Sightline Series: Inglewood/Malibu/Los Angeles By Kim Schoenstadt

With this collaboration with The Lapis Press, Kim Schoenstadt explores the question “what constitutes an edition?” Sightline Series: Inglewood/Malibu/Los Angeles 1 - 9 are unique works made up of mid-century modern and contemporary architecture and sculptural forms as components springing from historic views of Los Angeles.

Digital Version of "History of Los Angeles County California with Illustrations Descriptive of Its Scenery, Residences, Fine Blocks and Manufactories", Thompson & West, 1880

Download List of Works

" That both architecture and sculpture begin with line then are realized as vastly different concepts of forms in space is very interesting to me. I like the play between the two structures. That the sculptural structure can become an architectural element that is both a folly and a possibly useful buttress is something I’m playing with as well. " - Kim Schoenstadt

Kim Schoenstadt pulls together a spacial narrative of Los Angeles inspired from her research for her design of the LA METRO train station at Fairview Heights. Unrealized architecture (John Lautner’s 1961 Malibu Akers residence, Thom Mayne’s 2009 Children’s Museum Los Angeles, and Richard Neutra’s Prefabricated Model House circa 1930) and existing Inglewood architecture (1967 Broadway Federal Bank, 1961 Jet car wash, and Victor Miller’s Brolly Hut from 1968) emerge from 1880‘s chalk lithographs (once upon a time bound in a book entitled History of Los Angeles County California with Illustrations Descriptive of Its Scenery, Residences, Fine Blocks and Manufactories published by Thompson and West.) The orange sticker outline is based on the construction qualification practice called “Story Poles” used in Malibu to allow neighbors to see a full scale 3 dimensional outline of the proposed project and how it would affect their view. This element weaves between architectural massing and sculptural massing, the past and present, real and imaginary.
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Artist's Drawing of John Lautner Architect 1961, Akers Residence, Malibu, CA. (unrealized)
Credit: Kim Schoenstadt
The Process

The elements in each print are combined as collage built up through two sheets of Museum Glass to create a sort of exploded view over each quaint scene. Sealing the framed work within 2 sheets of Museum Glass adds depth to the composition while preserving the original print from the intervention of the components (honoring the art conservation principal of reversible layers). While the antique views of Los Angeles are unique, the contemporary architectural shapes that are repeated throughout the series have been manipulated to conform to each print. How replication and singularity are interpreted in the realization of an edition is playfully considered with these works.
The shapes for each edition are printed before being cut and placed.

Step 1: Printing

Sightline Series: Inglewood/Malibu/Los Angeles is made up of archival pigment printed shapes layered over an antique lithograph depicting various architectural structures in Los Angeles County.
Each shape is carefully cut using fine art scissors and X-ACTO knives.

Step 2: Cutting

Each "Sightline Series" consists of carefully-crafted layers that are separated by panes of Museum Glass. The first step in this multi-step process consists of meticulously cutting each shape of the composition out, using fine art tools.
The shapes are carefully adhered to Museum Glass.

Step 3: Placing

The first layer in each work is a building mash-up printed on vellum. The structure is cut, then placed directly on top of the lithograph. The vellum rests on top of the lithograph and is held in place solely by Museum Glass, thus preserving the antique print. The colored, architectural shapes are then adhered to the Museum Glass. Each shape is carefully composed and placed in order to work with the shape of the building mash-up beneath.
The orange tape outline is placed around the existing elements, tying all components together.

Step 4: Outlining

The last artwork layer before the final pane of Museum Glass is added is an orange, vinyl tape outline. The orange tape is based on the construction qualification practice called "Story Poles" used in Malibu, CA to allow neighbors to see a full scale 3-dimensional outline of the proposed project and how it would affect their view.
Sightline Series: Inglewood/Malibu/Los Angeles
By Kim Schoenstadt
- KIM SCHOENSTADT
  Sightline Series: Inglewood/Malibu/Los Angeles 9, 2016