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.
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$
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.$
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$
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.$