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Ed Ruscha and the Language That He Used
October, 2005The first images seen by visitors to the Whitney Museum of American Art's recent exhibition Ed Ruscha and Photography were a set of six photographs taken in 1961 and shown for the first time in 2003.1 Each Product Still Life features a single consumer item-Oxydol bleach, Sherwin-Williams turpentine, Wax Seal car polish-on what appears to be a shelf ...
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Ed Ruscha, Pop Art, and Spectatorship in 1960s Los Angeles
Art Bulletin, 2010Ed Ruscha's paintings and books of photographs are often interpreted as images of Los Angeles seen through the car windshield or read as billboards and movie screens. An examination of the material and spatial complexities of his work revealed by the viewer's encounter with it as an object illuminates the connection between Ruscha's practice and modes ...
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“Something Else”: Ed Ruscha's Photographic Books
October, 2005My books were very hot items-it was hot art to me, almost too hot to handle. I liked the idea that my books would disorient, and it seemed to happen that people would look at them and the books would look very familiar, yet they were like a wolf in sheep's clothing. I felt they were very powerful statements, maybe the most powerful things I've done.
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Bittersweet Obsession: Ed Ruscha's Chocolate Room
Gastronomica, 2006This article considers the singular installation work, Chocolate Room (1970), by the American conceptual artist Ed Ruscha (b. 1937), who is based in Los Angeles. Although Ruscha is best-known for his coolly composed paintings and photographs, Chocolate Room, explores the artist's use of unconventional materials to create works of art that confront ...
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“Second City”: Ed Ruscha and the Reception of Los Angeles Pop
October, 2005* My thanks to Ann Temkin, Huey Copeland, Suzanne Hudson, and Tricia Paik for their incisive editorial suggestions; Maria Gough, Alex Potts, Howard Lay, and Ed Dimendberg for their thoughtful comments on earlier versions of this text; and Lisa Pasquariello for many stimulating discussions about this material.
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AUTO‐MATICITY: RUSCHA AND PERFORMATIVE PHOTOGRAPHY [PDF]
Art History, 2009 This piece argues that Ed Ruscha's books, such as Twentysix Gasoline Stations, are not journalistic or amateurish in style, as Jeff Wall contends, but rather performative and instructional, that is, following in a tradition initiated by Marcel Duchamp's ...
Iversen, Margaret
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Drawing: Research, Theory, Practice, 2020
This project aims to discuss drawing as a method of bridging the void between digital imaging technologies and physical drawing in the fine art domain. It does so by investigating the role of drawing and printing in contemporary portraiture. Drawn and printed silkscreen portraits are made from a synthesis of graphite marks, digital pixels and water ...
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This project aims to discuss drawing as a method of bridging the void between digital imaging technologies and physical drawing in the fine art domain. It does so by investigating the role of drawing and printing in contemporary portraiture. Drawn and printed silkscreen portraits are made from a synthesis of graphite marks, digital pixels and water ...
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Studies in Conservation, 2016
Los Angeles-based artist Ed Ruscha has become one of the most influential artists of the twenty-first century, having worked in various media, such as painting, drawing, photography, and printmakin...
Laura Maccarelli +2 more
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Los Angeles-based artist Ed Ruscha has become one of the most influential artists of the twenty-first century, having worked in various media, such as painting, drawing, photography, and printmakin...
Laura Maccarelli +2 more
openaire +1 more source