Showing 1–16 of 17 results
Andrew McNeely and Newton Harrison – She Was an Everyday Empath
A conversation between Newton Harrison and Andrew McNeely, printed at LACA.
This publication and associated exhibition, A NonHuman Horizon, was made possible by generous support from the Pasadena Art Alliance. This text’s layout was designed by The Los Angeles Contemporary Archive (LACA). Emilie Pons is credited with copyediting its contents.
Autonomous Oral History Group Vinyl: Oral History of Young Chung and Patricia Fernández
Oral history of Patricia Fernández Carcedo and Young Chung by Autonomous Oral History Group founder Hailey Loman. AOHG is a cooperative examining ethics operating in leadership roles.
All interviews, recordings, transcriptions and ephemera collected during the process are assembled and made accessible as an oral history collection.
Produced on the occasion of Box (a proposition for 10 years) at Commonwealth and Council.$
Guadalupe Rosales – Endless Nights / Morning Anxiety
Is a collection of 90’s rave flyers from Los Angeles Latino/a party crew scene and youth culture. By preserving these artifacts and memorabilia, Rosales deconstructs and reframes marginalized histories, offering platforms of conversation and agency of self-representation.$
Impetu No.1 – Tianguis Místico
Impetu No.1 brings together work by a group of Los Angeles-born and raised Latinx-Xicanx artists, illustrators, and researchers, invited by LACA to experiment with collectivity and fugitivity to contribute to new forms of cultural imagery. The group consists of Geani Sanabria, Yair Sarmiento, Rosalinda Meza, Aaron Edmundo, Ezequiel Olvera, Pablo Fernando, Efren Landeros, and Eduardo Robles.
The quarterly magazine will explore themes and concepts initiated through informal discussion, affective exchange, workshops, and risographic printing sessions. For issue No.1 Tianguis Místico, the collective’s subjective pluralities constellate notions of self-nurture, futurity, cosmology, transcendence, and eroticism through compulsive détournement, drug-induced scribbling, meditative jotting, lucid drawing, and satire cartooning.$
Kim Zumpfe – Astral Projections
Astral Projections contends with the potentials, failures and qualities of grief that are produced through the trauma of the everyday. The project considers ways through ways that mundane states of grief becomes coded, felt out, discovered, and moved through. The publication contains a series of cell phone photographs and emails used to communicate passing moments and writing by the artist. Astral projections is printed by risograph and xerography, produced in conjunction with an art exhibition.$
LACA Course Reader I
The LACA Course Reader is a collections of essays that mirror the mission of LACA. The reader’s do not accompany a course. LACA Course Reader I focuses on the institution as a producer of a shared cultural memory.
The Political Rationality of the Museum
Archives of Modern Art
Techniques of Forgetting? Hypo-Amnesic History and the An-Archive
Museums Managers of Consciousness$
LACA Course Reader II
The second iteration of the LACA course reader with a focus on the spirit of the collector.
How Do You Archive the Sky?
Does Contemporary Art Need Museums Anymore
On the Mood of the Collector in the Digital Age
A Language to Come Japanese photography after the event$
LACA Course Reader III
The third and newest iteration of the LACA course reader focuses on marginalized groups left out of the the archive and implementing ethical strategies for archivists.
Ephemera as Evidence
Introductory Notes to Queer Acts
From Human Rights to Feminist Ethics – Radical Empathy in Archives
Reflexive Sociology Paris Workshop
An effort to make LACA internal documents public. LACA Books include:
Blueprint drawings of LACA
Internal Roles Chart
Deed of Gift
Community Reading Group Bookmark
LACA Jingle Score
Emergency Contact List
Oral History Mission
Oral History Consent Form
Oral History Interviewer/Interviewee trust chart
Hoard Inagural Essay
Personal Archives 01$
Lúcia Prancha – Bread Story
Bread Story: Some research for an oncoming film, 2019
Based on the script “The Bread-King Learns to Bake Bread” by Bertolt Brecht (1898–1956) and Prancha’s experiences with LA baker Roxana Jullapat. The concurrent narratives of Brecht and Jullapat create the structure for the book and the film.
The book consolidates research into ideas of American labor and production from 1941 to today and functions as an unconventional script for the film in progress. The series of printed materials uses LACA’s Risograph printing technique to mass produce an iteration of the original book in order to disseminate information and participate in a level of production associated with propaganda and consumerism.
Edition of 25+5 A.P.$
Molly Surazhsky – Mashacare
Mashacare: Home of the Freaks, Misfits, & Weirdos
This Lookbook draws upon the Mashacare SS19 Collection and uses sci-fi narratives to construct an imaginary floating city named after Surazhsky’s Babushka, Masha. Mashacare exists in a post-glacial future that Molly Surazhsky has created and fashioned clothing for, as a way to envision the inhabitants of a matriarchal and post-capitalist reality.
Text contributions by Scott Benzel, Hailey Loman, and Serena Aurora Day Himmelfarb.
Design by Síta Valrún.$
Monica Rodriguez – Las Antillas para los Antillanos
Las Antillas para los Antillanos considers Puerto Rican nationalist Ramon Emeterio Betances’ call – Antilles for the Antilleans – for the foundation of the Antillean Federation to proclaim the independence of the Caribbean countries. The project is a collective of material contributions by Caribbean artists and other cultural producers. A selection of material contributions from the projects first iteration is now housed at Los Angeles Contemporary Archives (LACA).$
Nick Flessa – Case number: 87-447
Case number: 87-447
A document in five sections: Conclusions,
Petition, Discrimination, Forensics and Inheritance. Aggravated accounts. Papers making sense of a violent crime that his morther was assigned as the assistant prosecutor. Flessa pieces together his family history and its involvement in this system.$
Prima Sakuntabhai – L.E.H.M.
Published in conjunction with a performative lecture, L.E.H.M. (Le Corbusier Entering Hadrian’s Mausoleum, 1965).
A narrator with an ambiguous accent and gender identity weaves together disparate facts in a performative lecture. The narrator uses three overhead projectors and collages of various architectural elements on transparency to illustrate the story. Central subjects of the presentation are two cylindrical structures built two thousand years and six hundred miles apart; Emperor Hadrian’s Mausoleum in Rome (135 AD) and Le Corbusier’s Obus Plans for Algiers (1933-1942). Jorge Luis Borges states in “The Circular Ruins” that the circle is a site for a man to procreate another man. Through the cipher of architecture the narrator draws a through-line between classical and modernist thought as material evidence of westward expansion and colonial conquest. The narrative is framed by the death and internment of the father of modernism as well as the plans for his final project, which was designed for Algeria, the final resting point of Hadrian’s conquest of the East.
Mirrors, which typically produce a crisp static image for the overhead projectors are used to duplicate and distort the projections. The narrator introduces hand-held external mirrors to embody a reversal of the reflected images. Projected light moves across walls, ceiling, and floor and occasionally breaks out of the bounds of the architecture to the street level. The narrator holds the act of reflection in their hands, both in the physical use of mirrors and in the allegorical conveyance of ideas. This challenges the legacy of the West seeing itself through “the other” and questions who can claim ownership and inheritance of classical and modernist thought.
Prima Jalichandra-Sakuntabhai lives and works in Los Angeles.
Edition of 100.$
Scott Benzel – ISBN 978-0-9913772-0-6
ISBN 978-0-9913772-0-6, Blank Verse
2009-2015, is a collection of poems composed by rearranging and collaging reviews and publicity materials into mostly metrical, unrhymed lines of blank verse, removing any form of attribution,
systematically ‘blanking’ the subject as well as the originator of each poem. The poems are credited as being a
number of well-known critics and art writers, presumably the writers of the originary texts.$
Susanna Battin – How to View a Landfill
How to View a Landfill captures a landfill’s scenic beauty through divergent lenses: institutionalized scenic beauty standards and drawings by young children. The edition stands as the latest project in a series of work, in which Battin traces the visual language of landscape appreciation through history and spatial reimaginings.$