22,582 research outputs found
Where the City Meets the Desert : Ed Ruscha on Reyner Banham, Zzyzx and LA Parking Lots
No full textInterview to Ed Ruscha on Reyner Banham, Los Angeles, and the exploration of desert
Where the City Meets the Desert : Ed Ruscha on Reyner Banham, Zzyzx (CA) and LA Parking Lots
No full textInterview to Ed Ruscha on Reyner Banham, Los Angeles, and the exploration of desert
Inventory for a Reverse Journey. Photographic Image and Found Object - An investigation of travel and material transformation as a paradigm of artist's practice: Ed Ruscha, Douglas Huebler, Bas jan Ader, Jimmie Durham, Gustav Metzger, Kurt Schwitters & Cian Quayle.
No full textInventory for Reverse Journey is the title of a collection of photographic artefacts and found objects, which I have collected over the last twenty years. The title refers to one specific type of artist's journey, which is applicable to the `chronotope' of my archive, as a `metaphorical journey in space and time' (Bakhtin 1981, p. 81). The `city',`provincial town', `road', `threshold' and `interior' are recurrent motifs, which Bakhtin fused together to describe the historical evolution of the novel in relation to its different genres. Bakhtin's motifs are expanded as the basis of an evolutionary nomenclature of the artist's-journey, as a form of spatial mapping and identity formation. Alongside other sources from literature (Alain Robbe-Grillet), cinema (Michelangelo Antonioni), psychoanalysis (Kierkegaard) and critical theory (Walter Benjamin) I have developed a theoretical framework, which initially originated in an empirical process, that is reflected in the antecedents of this project. The research process, as a journey itself, has concretised this approach within a systems-based practice. This is mirrored in the work of the artists under investigation, as their differences and similarities are highlighted within a broad contextual analysis. Accordingly the tone of the writing shifts its register at different points in the thesis.
My journey is just one example of several paradigmatic formations of `travel' as a strategy, which investigates the work of six different artists, as a voluntary or involuntary form of exile. A deskilled use of the photographic image is examined in the work of Ed Ruscha, Douglas Huebler and Bas jan Ader in the spatial mapping of their chosen locations. The work of these artists manifests travel, as a strategy, in a benign form of regional and expatriate exile. The investigation shifts its focus from the New World to Europe, where the work of Jimmie Durham, Gustav Metzger and Kurt Schwitters is analysed in relation to their transformation of found objects and materials, and their relationship with a former 'home'. Their position registers different degrees of the `impossibility of return' to a point of origin, which exists in the mind rather than as a physical location. The transience of their work, and use of disparate materials, is counterbalanced by their physical presence in the work. Conversely Ader, Huebler and Ruscha are linked by a scale of decreasing visibility, as they are sublimated within their work in the formation of, what is now construed as, a unique photographic presence. The starting point for which is a return to the formative years of conceptualism in the 1960's, which set the scene for Durham and Metzger from the 1970's onwards. The spectre of Schwitters practice of forming (Formung) and unforming (Entformung) is significant for my analysis of the dematerialisation of the art-work and artist, by processes of series and repetition, distance and proximity, movement and stasis. Although `travel' is a ubiquitous term, I continue to use it as a portmanteau, which carries with it the themes and `salient' features of a typology of artist's journeys. In a moment of perceived obsolescence as digital information systems engender a culture of `selective-amnesia', these thoughts have informed my work, which runs parallel to the artist case-studies, and the material transformation of the photographic image and found object
Edward Ruscha (Ed-werd Rew-shay) Young Artist
No full textExhibition book printed in 1972 on Manilla drawing paper. 2000 copies. Published by Chester Gump, Silver Creek Ranch, to accompany the exhibition of Prints, Drawings and Books of Edward Ruscha at The Minneapolis Institute of Arts, April 18-May 28, 1972.
James Smith Pierce Collectionhttps://commons.und.edu/jsp-artistbooks/1007/thumbnail.jp
Ed Ruscha
No full textTitre : Pool of Broken Glass Auteur : Ed Ruscha (*1937) Année : 1966 Couleur/Noir et blanc : Noir et blanc et couleur Technique : Crayon et crayon de couleur sur réglure Mots-clé : lettres, débris, verre, art conceptuel, abstraction Liens utiles : https://edruscha.com https://journals.openedition.org/estampe/1345 Où voir cette œuvre : https://edruscha.com/works/pool-of-broken-glass/ Titre : Pool with Water Spots Auteur : Ed Ruscha (*1937) Année : 1967 Couleur/Noir et blanc : noir et blanc Te..
Dirty Baby / by Ed Ruscha, pictures ; Nels Cline, music ; David Breskin, ghazals.
No full textA33, B33 leaves : color illustrations; 4 compact discs. Side A and Side B are inverted and bound tête-bêche style. United States dime is imbedded on the cover of side A. Concept & design by David Breskin. The accompanying spoken word CDs feature the author reading his ghazals, the texts of which are printed in this book. Side A: For Dave Hickey. Side B: For Kareen Rashad Sultan Kahn, February 12, 1987-August 6, 2007, in memoriam. SUMMARY Dirty Baby is a collaboration between the paintings of Ed Ruscha, the music of Nels Cline, and the poems of David Breskin. The title comes from the idea that when different art forms mate, the resulting offspring is no purebred but rather a wonderfully dirty and lovable mutt. The book is divided into two sides in the manner of a vinyl record: Side A offers a time-lapse history of Western Civilization; Side B charts the American misadventure in Iraq. The 66 Ruscha pictures in the book are drawn from two rarely seen bodies of work, the Silhouettes and the Cityscapes, in which Ruscha uses censor strips in place of the words which normally occupy a prominent place in his pictures. Throughout, Breskin\u27s lyrical verses, using the ancient Arabic form of the ghazal, serve as powerful companions to Ruscha\u27s gorgeously reproduced paintings. To this mix Cline adds more than an hour-and-a-half of new music for a large ensemble: by turns rhapsodic and edgy, heartfelt and raucous, it ranges from acoustic impressionism to dense, dark electronica. Includes four CDs, two of music and two of spoken-voice poetry. Bookplate in recognition of Jean & Barnet Fain, for continued support of the College Annual Fund.
Curated title for RISD Archives & Special Collections exhibition Now Hear This, fall 2023.https://digitalcommons.risd.edu/specialcollections_artistsbooks/1575/thumbnail.jp
Conférence Ed Ruscha. OOO
No full textBenoît Buquet, maître de conférences en histoire de l’art contemporain à l’université François-Rabelais de Tours et membre permanent de l’InTRU, fera une conférence intitulée Ed Ruscha. OOO, au Palais des Beaux-Arts de Bruxelles, à l’invitation de JAP (Jeunesse & Arts Plastiques), le mardi 19 janvier 2016 à 20h. Ed Ruscha, Ooo, 1970, lithographie, 51,1 x 71,1 cm, Los Angeles/New York, Cirrus Editions/Brooke Alexander Inc. Cette conférence propose de revenir sur quelques éléments du travail d..
Conférence Ed Ruscha. OOO
No full textBenoît Buquet, maître de conférences en histoire de l’art contemporain à l’université François-Rabelais de Tours et membre permanent de l’InTRU, fera une conférence intitulée Ed Ruscha. OOO, au Palais des Beaux-Arts de Bruxelles, à l’invitation de JAP (Jeunesse & Arts Plastiques), le mardi 19 janvier 2016 à 20h. Ed Ruscha, Ooo, 1970, lithographie, 51,1 x 71,1 cm, Los Angeles/New York, Cirrus Editions/Brooke Alexander Inc. Cette conférence propose de revenir sur quelques éléments du travail d..
Ed Ruscha monument, Los Angeles, 1978-87
No full textEd Ruscha monument, 1978-87, Job Corps Center, exterior, 1031 South Hill St. (between 11th St. and Olympic Blvd.). Artist Ed Ruscha, in his red silk shirt, looks toward downtown on the building's northeast-facing wall. Acrylic, 6 stories tall, by Kent Twitchell. Sponsored by CETA/CAC/NEA. -- Dunitz, Street gallery, p. 48, #77
Follow-ed
No full textInvited Journal Article, The Bonefolder: a peer-reviewed e-journal for the bookbinder and book artist, Volume 6, No. 1, Fall 2009, ISSN 1555-656, pp 15 – 18From Sowden’s own practice of producing artists’ books in homage to Ed Ruscha, he has been curating and collecting works and preparing for a touring exhibition Follow-ed. Sowden is currently working with Linda Newington at Winchester School of Art Library and Maria White at Tate Britain to develop a touring exhibition launching in January 2011. Maria White has also invited him to speak at the conference she is organising in tandem at Tate Britain in January 2011 on the books of Ed Ruscha and artists who have made books in tribute to his works. The Bonefolder article discusses his research into these books since 2007. Publisher/editor: Peter D. Verheyen: Bookbinder & Conservator, Head of Preservation and Conservation, Syracuse University Library, Syracuse, NY
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