Introduction, Prefaces, Prefigurations, That without which (new attempts at a list), Intro, (Table of Contents)
Sources
Reyner Banham Los Angeles: The Architecture of Four Ecologies, Pelican: NY, 1971 (1976), 256 pp., See Text
Amit Chaudhuri In the Waiting-Room of History a review of Dipesh Chakrabarty Provincialising Europe: Postcolonial Thought and Historical Difference, London Review of Books 24 June 2004, p. 3, 2004, See Text
Lorraine Daston Are you having fun today? Robert Merton and Elinor Barber The Travels and Adventures of Serendipity: A study in sociological semantics and the sociology of science Princeton: NJ, 2004, London Review of Books, 23 September 2004, p. 29 and 31. See Text
Iris H.W. Engstrand Rancho Los Cerritos: A Southern California Legacy Preserved, Southern California Quarterly Spring 2000, 82, no. 1, pp. 1-42, See Text
David Gebhard and Robert Winter A Guide to Architecture in Los Angeles & Southern California, Peregrine Smith: Santa Barbara, 1977, 728 pp. See Text
Laurence Goldstein, The American poet at the movies: a critical history, Ann Arbor: University of Michigan, 1994, 272 pp., Introduction, 1922, 1915 See Text
Jim Heimann Sins of the City: The Real Los Angeles Noir, Chronicle Books: San Francisco, CA, 1999, 159pp., Introduction See Text
Richard Howard Los Angeles Times Book Review, 28 March 2004, Rachel Cohen's A Chance Meeting: Intertwined Lives of American Artists and Writers, 1854-1967, Random House: NY, 2004, 366 pp., 2004. See Text
Ingersoll's Century History Santa Monica Bay Cities (Being Book Number Two of Ingersoll's Century Series of California Local History Annals), 1908, 1908a, Preface, See Text
J.B. Jackson The Timing of Towns, Architecture California, 14. no. 2, November 1992, p. 4 See Text
Mark E. Kann Middle Class Radicalism in Santa Monica, Temple University Press: Philadelphia, 1986. 322pp., See Text
Paul J. Karlstrom and Susan Ehrlich Turning the Tide: Early Los Angeles Modernists 1920-1956, Barry M. Heisler Introduction Santa Barbara Museum of Art 1990, Introduction See Text
Carlos Masotta Album Postal A Postcard Album La Marca: Buenos Aires, Argentina, 2008, 501 pp. See
Text, 2008
Jed Perl The Urban Mirror: Robert Alter Imagined Cities: Urban Experiences and the Language of the Novel, Yale University Press, 2005?, The New York Times Book Review, 19 June 2005, p. 9 See Text
Kelyn Roberts Comment on Diebenkorn Criticism, Ocean Park Anthology, 2004, 1980s, 1970, 1960s See Text
Lionel Rolfe Literary L.A., Chronicle Books: San Francisco, 1981, 102 pp., Intro See Text
James L. Rolleston The Politics of Quotation: Walter Benjamin's Arcades Project, PMLA, 104, 1, January, 1989, pp. 13-25 See Text
Peter Schjeldahl The Art World: A Painting a Day, The New Yorker, February 16, 2015, pp. 74-75. See Notes
Andrea Schulte-Peevers and David Peevers Los Angeles, Lonely Planet: Oakland, 2nd ed., 1996 (1999), 351pp., See Text
Sven Spieker The Big Archive: Art From Bureaucracy, MIT Press, 2008, 228 pp. See Text
Comments
"In his California Synchromies, Macdonald-Wright brings his early discoveries to a state of perfection. Now, as before, color determines structure and obliges other elements to submit to its control. Operating as a spatial force, it grants forms plasticity. As the artist observed: "Form to me is color . . . I conceive space itself as of a plastic significance that I express in color. Form not being simply the mass of each object seen separately, I organize my canvas as a solid block as much in depth as laterally.
"Clearly, color and form in these Synchromies function synergistically to yield an interwoven field in the mode of the late Cezanne. Luminous hues, harmonically grouped, give the impression of tiny, bright rainbows adrift in a moist atmosphere. . . .
" . . . [These paintings] sustain a light, impalpable air. Blithely, they accurately capture a sense of place-of gullies and bluffs sheathed in soft haze, of villas stacked on palisades overlooking cool bays. Gauzy white patches powder the fields to evoke Santa Monica's ambient fog. The manner in which they blanket the forms recalls the Oriental landscape painting which the artist admired. The gaps that they create on the surface thus might be read, not as negative voids, but as resonant regions of light in accord with their Eastern models." -Karlstrom and Ehrlich, 1990
Anybody who was nearly everybody . . . Probably because they were easily connected and because no one stayed around so that coming and going was bound to result in one or two misses and that with a litttle digging . . . K. Roberts
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