Forward and Back: (Table of Contents)
Sources:
Jaroslaw Anders Caught in a dark history: review of Michael Andre Bernstein's Conspirators, Farrar, Straus & Giroux, 2004, Los Angeles Times Book Review, 11 April 2004, p. R3 See Text
Harry Carr Los Angeles City of Dreams (Illustrated by E.H. Suydam), D. Appleton-Century Co.: NY, 1935, 402 pp., 1935, Foreword See Text
Helen Epstein Eulogy for a Source, New York Times, March 9, 2014, p. SR 9, See Text and Images
Carolyn Forché The Lost Suitcase The New Yorker, September 25, 2006, pp. 124-125 See Text
Michael Frank Istanbul from the inside out: Orhan Pamuk Istanbul: Memories and the City Alfred A. Knopf: NY, 2005, Los Angeles Times Book Review, 7 August 2005, R8, Forward and Back See Text
Francis Frascina Art, politics and dissent: Aspects of the art left in sixties America, Manchester University Press: Manchester and New York, 1999, 248 pp., 1999, 1997, 1965, 1964, 1960s, 1948 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
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, Forward See Text
Lian Hurst Mann, AIA, From the Editor, Architecture California, 14. no. 2, November 1992 p. 2, See Text
Kelyn Roberts Foreward And Back Note I, 2004 See Text
Grant H. Smith The History of the Comstock Lode 1850-1920, Geology and Mining Series No. 37, University of Nevada Bulletin: Reno, Nevada, vol. XXXVII. 1 July 1943, no. 3, (revised 1966), Ninth printing, 1980. 305 pp., Forward, See Text
D. J. Waldie Our New Jerusalems: Recent Terrains: Terraforming The American West. Photographs By Laurie Brown, Poetry By Martha Ronk, Essay By Charles E. Little; Johns Hopkins University Press: 98 pp., $55, $24.94 Paper, Los Angeles Times Book Review 24 December 2000, Foreward See Text
Notes for a Text:
Kelyn Roberts Foreward And Back Note I, 2004
KR Notes, 2004 Oceanpark.ws begins, if anywhere, twenty years ago and spirals around the gathering of documents, photographs, music, memory, and each source has its own interconnectivity to both time and linearity. The present isn't any more obvious from the advantage of twenty years perspective, nor is the past more available for easy narratives.
As well as what can be seen, heard, pictured about Ocean Park, and how Ocean Park has influenced that, and the people who happened to be here, incorporated Ocean Park, it is important to realize what can be seen from Ocean Park, and those people who happened to have lived here and looked, heard, and come to know what their vistas and prospects have been. I've mentioned several times the permeability of the space, the sociality and territoriality but the automobile, the train, the plain, the plane, the media, the five or six boutique newspapers that have replaced the L.A. Times and the Evening Outlook. The wash of millions of people from Los Angeles and the tourists from all over the world; conventions and cultural events that draw five or five hundred people; the splash of radio, TV and now cable and the internet; the flyovers, drive-bys, thump-ka-thump of the vibrating speaker-car. The importation and consumption of food in supermarkets, farmer's markets, and destination restaurants and neighborhood establishments. Transformative and permeable, a constantly shifting light, fog and something of a distance, and a cultural production that changes the ambient qualities of the neighborhood into life altering situations. People move on, out, taking what's important to them but leaving the immateriality richer, more liminal, more illuminated . . .
In the manner of Terry Schoonhaven and the Venice Fine Arts Squad, The Isle of California, and Tom Jenkins; Apocalyptic Eucaplytus; Richard Pettibon, Neo-con Romantic Revisionist, Duh? . . .
"The Whitney Brothers . . . Five Abstract Film Exercises. When first screened in Los Angeles and New York, the films, seen as shockingly radical, were described as electronic music and neon images, "from the science fiction future."'