#Los Angeles Psychogeography

[f0restpunk]

[hitherzones]

[abearshapedcountry]

The Cleaning Club.

[dispelzine]

Ruscha Quartet

In celebration of Ed Ruscha's overdue first solo exhibition at MoMA, here is my series of Ruscha-inspired zines:

Okie Wood

Some Los Angeles Apartments (preview)

Orb

Twentyfive Apartments

[mysterieuxclairdelune]

{Chelsea Dingman, from "Psychogeography," published in The Los Angeles Review/ Anne Sexton/ Karen Russell, St. Lucy's Home for Girls - Raised by Wolves/ Abraham Verghese/ Naguib Mahfouz/ Clementine von Radics, Poem: Courtney Love Prays to Oregon/ Aleksandar Hemon, The Lazarus Project/ Fatimah Asghar, from "How'd Your Parents Die Again?" published in The New York Times Magazine/ John Murillo, Poem: Mercy, Mercy, Me}

[torsamors]

Harry Kim x Voyager and ‘Home’

quote sources + notes under the cut

Chelsea Dingman, from "Psychogeography," published in The Los Angeles Review / Longing Poem by Johann Wolfgang von Goethe / James Baldwin, Giovanni's Room / Joy Harjo, from “We Must Call a Meeting,” In Mad Love and War / James Baldwin, Giovanni’s Room / Joan Bauer - Almost Home / James Baldwin, Giovanni’s Room / Clementine von Radics, ‘Courtney Love Prays To Oregon / Samuel Beckett, Waiting for Godot / Fatimah Asghar, from “How'd Your Parents Die Again?” / Naguib Mahfouz / Louise Glück, The Triumph of Achilles / Brandon Melendez, ‘How to Write Heisenberg’s Uncertainty Principle into a Promise to Return Home

Purple highlight refers to Non-Sequitur, pink refers to Favorite Son, Yellow refers to Deadlock, green refers to Emanations and red refers to Timeless.

[greenarchives]

Paris, Texas Revisited: The Pedestrian on film.

Landscapes and psychogeography in cinema

After a recent review of Wim Wenders early 1980s film “Paris, Texas” Starring Harry Dean Stanton I was able to have some new realizations of the film. When I started to dive into landscapes and how they are captured in cinema, “Paris, Texas” was always coming to mind. I knew I would have to revisit the film eventually. I didn’t think I would rediscover it in a way that makes so much sense to everything I have been theorizing about landscapes, film and the art of psychogeography. Paris, Texas follows Travis Henderson as he wanders. There is more to the film, but I recommend watching it and if you have, I will point out the wander’s perspective of the story.

We follow Travis through the landscapes of west Texas and all the way to California making it to Los Angeles and Later back to Texas and off to Houston. As we move throughout the many landscapes there is also the presence of the automobile, although we, the audience get a great feel for the land as the story is moved along by Travis who spends much of the film on foot taking, the viewers on for the journey. Travis is a pedestrian, refusing to fly from Texas to California and would have possibly done the walk if his brother had not stopped him. Once he reaches Los Angeles, a city where the driver is the main character, he remains a pedestrian. There is one scene where Travis is reunited with his 7-year-old son who is almost 8. He offers to walk his son home from school. His son, who hasn’t seen him in years, protests this ideal. It is somewhat unclear if his son is anxious about being seen with his long-lost dad, who doesn’t look like the most conventional person in the world, or if he doesn’t want to walk home because in his words “Nobody walks”. At only 8 he has come to understand that walking is not the idea form of travel in a city designed around the automobile at this point in its history. But Travis continues to defy the ways of the land and in brief moments gives us a glimpse at Los Angeles that can only be admired by the pedestrian. The beauty that is lost in translation when one is sitting in the driver’s seat and even passengers. The film highlights these relationships between those who walk and those whose life revolves around planes and cars and the need to reach every point fast. There is a difference in how each operates and the way they are influenced to move. The pedestrian, while seen socially as less free and in control of their journey, has a freedom that is often prescribed only to those who drive. They can go where they want and keep the destination in mind and that becomes liberating. To go with no distraction and no deadline.

[heartsforchi]

i’ve been trying to go home my whole life —

- chelsea dingman, from “psychogeography” published in the los angeles review

(via lifeinpoetry)

[yvng-mel]

Santa Monica, CA [October, 2020]

[lifeinpoetry]

I’ve been trying to go home my whole life—

Chelsea Dingman, from “Psychogeography,” published in The Los Angeles Review

[f0restpunk]

[hitherzones]

[x-heesy]

@alreigso #DustinYellin #Psychogeographies #art #sculpture #instaartist #illustration #art #artist #creative #artdesires #arts_gallery #artworld #art_daily #arts_help #artwork #alreigso #artposts #artistsoninstagram #sculptureart #sculptureartist #sculptures @dustinyellin #regram #thanxy

Dustin Yellin (born July 22, 1975 in Los Angeles, California) is a contemporary artist living in Brooklyn, New York. He is known for his work in which the artist embeds "hundreds of little pictures, drawings and images clipped out of magazines, art books and the like" to form complex and intricate tableaux in miniature, which the critic, Gilda Williams, writing in Artforum, noted provides viewers "the ability to occupy a divine vantage point while enjoying an overwhelming sense of discovery and wonder". These works, which the artist refers to as "Frozen Cinema", have been featured at such notable sites as New York's Lincoln Center, the Kennedy Center in Washington D.C as well as at the Brooklyn Museum, where Yellin's work is part of the permanent collection. Yellin has likewise participated in The Metropolitan Museum of Art's Artist Project. According to Andrew Durbin, "Yellin has formalized the central task of art—to archive: feelings, objects, events, selves—in his large glass blocks, recalling in their extreme hermeneutical diversity (forms within forms within forms, images within images within images) both as a past in which the representation of the human form was art's most recognizable enterprise and a future in which that enterprise is deeply complicated by the fact that the human form has been shredded, reformatted, revised, and redesigned, made precarious and permeable by technological and ecological shifts.

https://pioneerworks.org/support/

Soundtrack: Reality Exceeds the Fiction, Pt. 1 by Arure, Holly Six

Credits above

[dispelzine]

Preview

New zine. Issue 6 of Cover. Download here.

This is a snapshot of a forthcoming Dispel zine, which has been marinating in my drawers for years, a rephotography project based on Ed Ruscha's small book, Some Los Angeles Apartments. I'm pushing out this preview zine before the upcoming first solo exposition of Ed Ruscha at MoMA this September, a career retrospective titled ED RUSCHA / NOW THEN (insanely overdue).

Older issues available here.

[fairydrowning]

"I've been trying to go home my whole life."

- Chelsea Dingman, from "Psychogeography," published in The Los Angeles Review

[thewriterwithout]

"I've been trying to go home my whole life-"

- Chelsea Dingman, from "Psychogeography," published in The Los Angeles Review