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  • Desert Landscape No. 6 (1979)

    Todd Gray

    This photograph is from Todd Gray's Desert Landscape Series, in which he presents industrially produced metal and plastic objects against stark desert landscape with clear blue skies. The man-made objects are shown suspended in midair, in direct contrast with the natural surroundings. This work was included in the LACPS exhibition Multicultural Focus (1981) at the Municipal Art Gallery, Barnsdall Park.


    Archival pigment print 12 x 18 1/2 in
    Courtesy of the artist

  • Glove, Balloon, Shoehorn (1983)

    Jo Ann Callis

    From the series "Grids." Included in the LACPS exhibition.
    Glove, Balloon, Shoehorn
    Courtesy of the artist

  • Obscura, the Journal of Los Angeles Center for Photographic Studies (LACPS) and the LACPS Newsletter (1980)

    LACPS



    Los Angeles Center for Photographic Studies Archives Courtesy of the Los Angeles Center for Photographic Studies

  • John Wood and Robert Heinecken Exhibition Opening at LACPS (1983)

    Darryl Curran

    This print is from the series A Moment in Photo History.


    Chromogenic development print 11 x 14 in
    Collection of the artist Courtesy of the artist

  • Opening of L.A. Issue Exhibition at LACPS (1979)

    Darryl Curran

    Darryl Curran began informally documenting his involvement in the art and photography communities in Los Angeles in the late 1960s. In 1978 he began the series L.A. Art Openings: 1978-79, in which he photographed art openings with a standard identifying title page attached to an 8 1/2 by 11 in. clipboard. This format would carry into his series A Moment in Photo History, exclusively dedicated to documenting L.A.’s growing photo community at openings, lectures, conferences, and parties.


    Chromogenic development print 11 x 14 in
    Collection of the artist Courtesy of the artist

  • LACPS 10th Anniversary Party (1984)

    Darryl Curran

    From the series A Moment in Photo History.


    Chromogenic development print 11 x 14 in
    Collection of the artist Courtesy of Darryl Curran

  • Califuji Style (1976)

    Bruce Yonemoto

    From the Suspected Japanese Houses Series, included in the LACPS exhibition Multicultural Focus (1981) at the Municipal Art Gallery, Barnsdall Park, Los Angeles.


    Diazo print 15 x 34 in
    Courtesy of the artist

  • Zuma #16 (1977)

    John Divola

    From the series Zuma (1974–77), Zuma #16 was included in the solo exhibition of work from Divola's series at the Los Angeles Institute for Contemporary Art (LAICA), organized by LACPS in 1978.


    Pigment on rag photograph 20 x 30 in
    Courtesy of the artist

  • Excitable Pages #15 (1979)

    Jack Butler

    From the series Excitable Pages (1978–83), this work was included in the LACPS national juried competition Perception: Field of View (1979).


    Cibachrome print 20 x 30 in
    Courtesy of the artist

  • Stud Finder (1977)

    Joyce Neimanas

    Included in Maid in L.A., the solo exhibition of work by Joyce Neimanas at the Los Angeles Institute for Contemporary Art (LAICA), organized by LACPS in 1978.


    Silver gelatin print with paint and toner
    Courtesy of the artist

Fisher Museum of Art, University of Southern California

Sight Specific: LACPS and the Politics of Community

Formed in 1974 'to encourage the growth and appreciation of photography as an art form', the Los Angeles Center for Photographic Studies (LACPS) was the regional incarnation of a national phenomenon that saw artist-run photography organizations spring up in regions and major metropolitan areas across the country. Crucial for artists working with photo-based media in the Southern California region, LACPS became a hub from which they could explore new ideas, expand their knowledge and experience new work. The space became the site for innovative exhibitions; some that pushed the boundaries of photographic practice and others that reclaimed a history that had been overlooked. This exhibition, taking into account for the first time the history of LACPS and an examination of the national rise and decline of artist-run organizations and spaces in the 1960s and 70s, seeks to rectify the former and begin a dialog to understand the latter. Exploring the personalities, programs and impact of the Los Angeles Center for Photographic Studies and reconstructing selections from the organization's exhibition program, this exhibition, curated by founding Executive Director of the No Strings Foundation, Tim B. Wride, will explore how the organization sought to come to terms with the history of photography in the region; how it attempted to frame the discussion of what were then contemporary issues surrounding photographic practice; and, ultimately, how it set the stage for the future of image making within and beyond regional boundaries.
01/11/2012 – 04/07/2012
Fisher Museum of Art, University of Southern California
823 Exposition Blvd.
Los Angeles, CA 90089