Jane McFadden

As one of the most innovative artists of the last six decades, Walter De Maria challenged art in profound ways. He is known worldwide for his important sculptures such as Lightning Field, but his contributions to the practices of music, drawing, photography, and film have been largely forgotten. Featuring in-depth analysis of many previously unknown works and correspondence, this book offers the first major critical account of de Maria's broader range of interests. In a 1960 score, Walter De Maria called for "meaningless work: " art that does not "accomplish a conventional purpose." He followed this call with a dizzying period of experimentation. The resulting work reflected shifts in how we understand the sites of art during an era of moon shots and road trips, of wars that moved from jungles into living rooms via electromagnetic waves. It helped us understand ourselves and how race, gender, and sexuality vie for space in the social realm. By bringing to light de Maria's lesser-known works, this book challenges established histories and methodologies for the art of the 1960s and '70s, while also exploring de Maria's own obsessions with art's uttermost possibilities.

Meaningless Work

Walter De Maria

Chris Kraus

Jan Tumlir

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 rivaled New York as the US contemporary art capital. With the continuing success of LA-based art programs at CalArts, Art Center and UCLA, as well as a growing gallery scene stretching from blue-chip to artist-run spaces, Los Angeles as an art center 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 are three essays. Chris Kraus incorporates interviews with artists and gallery owners providing insight into the network of scenes that make up contemporary LA art now. Jan Tumlir (independent art critic) contextualizes contemporary art in Los Angeles, commenting on recent trends and the influence of the LA-based MFA programs. 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.

Jane McFadden

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