BY MELISSA RAGAIN
Los Angeles is fascinated with the improbability of its own existence in an otherwise depleted landscape. As a behemoth system, it has had an almost Faustian capacity to sustain itself by diverting resources away from smaller, less powerful systems. This summer, the Los Angeles Forum produced a show, now on view at the WUHO gallery, with the work of Lane Barden, whose 50-foot-long series of aerial images follows the flow of cars, water, and shipping containers through the city. It’s paired with Joseph K. Lee and Benedikt Groß’s The Big Atlas of L.A. Pools, which delivers exactly what it promises: a catalog of all 43,123 swimming pools in the city of Los Angeles. These projects together address the more subtle flows and stoppages of L.A.’s common-pool resources, using water as a metaphor for global movement and the uneven distribution of capital.
Barden’s piece, Linear City, focuses on the city’s arterial flows. Barden, a professional architectural photographer, has produced an aerial homage to the deadpan aesthetics of Ed Ruscha’s Twenty-Six Gasoline Stations from 1963, but without the humor. It’s a cumulative panorama of the Alameda Corridor railroad, Wilshire Boulevard, and the glorified ditch that is the current Los Angeles River.