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
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 and removing any form of
attribution, systematically ‘blanking’ the subject as well as the originator of
each poem. The poems are credited as being ‘after’ a number of well-known
critics and art writers, presumably the writers of the originary texts.
The Mountain School of Arts: The First Ten Years
is a collection of 217 application essays submitted to the school between
2005 and 2015. The essays were colleced from the MSA’s incomplete
archive, and are unedited but anonymized. They include both students
who were “accepted” to the program, and those who were not.
Newsletter: Volume I
United Projects is a compilation of the first twelve issues of the online
publication Newsletter. Newsletter is a submission based collection of
idea fragments that span the art making process – notes, documents,
project proposals, research materials, etc. Submissions are collected
monthly from artists around the world.
Bullshit Jokes for your Dumbass Kids
is a collection of of “diagnostic questions” recommended by the
Department of Defense Polygraph Institute (DoDPI), in
coordination with the American Psychological Association (APA),
to be conducted during standard interrogative procedures by
“trained counterintelligence field operatives” for the purposes of
Credibility Assessment and Deception Detection. The questions
included in this booklet had been “flagged” and ultimately removed
from subsequent lists due to their likelihood of inducing “high levels
of anxiety and confusion, elevated heart rate, and blood pooling in
the periorbital region... ultimately resulting in false positives”. Each
corresponding “Answer” contained herein is purely speculative.
Case number: 87-447
A document in five sections: Conclusions, Petition, Discrimination, Forensics
and Inheritance. Aggravated accounts. Papers making sense of a violent
crime show signs of systemic racism. A murder and a death sentence. Dated
forensic analyses. I am piecing together my family history and its involvement
in this system. My mother was the assistant prosecutor. She made the closing
statement and helped select the jury. Her actions were petitioned along with the
verdict. An attempt to make orderly decisions about a violence creates a paper
trail of disorder, one that is enacting violence itself. Court transcripts, letters,
petitions, forensic evidence, newspaper clips, scans of photographs. Life in the
hands of bureaucrats; their correspondences on record. My mother's name in
print, reading a script. Her last major case; pregnant during trial. Speaking for the
victim, Mary Acoff. It happened on Highland Avenue. 1987. Red lines everywhere.
The man she sentenced to death shares my birthday. This is one take on the true
crime novel. To satisfy a morbid curiosity regarding the banal history of American
violence. An arrangement of piecemeal evidence.
Points of Departure: Five Walks is a publication that accompanies an exhibition by the same name,
which was produced while in residency at Los Angeles Contemporary Archive (LACA). This tome of
risographs amounts to a visual inventory of all the objects and documents contained within Patricia
Fernández’s archive, including several conversations in Spanish recollected and transcribed by the
artist that take the first person voice of her interlocutors. Each of the book’s five sections is devoted
to one of the artist’s walks across the Pyrenees. A pamphlet containing English translations of the
Spanish transcriptions accompanies each edition.
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