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Everyone thinks if your shit don’t smell in New York then it must not be good shit.
—Jerry McMillan

Photography in LA art is something the rest of the art world knows very little about.
—Allen Ruppersberg

When I decided to undertake this project, I had two main objectives in mind. One was to remind myself, and others who cared to examine the topic with me, of a Los Angeles art that was never quite understood in its time outside its own region, yet was an important precedent for current art issues and techniques. The other was to satisfy myself with an explanation of the commonality I saw in certain LA art of the period: what was it, if more than a perverse interest in photographic weirdness, that tied this work together?

The first objective is realized by the very existence of this book and exhibition; whether the critics and the public take as much pleasure from that achievement as I do remains to be seen.

I have reached my second goal, too, in the realization that this art, ultimately, is the expression of profound doubt. It is an art born of the unreliability of modern social and political structures, anchored in the liberating revelation that there is no such thing as proof—that we can communicate nothing but interpretation.

Beyond these aims I had no agenda. This book is far from a complete history of artists drawing upon photography; even limited to one geographic region and a twenty-year span, such a story would take far more than forty-five artists and ninety-three objects to tell. Nor could I find a way to include even all the artists whose work might fit the thesis, given practical and personal limitations. The prospect that a knowledgeable critic could easily think of artists who might have been included simply reinforces the exhibition concept.

* * *

The idea for this book and exhibition came from several directions at about the same time. I was first asked by James Enyeart to write on American photography in the 1970s for a history he was editing (Decade by Decade, 1989), an assignment that forced me to re-think my position on the contributions of several hundred artists working seriously in all regions of the country during that period. Later, conversations with Darryl Curran, and his loan of a large number of slides of relevant work, also helped form my thinking.

But the most important catalyst was the request from the Fellows of Contemporary Art for a written description of an exhibition concept. The Fellows’ enthusiastic response to the show idea and their subsequent sponsorship of the project encouraged me to develop the idea and made this work possible. I only hope that my effort will be worthy of inclusion in their extraordinary series of books on art in Southern California.

For the members of the Laguna Art Museum and for myself, I would also like to thank the National Endowment for the Arts for its support of this project. By fostering access to artistic excellence, the Arts Endowment has enriched our community and the nation far beyond the dollars it has distributed.

The trustees and staff of the Laguna Art Museum have provided intellectual and material sustenance to this project from its inception; their names are listed elsewhere, and I thank each of them for making this work possible. Among staff members I would particularly credit Curatorial Assistant Lisa Buck, who did extensive research, communicated with artists and lenders, handled details of the exhibition tour and prepared much of the support material for this volume. Also very helpful were three Curatorial Interns: Thomas McFadden, Monica Seares and Holly Unruh.

Joan Rehnborg performed the triple function of LAM trustee, Fellows liaison and friend with the good humor, dedication and warm intelligence those who know her have come to love. Alice Momm, Administrative Director of the Fellows, was also extremely pleasant and helpful.

The staffs of galleries, museums and artists’ studios too numerous to name provided assistance over the two-year period during which the exhibition and book were in preparation. I thank them all, but must mention several who provided exceptional assistance: Richard Kuhlenschmidt of Richard Kuhlenschmidt Gallery provided access to his extensive files on Los Angeles conceptual art of the early 1970s; David Fahey, Fahey/Klein Gallery, shared information on the gallery scene in photography during the period; Courtney Crane and Rhona Edelbaum of L.A. Louver helped uncover hard-to-find works and arrange loans; and the staff at Gemini G.E.L. worked to help find catalogue illustrations. Also patiently helpful with myriad requests were Robin Berg (assistant to Dennis Hopper), Wanda Hansen (Terry Allen’s representative), Pat Poncy (assistant to Edward Ruscha), and Laura Stein (assistant to John Baldessari).

Others who graciously provided research materials and other help were Barbara Bishop (Research Center Manager, Archives of American Art), Erin Bonner (Librarian, Museum of Contemporary Art), Charles Brittin, Rosetta Brooks, Andrea Clark (Registrar, Norton Simon Museum), Susan Kismaric (Department of Photography, Museum of Modern Art), Randolf Laub, Nancy Lutz (Assistant Director, Center for Creative Photography), George Stillman and Kathleen Travers.

The designer of this book, Catherine Lorenz, has made a wonderful product out of diverse and difficult material. Susan Anderson, Lisa Buck, Joan Rehnborg and Steve Richards all read portions of the text and made helpful suggestions; Nancy Coop gave valued advice on design issues.

I would like to thank the many lenders to the exhibition for their essential participation, as well as the staffs and trustees of the other institutions where the exhibition will be presented. Finally, I thank the artists who have agreed to be included. To whatever degree the exhibition succeeds, it is because their work is successful; any failings of the show I claim for my own.

This book and exhibition are dedicated to Kitty Morgan, who made many important suggestions throughout their preparation, but provided the most important support of all by loving me.