La Artland

LA Artland is a survey of one of the most vibrant and influential art scenes of recent decades. Having produced world-renowned artists such as Mike Kelley, Paul McCarthy, Chris Burden, Catherine Opie and Jim Shaw, Los Angeles since the 90s has superceded New York as the US contemporary art capital. With the continuing success of LA-based art programmes at CalArts, Art Center and UCLA, as well as a growing gallery scene stretching from blue-chip to artist-run spaces, the Los Angeles art scene continues to thrive, producing increasingly successful generations of artists. The focus of this publication is on extensive visual documentation of contemporary artists working in Los Angeles now, ranging from well-established international names to emerging talent. Alongside this visual survey, there are three essays. An essay by Jane McFadden (art historian currently teaching at Art Center) traces specific trajectories between artists living and working in Los Angeles from the 60s to today, forming a unique history of the area. Los Angeles, commenting on current trends and the influence of the LA-based MFA programmes. A third essay by Chris Kraus (author of Video Green) incorporates interviews with new artists and gallery owners providing insight into the network of sub-scenes that make up contemporary LA art.

This book considers the history of Do It Yourself art, music and publishing, demonstrating how DIY strategies have transitioned from being marginal, to emergent, to embedded. Through secondary research, observation and 30 original interviews, each chapter analyses one of 15 creative cities (San Francisco, Los Angeles, Dusseldorf, New York, London, Manchester, Cologne, Washington DC, Detroit, Berlin, Glasgow, Olympia (Washington), Portland (Oregon), Moscow and Istanbul) and assesses the contemporary situation in each in the post-subcultural era of digital and internet technologies. The book challenges existing subcultural histories by examining less well-known scenes as well as exploring DIY "best practices" to trace a template of best approaches for sustainable, independent, locally owned creative enterprises.

"Featuring the work of twenty artists, this bilingual volume includes several artists' writings ... about artist-run exhibition spaces"--P. [4] of cover.

While many museums have ignored public art as a distinct arena of art production and display, others have – either grudgingly or enthusiastically – embraced it. Some institutions have partnered with public art agencies to expand the scope of special exhibitions; other museums have attempted to establish in-house public art programs. This is the first book to contextualize the collaborations between museums and public art through a range of essays marked by their coherence of topical focus, written by leading and emerging scholars and artists. Organized into three sections it represents a major contribution to the field of art history in general, and to those of public art and museum studies in particular. It includes essays by art historians, critics, curators, arts administrators and artists, all of whom help to finally codify the largely unwritten history of how museums and public art have and continue to intersect. Key questions are both addressed and offered as topics for further discussion: Who originates such public art initiatives, funds them, and most importantly, establishes the philosophy behind them? Is the efficacy of these initiatives evaluated in the same way as other museum exhibitions and programs? Can public art ever be a “permanent” feature in any museum? And finally, are the museum and public art ultimately at odds, or able to mutually benefit one another?

Arranged in alphabetical order, these 5 volumes encompass the history of the cultural development of America with over 2300 entries.

Paul Sietsema makes things, then films them in order both to see them more clearly and to render them more abstract. This book contains stills from his 16mm film "Figure 3", and interview with the artists, plus plates of his work overlaying newspaper cuttings with ink or paint.

A richly illustrated, expansive mid-career survey of the stand-out American artist's pioneering and influential work, with each copy featuring a unique silk-screen cover printed in Owens's studio Since the early 1990s, Laura Owens (b. 1970) has challenged traditional assumptions about figuration and abstraction in her pioneering approach to painting. Created in close collaboration with the artist on the occasion of her mid-career survey at the Whitney Museum of American Art, this inventive and comprehensive book features an incisive introduction by Scott Rothkopf, critical essays, literary texts, and short commentaries on a variety of subjects related to Owens's broad interests, which range from folk art and needlework to comics and wallpaper. Reflections by more than twenty of Owens's fellow artists, collaborators, assistants, dealers, family members, and friends offer an array of perspectives on her work at different periods in her life, beginning with her high school years in Ohio and ending with her current exhibition. A rich trove of more than a thousand images, drawn from the artist's personal archive and largely unpublished before now, includes personal correspondence, journals, academic transcripts, handwritten notes, source material, exhibition announcements, clippings, and installation photographs. Strikingly, each copy also features a unique silk-screen cover printed in Owens's studio, giving readers the opportunity to own an original work of art. Together, all of these elements provide a rare and intimate look at how an artist might make her way in the world as well as how art gets made, movements take hold, and relationships evolve over time.