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.
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.$
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.$
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.$
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.$