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L’écriture en contexte : littérature, théorie et avant-gardes françaises au XXe siècle [PDF]
, 2009 Arppe, Tiina +2 more
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Interviews with Ed Ruscha and Bruce Conner
October, 1994Armstrong: How did you first know about Duchamp? Was it through art school? Ruscha: I think it was in a book, a reproduction of the Nude Descending a Staircase. It was as if there were an asterisk on that picture; his Nude Descending a Staircase was such a spectacle at the time that you remembered it for that. That was part of its value.
Ed Ruscha +2 more
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ED RUSCHA, HEIDEGGER, AND DEADPAN PHOTOGRAPHY
Art History, 2009The word most often used to describe Ed Ruscha's photographic books – and a good stretch of conceptual and post‐conceptual photography in the wake of his practice – is ‘deadpan’. The ambition of this essay is to see if this term has any purchase on what makes this photographic work so compelling.
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October, 2005
Edward Ruscha arrived in Los Angeles in 1956, delivered by the car trip he and high school friend Mason Williams took in Ruscha's black 1950 Ford from Oklahoma to the suburban-like stretch of a rapidly developing L.A. Over the next seven years, Ruscha drove the distance between L.A.
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Edward Ruscha arrived in Los Angeles in 1956, delivered by the car trip he and high school friend Mason Williams took in Ruscha's black 1950 Ford from Oklahoma to the suburban-like stretch of a rapidly developing L.A. Over the next seven years, Ruscha drove the distance between L.A.
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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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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 ...
openaire +1 more source