Gallery at Otis 
College of Art and Design
DXIX Projects
Five Car Garage
Labland Art Gallery at LMU
Team (Bungalow)
Pasadena/ Glendale/ Valley
The Armory Center for the Arts
The Pit
Los Angeles Valley College
Mid-City
1301 PE
Big Pictures Los Angeles
California African American Museum
Chimento Contemporary
Commonwealth & Council
David Kordansky Gallery
Hunter Shaw Fine Art
Karma International
Kayne Griffin Corcoran
LACMA
ltd Los Angeles
Shoot the Lobster
Ochi Projects
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
Honor Fraser
Klowden Mann
Luis De Jesus
Philip Martin Gallery
Roberts Projects
Susanne Vielmetter
Hollywood
AA|LA
Diane Rosenstein
Family Books
GAVLAK
LACE
LA> M+B
Nino Mier Gallery
Moskowitz Bayse
Noysky Projects
Regen Projects
Shulamit Nazarian
Various Small Fires
Mobile
Gas Gallery
@gasdotgallery

Hand and Rose
@handandrose
Elsewhere in CA
CLOACA (San Fransisco)
Curatorial Research Bureau @ the YBCA (San Fransisco)
Et al. (San Francisco)
Ever Gold Projects (San Francisco)
fused space (San Francisco)
Gym Standard (San Diego)
Interface Gallery (Oakland)
Jessica Silverman (San Francisco)
Left Field (San Luis Obispo)
Minnesota Street Projects (San Fransisco)
San Diego Art Institute (San Diego)
Verge Center for the Arts (Sacramento)
Wattis Institute for Contemporary Art (San Francisco)
Wolfman Books (Oakland)
Non CA
Artbook @ MoMA PS1 (Long Island City, NY)
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)
Emerging Leaders of Arts at MCASB (Santa Barbara)
Fisher Fine Arts Library, University of Pennsylvania (Philadelphia, PA)
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)

Interview with
Kulapat Yantrasast

The ICA LA’s main gallery, with benches designed by wHY’s OBJECTS studio. Photo: Florian Holzherr.

If you’re interested in art in Los Angeles, you’ve likely spent time in one of Kulapat Yantrasast’s designs. The architect is the creative force behind the buildings that house the new Institute of Contemporary Art Los Angeles and the Marciano Art Foundation, among many others. From reuse projects to those designed from the ground up, his structures effect a pleasant experience without calling attention to themselves—industrial details are left intact, but painted to match their surroundings; gallery facades are made minimal in order to point visitors to what is within. Kulapat knows when to make a statement, when to let others speak, and how to combine these two modes into a harmonious built environment. At present, he’s designing a structure to encapsulate the inaugural Frieze Los Angeles, which will debut in February 2019, while also working on the forthcoming Asian Art Museum of San Francisco. On a late-summer afternoon in Culver City, we met up at his office to discuss what art requires of its environment, design as a privilege or luxury, and what to expect from Frieze.

Christie Hayden: Can you talk to me about your structure for Frieze Los Angeles?

Kulapat Yantrasast: Frieze is really important for me, because I really want Los Angeles to have a focused energy. I’ve felt that L.A. has everything except for a sense of focus. So the tent—which isn’t just a tent, but a back lot—at Paramount Studios is supposed to really bring people together. As an art fair, of course, it’s about presenting art to buyers and the community, but beyond that I think it should be the place, for four or five days, that holds the best artistic energy that the city has to offer. Not just in terms of sales: Hamza Walker is working on performance; Ali Subotnick is working on [site-specific] commissions; there’s retail; there’s publications. So my job is to make sure that everyone has what they need, and to allow them to be comfortable and do their best job.

CH: What does it mean to you to be an architect engaged with the presentation of artwork?

KY: I always think, for me as an architect making space or an environment for art, what I really am is a matchmaker. I really mean that, especially if I work with my friends, people I know as artists. I’ve felt it was my job to really allow them to connect with people. I should not be seen as trying to be an artist; I should be creating a comfortable, uplifting environment. Of course, it should make the art look good and the artist should feel that it represents their thinking. More importantly, the visitors need to feel welcome and curious enough to dig deeper.

Ibid Gallery is formed from a bow-string trussed warehouse space, with new walls offset from the existing structure to frame the existing architecture and artworks. Photo: Jeff McLane.

CH: Do you feel that there’s ever an instance where you do really want the architecture to assert itself? For instance, the architecture at the Marciano has a very strong presence.

KY: In a way, yes, but it’s not my architecture; in the case [of the Marciano Art Foundation, in a former Masonic Temple], I was almost like a surgeon. It already existed: not only the symbolism, but also the kind of rigor that comes from that kind of architecture. Of course we paired things down a bit. We took some of the walls down and cleaned it up, but, in that case, I feel like my work is even more invisible. I’m dealing with something that already exists, and I’m trying to make it generous. It’s a beautiful building, but it’s not generous in the sense that it doesn’t allow anything else that doesn’t belong in its system. As a quasi-religious architecture, the meaning system is built into everything so there’s almost no room for non-Masonic thinking. When people come to me and say “good job,” I feel like I didn’t do anything. I was just creating enough space for other things to happen.

CH: Can you talk about the effect that design can have on the viability of a business? For example, thinking about those that cannot afford to hire a designer, do you think good design is a luxury? Can you talk about democracy or elitism in the industry?

KY: I think design should be integrated into life more. In the ’50s in this country, design was not a luxury. If you look at all the case study houses, midcentury furniture, or the Eames, those are not at all luxury. Those are from a time when design was supposed to allow people to move into a new generation in a better way. It was a time when people identified with their design and decided they could no longer use the older things because they didn’t represent them. In that sense, it’s democratic. Now, people don’t have that—blame it on the designers, the media, and the architects. The people are lost [by] what we’re trying to do because we’re so obsessed with our trajectory. That’s the problem [with] our generation. We need a new paradigm, because architecture can only exist if society is with it. It used to be that everyone needed to be modern, because that was part of what society wanted. Now we’ve been so pulled apart that the terrain is very bumpy, and it’s hard for architects and designers to relate to their foundation—it doesn’t exist anymore.

CH: So do you think architects can bridge more of a connection with the populace? Is it possible to create design that is more accessible? How can functionality play a role in accessibility?

KY: Robert Venturi, who died on Tuesday at 93, wrote two books that really touched me. The first, which is my bible, is Complexity and Contradiction in Architecture. This is where he states that he wants diversity of meaning rather than clarity of meaning. I think we suffer from the modern way of looking at architecture. Right now, even though we think we’re contemporary, we’re actually modern. We still think about those words: “narrative,” “rigor,” “structure,” and “clarity of thoughts.” All of these things are still held so dear to our profession, but by doing that we actually eliminate so many complex conditions that we cannot control. I’ve felt, in my work, that a lot of what I try to do is let entropy enter the system. Yes, you can do a museum building or any building without any input from the public, but it’s actually more fun to have a sort of curated brainstorming; we invite artists, sociologists, school teachers, writers, etc. to talk about what the city needs. For example, can we design a museum that also addresses homelessness? We try to talk about how architecture should not just be of one function. If that were the case, it would only contribute to create its own genre. I always try to convince a client to do more than one thing—if you design a museum, why shouldn’t it be a design center, retail, or a soup kitchen? At the end of the day, we want people to come. Once you have a chance to build something, it should be many things.

CH: As the mediums for art evolve and change, what challenges do you foresee there being in presentation?

KY: Art has changed, and to a degree architecture can accommodate some level of flexibility, but not all of it. Using the Marciano as an example, that empty space where Jim Shaw did his amazing exhibition is crazy, but more conventional. There are walls that can easily move to accommodate new shows, as we saw with Olafur [Eliasson’s subsequent exhibition in the same space]. So the fact that we didn’t plan to have a precious space—the floor can be drilled into, the wall can be drilled into, light can be added—indicates a sort of “just do it” mentality. Had I, for this project, tried to make the space precious—with a wood floor and white walls—everyone would regret it. It wouldn’t be money well spent. I would feel like the kind of shows you could do would be limited.

CH: What differences do you consider when creating a gallery versus a museum?

KY: When we do museum projects, like the Speed Art Museum in Louisville, Kentucky, these projects need to be icons. When we work with gallery spaces or museums, I have very different goals. With galleries, I mostly want to create a meaningful space. Many of these don’t have much of an exterior anyway, so it’s about the quality of the space. When we work on museum projects, it’s always about creating an icon or something of a landmark that people can see. Most people do feel very intimidated just by the word “museum,” so this icon has to be exciting and also welcoming.

CH: What institutions built for the presentation of art most inspire you?

KY: I think a lot about the Schaulager in Basel because of the informality about it. Of course, it’s very elitist because not everyone goes there; it’s really only art lovers and art tourists, but I keep going back and looking at it. I’m not as inspired by the architecture as I am by the programming and use of space. I’m also inspired by places like Naoshima by Ando in Japan; I look at the different pavilions, landscapes, and ways things are connected together. I’m very interested in how landscape and art are seen together. I’m also inspired by the Museum Insel Hombroich in Neuss outside of Düsseldorf, which was the brainchild of a man named Mr. Müller. He bought this old place and worked with a sculptor named Erwin Heerich to design the buildings. You buy your ticket and everything is open; there’s no guards; there’s no agenda. Eventually, you come upon a canteen where there’s bread, wine, and cheese. You can eat whatever you want; there’s no money to pay.

David Kordansky Gallery Entrance with wHY-designed reception desk. Photo: Jeremy Bitterman.

Kulupat’s home in Venice, CA, completed in 2014. The house is constructed from board-formed concrete, with specially-designed niches along the back wall to hold artworks. At the bottom right is a hex stool by the Haas Brothers. Photo: Richard Powers.

 

Originally published in Carla issue 14