An innovative exploration of the intersection of graphic design and American art of the 1960s and 1970s This fascinating study of the role that graphic design played in American art of the 1960s and 1970s focuses on the work of George Maciunas, Ed Ruscha, and Sheila Levrant de Bretteville. Examining how each of these artists utilized typography, materiality, and other graphic design aesthetics, Benoît Buquet reveals the importance of graphic design in creating a sense of coherence within the disparate international group of Fluxus artists, an elusiveness and resistance to categorization that defined much of Ruscha’s brand of Pop Art, and an open and participatory visual identity for a range of feminist art practices. Rigorous and compelling scholarship and a copious illustration program that presents insightful juxtapositions of objects—some of which have never been discussed before—combine to shed new light on a period of abundant creativity and cultural transition in American art and the intimate, though often overlooked, entwinement between art and graphic design.

This seventh volume in the ongoing documentation of Ed Ruscha’s (born 1937) entire corpus of paintings covers the years 2004 to 2011, comprising 230 paintings and studies that are reproduced in color and accompanied by detailed exhibition and bibliographic histories. The work of this period extends various earlier series, including Ruscha’s “mountain” paintings, a number of which now incorporate texts from Jack Kerouac’s novel On the Road. Other important works take decay, waste and retrieval and the passage of time as themes, notably the Course of Empire series (Ruscha’s contribution to the 51st Venice Biennale) and the Psycho Spaghetti Western paintings.
This 550-page volume, copublished by Gagosian Gallery and Steidl, is edited by Robert Dean with Lisa Turvey and includes essays by Thierry de Duve and Linda Norden. Each volume of the catalogue has a stitched binding and a cloth cover with silver-colored embossing protected by a printed slipcase.

Ed Ruscha’s relationship to photography is complex and ambivalent. The world-class painter–and author of a 1972 New York Times article called ‘I’m Not Really a Photographer’–has been known to refer to his work in this second medium as a ìhobby,î despite considerable, persistent critical interest. Whether he likes it or not, the small albums of plainly-shot, snapshot-sized images he produced in the 1960s and 70s, including Twenty-Six Gasoline Stations, intrigued his contemporaries and earned him an unshakable reputation. How? His subject matter was neither purely documentary nor solely artistic, in fact it was stereotypical and banal, with motifs drawn from the car-dominated western landscape. That rebellious material, along with his serial presentation, made for a mythical road-movie or photo-novel effect with Beat Generation overtones. The combination attracted artists and critics both, especially while serial logic was prominent in Pop art and Minimalism, and then retained that interest later as serial work became prominent in Conceptual art. Critics have remained attentive for decades, and Ruschaís influence remains apparent in new work in Europe and North America. Ed Ruscha, Photographer departs from earlier collections to explore how these images–and all of Ruschaís work in disciplines including painting, drawing, printmaking and photography–are guided and shaped by a single vision.

This catalogue was published in conjunction with the exhibition PICTURING ED: JERRY MCMILLAN’S PHOTOGRAPHS OF ED RUSCHA 1958-1972 at Craig Krull Gallery from May 22-June 26, 2004. The exhibition included forty-seven vintage photographic images of Edward Ruscha taken over the years by his good friend (and fellow Oklahoma City to L.A. transplant) Jerry McMillan. The catalogue is trimmed to the size of one of Ruscha’s self published artist’s books of the sixties and seventies and it contains an abundance of sweet & sexy pictures of Ed the artist, friend, husband, and dad.

In a 1976 drawing by Ed Ruscha, the word “Promise”—–spelled out in ribbon-like script—–is suspended at an oblique angle against a delicate gray background and bathed in a gauzy white light. Somehow, this image perfectly sums up the hopeful feeling that success is right around the corner. Ruscha’s ability to give concrete form to the inner life of words and images from popular culture has made him a rare breed of artist—a critic’s darling whose work also fascinates ordinary art lovers. Cotton Puffs, Q-Tips®, Smoke and Mirrors: The Drawings of Ed Ruscha collects more than 200 of Ruscha’s coolly mysterious works on paper in a handsomely designed volume marred only by a hard-to-read gray typeface. The odd title comes from a remark the artist once made. He uses cotton puffs and swabs to rub gunpowder (which creates those smoky grays) or pastel into the rag paper. Author Margit Rowell emphasizes the influence of photography and film on Ruscha’s visual outlook—as well as his training in graphic design and the Los Angeles “landscape” of billboards glimpsed from car windows. Rucha, who is also known for his paintings and his idiosyncratic photo books (depicting serial images of gas stations, parking lots and other banal sights), has been working on paper since the late 1950s. Rowell tracks the various themes and styles of his drawings, while essayist Cornelia Butler adds additional art world context. Although Ruscha has been called a Pop artist and a West Coast Surrealist, Butler sees him as “an essentially Conceptualist artist who seeks to render ideas as information.” She singles out his “deeply eccentric nihilism…filtered through a keen humor.” This book accompanies an exhibition of Ruscha’s work on paper organized by the Whitney Museum of American Art in New York (June 24–Sept. 26, 2004). -—Cathy Curtis –This text refers to an alternate Hardcover edition.

Switching to a career in fine art from his dream of becoming a commercial artist, Ed Ruscha first came into prominence in the early 60s with his large word paintings and paintings of commercial icons, such as Twentieth Century Fox and Standard Station, that related in manner and style to the nascent Pop art movement. Drawing on a variety of sources that also included his own drawings, prints and artist’s books, Ruscha was often associated with the west coast cool style, but ultimately his work confounded the art world with its sly and elusive sense of deadpan humor, as seen in his series of bird paintings and in the liquid word paintings that rounded out the decade. The Edward Ruscha Catalogue Raisonne of Paintings is a five-volume series under the general editorship of the Gagosian Gallery, and is a co-publication between Gagosian Gallery and Steidl Verlag.

In this lavish monograph, Marshall wastes no time making the familiar Pop Art connections between Ed Ruscha and his 1960s contemporaries; thumbnails of work by Roy Lichtenstein, Jasper Johns and Andy Warhol precede full-page reproductions of Felix the Cat, the Twentieth Century Fox trademark and a flying can of Spam. In uninflected, jargon-free prose, the former Whitney curator traces the artist’s early trajectory from art school training to Abstract Expressionist experimentation to his full stride with iconic West Coast landscapes-the Hollywood sign, a Standard gasoline station-starkly rendered in popping color, hard edges, thrusting diagonals and vanishing horizons. Organized by subject matter, the volume quickly moves beyond 60s Pop, though Marshall continues to look backward, citing influences from René Magritte to Walker Evans. As later chapters explore “Single Words,” “Bouncing Objects, Floating Things,” “Thought and Phrases” and “Landscapes and Skies,” a definite artistic agenda emerges. Whether in a limited edition book devoted to 34 parking lots, an oil painting of olives falling against a gradated background, or a pastel of the word “sex,” Ruscha seeks to isolate objects-especially words-from their context; “Words are pattern-like… they are almost not words-they are objects that become words.” Including a list of the nearly 400 words used over a period of 13 years, this monograph offers a comprehensive examination of a quintessentially American artist. 324 color illustrations
Copyright 2003 Reed Business Information, Inc.

One of the most consistently inventive artists of recent times, Los Angeles-based Ed Ruscha has been a pioneer in the use of language and imagery drawn from the popular media. From his early powerful word paintings to his influential artist books of the sixties and seventies to his recent colorful views of generic mountains, Ruscha has investigated the spaces between highways and journeys, images and words, abstraction and representation, public imagery and the contemporary landscape. In this publication, which accompanies a major retrospective exhibition organized by the Hirshhorn Museum and Sculpture Garden in Washington, D.C. and the Museum of Modern Art, Oxford, Neal Benezra, Kerry Brougher, and Phyllis Rosenzweig focus on all aspects of Ruscha’s career, revealing him not merely as an artist closely linked with Los Angeles, but as an important international figure in contemporary art.

Prominent art critic Peter Schjeldahl once wrote that “to know the art of Ed Ruscha, you should know something about Los Angeles, and the reverse: knowing something about Ruscha’s art will help you with Los Angeles.” Today Edward Ruscha is considered a major voice in postwar American painting and one of contemporary art’s most significant graphic artists. Edward Ruscha: Editions 1959-1999 presents the entire oeuvre of this innovative artist, whose subject and sensibility are uniquely American. Ruscha began his career as a commercial artist, and the visual language of advertising and his interest in typography as both word and image have exerted a profound influence on his art over the years. He says, “I like the idea of a word becoming a picture, almost leaving its body, then coming back and becoming a word again.” His works often depict the interplay between bold letterforms and a more atmospheric background, a visual strategy that has become a Ruscha signature. For example, in Hollywood (1968), Ruscha created a panoramic image of low hills dramatically silhouetted against the blazing heat and hazy sky of a California sunset. The word Hollywood, reminiscent of the famous sign, sits directly on the horizon, angled toward us in capital letters and seemingly emerging from the setting sun itself.

This catalogue raisonné was published on the occasion of the exhibition of the same name, originating at the Walker Art Center, Minneapolis, and traveling to the Los Angeles County Museum of Art and other venues through early 2001. Both the catalogue and the exhibition document 40 years of Ruscha’s innovative work, and they feature 17 artist’s books, such as Twentysix Gasoline Stations (1963); a group of photographs taken on the historic Route 66; and some 300 prints, including a fragrant installation made entirely of paper sheets screen-printed with chocolate. Two large, slim, silvery hardback volumes are presented in a handsome black fabric-covered slipcase. Volume 1 illustrates hundreds of prints, books, and other projects with small, numbered images laid out like a series of film cells or words going by on an LED sign. Volume 2 includes entries for each piece and essays about the prints and artist’s books, neither of which have ever been discussed in a publication of this scope. –A.C. Smith

This highly anticipated book—the first in a series of three—comprehensively chronicles the first two decades of Ed Ruscha’s (b. 1937) work on paper, which comprises the largest component of his production of original works. Over 1,000 works on paper are documented, all created between 1956 and 1976, and they encompass a wide range of formats, materials, themes, and styles. Included are collages, ephemeral sketches, preparatory studies for paintings, oil on paper works, and drawings executed in a variety of inventive materials, including gunpowder and organic substances.
Ruscha came to prominence in the early 1960s as part of the Pop art movement, although his work equally engages the legacies of Dada, Surrealism, and Abstract Expressionism as well as the Conceptual art that emerged later in the decade. He has long enjoyed international standing and admiration, and his work is widely known. Despite this recognition, this volume contains hundreds of works that have infrequently, or never, been exhibited or published. Each work is catalogued with a color reproduction, collection details, full chronological provenance, exhibition history, and bibliographic references. Essays by Lisa Turvey and Harry Cooper complete this extraordinary survey, which expands and enriches our understanding of Ruscha’s pioneering exploration of the written word as a subject for visual art and his witty assessment of the iconography of Los Angeles, both real and imagined. 

Ed Ruscha’s newest work is a series of small-scale bleach on linen paintings: cryptic messages stained into muted backgrounds of grey, blue, and maroon linen. The stark outline of a Clorox bleach bottle sits on the cover designed by Ruscha. The book continues to show the artist’s fascination with the written word and the power of its isolation in his art.

Me and The by Edward Ruscha is the luxe little “sculptural book with double fore-edge printing and gold gilt edges” published in 2002 by Graphicstudio – the renowned printer of artist editions and multiples at the University of South Florida. Reflecting the artist’s interest in the arcane, near-forgotten book art of foredge painting, it conceals the words “Me” and “The” on the foredge of the textblock underneath the gilt so that one or the other can be viewed depending on which way the pages are fanned. The interior of the book is comprised entirely of blank sheets of Mohawk Superfine paper acting as a substrate for the two paintings. These are gilded by R. Marchetti and Bro., Inc. in Brooklyn and bound in Cialux Rayon-over-boards by Peggy Gotthold in Santa Cruz, CA.

Reading Ed Ruscha focuses on Ed Ruscha’s artistic interest in books, writing and the act of reading, which he has pursued continuously over five decades. Words and text appear in his work as motifs, as symbols or in the form of books as actual objects, and reading as a meaning-generating process is explored and manipulated through various artistic means. The essays written for this catalogue by the authors Douglas Coupland and W. S. Di Piero approach this aspect in literary-poetic form. Beatrice von Bismarck examines the status of the book as a piece of work, a publishing medium and an exhibition (format), while Yilmaz Dziewior gives an overview of Ed Ruschaʼs dealings with the book as a medium and his relationship to the written word. Also included are large format illustrations of the exhibited works, exhibition views and a comprehensive appendix

The Catalogue Raisonne of the Paintings of Ed Ruscha is a six-volume series of books co-published by Steidl and Gagosian Gallery. This is the second volume, which contains entries on 178 paintings completed between 1971 and 1982–from the artist’s crisis at the onset of the 70s, when he “quits painting pictures,” to his first major museum retrospective, which opened in March 1982 at the San Francisco Museum of Modern Art. The catalogue includes a comprehensive exhibition history, bibliography and biographical chronology, as well as a preface by the editor Robert Dean, an essay by UCLA film historian Peter Wollen examining Ruscha’s use of color as it relates to his use of language, and an essay by the late Reyner Banham.

Inspired by the symmetrical, Jeffersonian layout of the American Pavilion’s Neoclassical architecture, and by Thomas Cole’s cycle of the same name, Ed Ruscha installed this ten-painting exhibition titled Course of Empire at the 2005 Venice Biennale. Five pieces are painted in color and five in black and white. The artist paired each work from his 1992 Blue Collar series with a new color canvas depicting the future of the same urban landscape, some deteriorated, some growing and changing, some seemingly gentrifying. The exhibition will travel in 2006 to The Whitney Museum of American Art in New York. Essays from Linda Norden, the U.S. Commissioner for the Venice Biennale, and artist Frances Stark celebrate the work, while Joan Didion’s coolly written but deeply felt piece about her own brokenhearted longing for Los Angeles hits a perfect note.

Born in Nebraska in 1 937, Ed Ruscha has lived and worked in Los Angeles since 1956. His works have been exhibited in the collections on the most important museums world­ wide and his activity, in continuous evolution for more than forty years, has deeply influenced various generations of artists for many of which Ruscha is a reference model and a source of inspiration for the research of new techniques and experiments. Ed Ruscha is a synonym of Los Angeles. Roads and highways, parking lots, gasoline stations, palms, swimming pools, residential areas and Hollywood Glamour are, in fact, the repeated reference points of his works. His artistic production interweaves different forms of expression that go from Pop to Conceptual Art, from Abstraction to Realism, experimenting the most various techniques and using, in some works on pa per, the most unusual materials (gun powder, boiled flowers, chocolate, tincture of iodine, spinach, blood, egg yolk), as well as acrylic and pastels. Central in the artistic route of Ruscha is the relationship between visual and verbal control. Dominating in his work is, in fact, the use of language, explored, in its evocative power, with subtle and inexpressive irony, from single words to slogans (token from newspapers, dictionaries, rood signs, film and radio conversations) to enigmatic word games whose meaning remains deliberately evasive. This book goes along with the first comprehensive retrospective exhibition of the artist in Italy at the MAXX I – Museo nazionale delle arti del XXI secolo, Rome (1st July-3rd October 2004), coproduced with the MCA – Museum of Contemporary Art, Sydney and the Scottish National Gallery of Modern Art, Edinburgh.

Revenge publishing? A new genre? Or has it been around since writers first put pen to paper? Isn’t all writing to some degree a means to avenge an oversight or a rejection, intending to set the record straight? A number of pieces in this collection which were commissioned, accepted, and paid for, never appeared for one reason or another, whether devious or common: books don’t always cross the finish line. Years go by. Patience evaporates. Corrected Proofs aims to seek remedy. In addition to previously unpublished pieces, a number of essays and interviews were written specially for this collection: on Lutz Bacher and Charles Ray, with Arnold J. Kemp. There are heroes and villains, from the assassins John Wilkes Booth and Lee Harvey Oswald, to Felix Gonzalez-Torres, Cady Noland and Steven Parrino. Here the reader encounters usual suspects in unexpected context—Marcel Duchamp, Ed Ruscha and Andy Warhol—and artists recently rediscovered—Bob Smith and Stephen Varble—alongside Lee Lozano, the January 6 insurrection, and The Fall. Foreword by Randy Kennedy. The book is published with four different dust jackets with images by Arnold J. Kemp, John Waters, Olivier Mosset and Rachel Harrison.

Exhibition catalogue published in conjunction with Art Metropole’s 10th Anniversary exhibition held November 17 – December 8, 1984. Designed by AA Bronson. Text by AA Bronson, John Goodwin, Christina Ritchie, and Peggy Gale. Includes an exhibition checklist and an Art Metropole chronology from 1974 – 1984. Indexes works by: Vito Acconci, Vincenzo Agnetti, Shelagh Alexander, Laurie Anderson, Carl Andre, Ant Farm, Eleanor Antin, Ida Applebroog, Shusaka Arakawa, Ryan Arnott, Robert Ashley, David Askevold, Alice Aycock, John Baldessari, Robert Barry, Carole Gallagher, Luciano Bartolini, Lothar Baumgarten, Joseph Beuys, Caroline Tisdall, Dara Birnbaum, Mel Bochner, Alighiero Boetti, Christian Boltanski, Pierre Boogaerts, Jonathan Borofsky, Brad Brace, George Brecht, Hans Breder, Marcel Broodthaers, Stanley Brouwn, David Buchan, Hank Bull, Daniel Buren, Victor Burgin, Michael Buthe, James Lee Byars, Richard C., Miriam Cahn, John Cage, Ulises Carrion, James Casebere, Sarah Charlesworth, Sandro Chia, Giuseppe Chiari, Robert Christo, Collective Chromazone, Heinz Cibulka, Francesco Clemente, James Collins, Claudio Costa, Robert Cumming, Greg Curnoe, Hanne Darboven, Lowel D. Darling, Juan Da Villa, Constance De Jong, Tom Dean, Mario Diacono, Antonio Dias, Jan Dibbets, Martin Disler, Jean Dubuffet, Marcel Duchamp, Mary Beth Edelson, Kit Edwards, Felipe Ehrenberg, Valie Export, Hans-Peter Feldmann, Robert Filliou, A.M. Fine, Hervé Fischer, Joel Fisher, Copp Fletcher, Robert Fones, Ken Friedman, Hamish Fulton, Phillip Galgiani, Eldon Garnet, Gilbert and George, Jochen Gerz, Michael Gibbs, Jon Gibson, Oliver Girling, Randy Gledhill, Tom Graff, Dan Graham, John Greer, Walther Gutman, Hans Haacke, Dieter Hacker, Noel Harding, Keith Haring, Stephen Harris, Matt Harley, Michael Heizer, Gerard Hemsworth, Jan Herman, Geoff Hendricks, Dick Higgins, Susan Hiller, Hans Hollein, Jenny Holzer, Rebecca Horn, Douglas Huebler, Sonja Ivekovic, Jasper Johns, Ray Johnson, Joe Jones, On Kawara, Anselm Kiefer, Kijkhuis, Yves Klein, John Knight, Richard Kostelanetz, Joseph Kosuth, Jannis Kounellis, Les Krims, David Lamelas, Bernard Lassus, Vera Lemecha, Les Levine, Sol LeWitt, Tina Lhotsky, Roy Lichtenstein, Colin Lochhead, Richard Long, Robert Longo, Nino Longobardi, Urs Luthi, George Maciunas, Allan Mackay, David MacWilliam, Paul Maenz, Arnaud Maggs, Liz Magor, John Massey, Hansjorg Mayer, Bruce McLean, Sandra Meigs, Mario Merz, Eric Metcalfe, Phillip Monk, Michael Morris, Muntadas, Ian Murray, Norman Ogue Mustill, Maurizio Nannucci, Opal L. Nations, Bruce Nauman, Linda Neaman, Al Neil, Hermann Nitsch, Barbara Noah, Arlene Golant, Claes Oldenburg, Luigi Ontani, Dennis Oppenheim, Nam June Paik, Giulio Paolini, Andy Patton, Steve Paxton, A.R. Penck, Giuseppe Penone, Bern Porter, Royden Rabinowitch, Marcus Rätz, Steve Reich, Lothar Reiners, James Riddle, David Rosenberg, Martha Rosler, Dieter Rot, Ed Ruscha, Lawerence Weiner, Reiner Ruthenbeck, Jim de Sana, Lucas Samaras, Bernd Schmitz, Carolee Schneemann, Rudolf Schwarzkogler, Kurt Schwitters, Tom Sherman, Chieko Shiomi, Seth Siegelaub, Jack Wendler, Michael Snow, Valerie Solanas, Daniel Spoerri, Klaus Staeck, Ernesto Tatafiore, Paul Thek, Edwin Klein, Vincent Trasov, John Mitchell, Richard Tuttle, Cy Twombly, Ulay, Roland Van Den Berghe, M. Vaughan-James, Ben Vautier, Bernar Venet, Claudio Verna, Wolf Vostell, Martin Walde, Jeff Wall, Duane Lunden, Ian Wallace, Andy Warhol, Robert Watts, George Whiteside, Robert Wiens, Stephan Willats, Emmett Williams, Martha Wilson, Robert Wilson, Ludwig Wittgenstein, Krzysztof Wodiczko, Va Wölfl, Peter Wronski, Donna Wyszomierski, Keigo Yammamoto, La Monte Young, and R. Zybert.

Mostra a cura di Rosanna Barbiellini Amidei e Pier Luigi Tazzi, Marciana, Isola d’Elba, agosto – settembre 1983. Illustrazioni a colori delle opere di Alighiero Boetti, Markus Raetz, Maurizio Nannucci, James Lee Byars, Edward Ruscha, Maurizio Mochetti, Massimo Nannucci, Renato Maestri, Siah Armajani, Remo Salvadori, Ettore Spalletti, Antonio Violetta, Bill Woodrow, Matt Mullican. Frasi degli artisti e citazioni di autori vari.

Inspired by the Ed Ruscha series Coloured People, Japanese photographer Takashi Homma’s visited forests on three continents to search for radioactive mushrooms. The mushrooms—gathered in Scandinavia, Fukushima, Chernobyl and Stony Point—were photographed in front of a white background, with occasional photographs from the forests and views that Homma encountered during his hunt. The forest is one of earth’s most primal habitats; in the modern age, it is us who maintain and care for the forest. “Just under 70% of the available land in Scandinavia is covered with forests, almost the same as in Japan. Further, the people living here enjoy a “freedom to roam,” which guarantees the right to enter into any forest, regardless of who it is owned by, and collect mushrooms and berries as long as no harm or damage is caused. If you visit markets in Scandinavia between summer and fall, you will find stands filled with yellow chanterelles ready to be sold. Most Scandinavians, however, are used to going into the woods to forage for mushrooms and berries. In 1986, the nuclear accident in Chernobyl occurred. The wind blew to the north-west, and two days after the accident five percent of the total radioactive material released during the Chernobyl disaster fell down over Sweden. Excluding the former Soviet countries, Sweden suffered the worst radioactive pollution of all European countries. The Swedish government immediately regulated the consumption of wild mushrooms and berries as well as meat from reindeer and moose. Reindeer meat, by the way, is a staple food of the native Sami people living in northern Scandinavia.” — from Takashi Homma’s afterword

“Hal Foster dedica questo studio ai primi anni della pop art e a cinque artisti che più di altri hanno forzato i limiti della pittura riuscendo a combinare la rivoluzione pop di un’immagine immediata con temi culturali e identitari, da quì il sottotitolo “pittura e soggettività”. In questo gioco tra arte bassa e alta, la pop art rimane in contatto con “la pittura della vita moderna” definita un secolo prima da Baudelaire come quell’arte che si sforza di distillare l’eterno dal quotidiano, dal transitorio. Si tratta tuttavia di una pittura “strategica” (“una sorta di meta-medium” la definisce Hal Foster), pronta ad accoppiarsi con la fotografia o le arti grafiche, ad accostare privacy e forme pubblicitarie, l’iconico e l’evanescente, con un atteggiamento ambiguo nei confronti della grande arte e della cultura di massa. Tutto ciò consente agli artisti pop di non essere né critici né rigorosamente complici ma, infine, proprio tale ambiguità, permette alle proprie opere di non limitarsi a riprodurre le proprie fonti ma di reinventarle, di poter comunque coltivare una consapevolezza critica delle contraddizioni culturali in atto. Per i lettori interessati a collocare la pop art nell’ambito del postmoderno e delle teorie postrutturaliste sulla soggettività, il libro di Foster è destinato a diventare un importante lavoro di riferimento, resoconto magistrale di uno dei periodi più importanti dell’arte del XX secolo, ma anche un libro che getta nuova luce sul presente dell’arte e sul nostro complesso rapporto con le immagini.Concentro le mie riflessioni su cinque artisti — Richard Hamilton, Roy Lichtenstein, Gerhard Richter, Ed Ruscha e Andy Warhol —perché rimandano, in maniera più evidente di altri, alle mutate condizioni della pittura e dello spettatore nel primo periodo della pop art, che faccio risalire alla metà degli anni Cinquanta. Ridotta alla sua essenza, la mia tesi è che in questo periodo cambia sia lo status dell’immagine che quello della soggettività e i lavori di questi artisti lo dimostrano nel modo più suggestivo”.(Hal Foster)

Stephen Shore’s Uncommon Places is indisputably a canonic body of work―a touchstone for those interested in photography and the American landscape. Remarkably, despite having been the focus of numerous shows and books, including the eponymous 1982 Aperture classic (expanded and reissued several times), this series of photographs has yet to be explored in its entirety. Over the past five years, Shore has scanned hundreds of negatives shot between 1973 and 1981. In this volume, Aperture has invited an international group of fifteen photographers, curators, authors, and cultural figures to select ten images apiece from this rarely seen cache of images. Each portfolio offers an idiosyncratic and revealing commentary on why this body of work continues to astound; how it has impacted the work of new generations of photography and the medium at large; and proposes new insight on Shore’s unique vision of America as transmuted in this totemic series.
Texts and image selections by Wes Anderson, Quentin Bajac, David Campany, Paul Graham, Guido Guidi, Takashi Homma, An-My Leê, Michael Lesy, Hans Ulrich Obrist, Francine Prose, Ed Ruscha, Britt Salvesen, Taryn Simon, Thomas Struth, and Lynne Tillman

Clive Phillpot has been a tireless advocate for the artist’s book for more than 40 years–both as a critic, curator and editor, and in his tenure as director at the library of The Museum of Modern Art in the late 1970s, where he built the library’s collection of artist’s books and mapped out the field with influential essays that traced its ancestry and distinguished it from seemingly similar genres such as the livre d’artiste. As he has delineated the genre: “Artists’ books are understood to be books or booklets produced by the artist using mass-production methods, and in (theoretically) unlimited numbers, in which the artist documents or realizes art ideas or artworks.” Also collaborating with Printed Matter and Franklin Furnace, among other places dedicated to the medium of the book, Phillpot helped raise awareness of artists’ books, endowing them with the critical credentials to enter the collections of museums. Booktrek gathers for the first time Phillpot’s essays on the definition and development of artists’ books from 1972 to the present–historical texts, manifestos, catalogue entries and essays on works by Ed Ruscha, Sol LeWitt, Dieter Roth and Richard Long. Booktrek will prove an invaluable reference for all those interested in the evolution of the artist’s book, and offers a crucial account of the genre’s ascent.

The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot’s The Pencil of Nature heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal, if sometimes conflicted partnership, with the written word.

In this book, practicing photographers and writers across several fields of scholarship share a range of fresh approaches to reading the photobook, developing new ways of understanding how meaning is shaped by an image’s interaction with its text and context, and engaging with the visual, tactile, and interactive experience of the photobook in all its dimensions. Through close studies of individual works, the photobook, from fetishized objet d’art to cheaply-printed booklet, is explored and its unique creative and cultural contributions celebrated.

For writer, critic and artist John Miller, the issue of the production-reception of a work of art is a genuine dialectic. He argues that the artist has no choice but to address the sociopolitical questions and the ideological apparatuses linked to the production of cultural “artefacts.” Hence, his witty title, drawing attention to art as commodity. From polemical pieces to extensive theoretical essays to studies of Ed Ruscha, Bruce Nauman, Richard Artschwager and John Baldessari, the texts collected here respond to the ongoing collision of aesthetics and exchange value. Throughout, Miller draws upon his seemingly inexhaustible knowledge of art history, theory and popular culture. As critic Bruce Hainley has written in Artforum, “Miller’s essays are a pungent intervention into the ideologies of beauty, representation and looking.”

Spanning from Minimalism to Land Art, this selection of the most important drawings from the Marzona Collection at the Staatliche Museen zu Berlin features key American and European works, as well as all sorts of related studies and ephemera. Artists: Vito Acconci, Carl Andre, Giovanni Anselmo, Stephen Antonakos, Art & Language, David Askevold, Robert Barry, Ronald Bladen, Mel Bochner, Bill Bollinger, Stanley Brouwn, James Lee Byars, Jacques Charlier, Hanne Darboven, Walter de Maria, Jan Dibbets, Peter Downsbrough, Hamish Fulton, Gilbert & George, Michael Heizer, Douglas Huebler, On Kawara, Joseph Kosuth, Iannis Kounellis, Gary Kuehn, Barry Le Va, Sol LeWitt, Richard Long, Gordon Matta-Clark, Mario Merz, Robert Morris, Bruce Nauman, Dennis Oppenheim, Blinky Palermo, Giulio Paolini, Anne and Patrick Poirier, David Rabinowitch, Mel Ramsden, Ulrich Rückriem, Edward Ruscha, Reiner Ruthenbeck, Fred Sandback, Gerry Schum, Robert Smithson, Lawrence Weiner,

In 2009, the revered Swiss art publication and editions publisher, Parkett, celebrates its quarter-centenary with a comprehensive retrospective collecting all 200 of the artists editions it has produced since 1984. (They include Tomma Abts, Maurizio Cattelan, John Currin, Peter Fischli/David Weiss, Nan Goldin, Dan Graham, Wade Guyton, Zoe Leonard, Paul McCarthy, Marilyn Minter, Cady Noland, Raymond Pettibon, Richard Prince, Charles Ray, Gerhard Richter, Pipilotti Rist, Ed Ruscha, Dana Schutz, Hiroshi Sugimoto and Christopher Wool, to name just a few.) Originating at the celebrated SANAA-designed 21st Century Museum of Contemporary Art in Kanazawa, Japan, the exhibition builds on previous retrospectives held at Kunsthaus Zurich (2005), the Irish Museum of Modern Art (2002), The Museum of Modern Art, New York (2001), and Whitechapel Art Gallery, London (2001). “Commissioned by Parkett, the most important artists of our time have created editions that represent the essence of their art or reveal an unexpected dimension… the works cover every possible medium including painting, photographs, drawings, prints, sculptures, videos, DVDs, and sound pieces,” wrote Whitechapel’s Iwona Blazwick in 2001. Weighing in at more than 450 pages, this super-collectible catalogue raisonne, produced in conjunction with the 21st Century Museum of Contemporary Art, is the most comprehensive catalogue ever produced on Parkett’s fabled editions. As such, it is a unique document of today’s art.

This long-overdue volume highlights a selection of writings and artists’ projects from Real Life magazine, a seminal 1980s periodical edited by the artist, writer and curator Thomas Lawson and writer Susan Morgan. Published in 23 intermittent black-and-white issues from 1979-1994, Real Life was devoted to providing an outlet for a circle of artists who did not feel properly represented in the mainstream art world at the time–many of whom are now grouped with the Pictures and Post-Pictures artists. The anthology features both artists and art historians writing on art, media and popular culture–oftentimes infusing a new kind of humor into their cultural critiques–as well as original pictorial contributions. It includes writings by and about Eric Bogosian, Kim Gordon, Dan Graham, Barbara Kruger, Thomas Lawson, Allan McCollum, John Miller, Matt Mullican, Richard Prince, David Robbins, Michael Smith, Ed Ruscha, Jeff Wall and Lawrence Weiner, to name a few, as well as visual projects by Sherrie Levine, James Welling, Felix Gonzalez-Torres and Group Material, among others.

Los Angeles is a city of dualities-sunshine and noir, coastline beaches and urban grit, natural beauty and suburban sprawl, the obvious and the hidden. Both Sides of Sunset: Photographing Los Angeles reveals these dualities and more, in images captured by master photographers such as Bruce Davidson, Lee Friedlander, Daido Moriyama, Julius Shulman and Garry Winogrand, as well as many younger artists, among them Matthew Brandt, Katy Grannan, Alex Israel, Lise Sarfati and Ed Templeton, just to name a few. Taken together, these individual views by more than 130 artists form a collective vision of a place where myth and reality are often indistinguishable. Spinning off the highly acclaimed Looking at Los Angeles (Metropolis Books, 2005), Both Sides of Sunset presents an updated and equally unromantic vision of this beloved and scorned metropolis. In the years since the first book was published, the artistic landscape of Los Angeles has flourished and evolved. The extraordinary Getty Museum project Pacific Standard Time: Art in L.A. 1945-1980 focused global attention on the city’s artistic heritage, and this interest has only continued to grow. Both Sides of Sunset showcases many of the artists featured in the original book-such as Lewis Baltz, Catherine Opie, Stephen Shore and James Welling-but also incorporates new images that portray a city that is at once unhinged and driven by irrepressible exuberance. Proceeds from the sale of the book will benefit Inner-City Arts-an oasis of learning, achievement and creativity in the heart of Los Angeles’ Skid Row that brings arts education to elementary, middle and high school students.

“Hotel Carlton Palace Chambre 763” is a printed yellow slipcase / box holding an exhibition brochure and 55 postcards by artists such as: Absalon, Armleder John, Baumgarten Lothar, Bertrand Jean-Pierre, Boetti Alighiero, Boltanski Christian, Bruly-Bouabré , Brandl Herbert, Cattelan Maurizio, Eichorn Maria, Faust Max, Feldmann Hans Peter, Fischli Peter & Weiss David, Friedman Gloria, Fritsch Katharina, Genzken Isa, Gette Paul-Armand, Gilbert & George, Golub Leon, Gonzales-Foerster Dominique, Gonzales-Torres Felix, Gordon Douglas, Hains Raymond, Hirakawa Noritoshi, Hoffmann Leni, Hybert Fabrice, Kabakov Emilia und Ilya, Kawara On, Knowles Alison, Lavier Bertrand, Lehanka M., Lüthi Urs, Marisaldi Eva, Messager Annette, Mühl Otto, Obholzer Walter, Othoniel Jean-Michel, Pippin Steven, Pistoletto Michelangelo, Reed David, Richter Gerhard, Rullier Jean-Jacques, Ruppersberg Allen, Ruscha Ed, Ruthenbeck Rainer, Skala , Slominski Andreas, Spero Nancy, Tiravanija Rikrit, Toroni Niele, Trenet Didier, Weiner Lawrence, Wentworth Richard, West Franz.

“Every Building on the Ginza Street” is Takashi Homma’s 9th entry in his hommage series to Ed Ruscha. Inspired by / An answer to Ruscha’s 1966 photobook “Every Building on the Sunset Strip” (itself possibly a response to the 1954 book “Ginza Haccho” with photos by Yoshikazu Suzuki), Homma photographed every building on each side of Tokyo’s Ginza street on one night in 2019 and presents the photographs as an accordion-style foldout photobook. The book is available in a monochrome (standard) edition and a signed, limited version (100 copies) in which the photographs are in color.

Beloved by collectors and scholars alike, Steven Leiber’s beautiful bookseller catalogs shaped the canon of publications by artists Steven Leiber was a pioneering San Francisco art dealer, collector and gallerist who specialized in the dematerialized art practices of the 1960s and 1970s and the ephemera and documentation spawned by conceptual art and other postwar movements. To sell this material, Leiber produced a series of 52 iconic catalogs between 1992 and 2010. Far from your ordinary dealer catalog, Leiber’s catalogs paid homage to the kind of historic printed matter that he bought and sold, mimicking iconic publications like Wallace Berman’s Semina journal and the exhibition catalog for Documenta V (1972). Leiber’s reputation spread via these unique volumes, which included works by John Baldessari, Lynda Benglis, Ray Johnson, Lucy Lippard, Allan Kaprow, Yayoi Kusama, Claes Oldenburg, Ed Ruscha, Lawrence Weiner and many more. Across 252 pages, this book documents the full set of 52 dealer catalogs produced by Steven Leiber between 1992 and 2010. Inspired by Leiber’s often humorous borrowing for his catalog designs, the book’s format references Sol LeWitt’s Autobiography and includes an essay and contextual notes by SFMOMA Head Librarian David Senior. Additional contributors include Ann Butler, Christophe Cherix, Marc Fischer, Adam Michaels, Tom Patchett, David Platzker, Marcia Reed, Lawrence Rinder and Robin Wright.

At some point before publication, a book assumes its final form, the form in which it is experienced by its audience. Naturally, this audience is often oblivious to the many, sometimes complex, decisions involved in constructing visual meaning through the montage of different ideas and elements. But, although these deliberate decisions are not normally communicated to the audience, the book is always to some extent a conception, or mediated presentation.             The contributors to Before Publication consider the construction of visual meaning through montage, with each essay taking as its starting point a particular artifact—from Ed Ruscha’s photobook, Every Building on the Sunset Strip to works by Sergei Eisenstein, Muriel Cooper, and Marshall McLuhan to Tristan Tzara’s unpublished Dadaglobe anthology. A common theme threading throughout the chapters is the relationship between privacy and publicity. A concise introductory chapter by the book’s editors, Nanni Baltzer and Martino Stierli places the chapters in conversation and discusses the broader subject of montage in art, architecture, and book design.

The accompanying volume to an exhibition of Robert Rauschenberg’s personal collection, held at Gagosian Gallery, New York. Expanding upon the exhibition at Gagosian Gallery in New York (2011), this book doubles as an accompanying “reader” and features works by over sixty-five artists from Rauschenberg’s collection, including Joseph Beuys, Mathew Brady, Alexander Calder, Jim Dine, Jasper Johns, Brice Marden, Henri Matisse, Ed Ruscha, Cy Twombly, and Andy Warhol. Art historian and scholar Robert Storr contributes an essay focusing on Rauschenberg’s inspirations, friendships, and affinities as well as their myriad of interrelations. Biographies of each artist written by Mimi Thompson complement the illustrations of artworks and rare archival photographs, and show the influence of the artist’s work within Rauschenberg’s unique collection.

Catalogue for exhibition at the Musée d’Art Moderne de la Ville de Paris, Paris, France, November 22, 1989 – February 18, 1990. Preface by Suzanne Pagé. Essays by Claude Gintz, Benjamin H.D. Buchloh, Charles Harrison, Gabriele Guercio and Seth Siegelaub. Includes bibliography. Illustrated in black-and-white. First edition includes text, in English, by Joseph Kosuth in response to Buchloh’s essay printed on sticker and affixed to page 54. Artists include: Art & Language, Michael Asher, John Baldessari, Robert Barry, Mel Bochner, Alighiero E Boetti, Marcel Broodthaers, Stanley Brouwn, Daniel Buren, Victor Burgin, Andre Cadere, Hanne Darboven, Jan Dibbets, Marcel Duchamp, Dan Flavin, Dan Graham, Hans Haacke, Eva Hesse, Douglas Huebler, Jasper Johns, On Kawara, Yves Klein, Joseph Kosuth, Sol LeWitt, Piero Manzoni, Robert Morris, Bruce Nauman, Claes Oldenburg, Roman Opalka, Adrian Piper, Robert Rauschenberg, Edward Ruscha, Robert Smithson, Bernar Venet, Lawrence Weiner, Ian Wilson, Art & Project. Texts in English and French

The New York proto-punk zine that defined postconceptualism, now in a facsimile edition

Edited by Walter Robinson, Edit DeAk and Joshua Cohn, Art-Rite was published in New York City between 1973 and 1978. The periodical has long been celebrated for its underground/overground position and its cutting, humorous, on-the-streets coverage and critique of the art world. Art-Rite moved easily through the expansive community it mapped out, paying homage to an emergent generation of artists, including many who were―or would soon become―the defining voices of the era. Through hundreds of interviews, reviews, statements and projects for the page―as well as artist-focused and thematic issues on video, painting, performance and artists’ books―Art-Rite‘s sharp editorial vision and commitment to holding up the work of artists stands as a meaningful and lasting contribution to the art history of New York and beyond. All issues of Art-Rite are collected in this volume.

Artists include: Vito Acconci, Kathy Acker, Bas Jan Ader, Laurie Anderson, John Baldessari, Gregory Battcock, Lynda Benglis, Mel Bochner, Marcel Broodthaers, Trisha Brown, Chris Burden, Scott Burton, Ulises Carrión, Judy Chicago, Lucinda Childs, Christo, Diego Cortez, Hanne Darboven, Agnes Denes, Ralston Farina, Richard Foreman, Peggy Gale, Gilbert & George, John Giorno, Philip Glass, Leon Golub, Peter Grass, Julia Heyward, Nancy Holt, Ray Johnson, Joan Jonas, Richard Kern, Lee Krasner, Shigeko Kubota, Les Levine, Sol LeWitt, Lucy Lippard, Babette Mangolte, Brice Marden, Agnes Martin, Gordon Matta-Clark, Rosemary Mayer, Annette Messager, Elizabeth Murray, Alice Neel, Brian O’Doherty, Genesis P-Orridge, Nam June Paik, Charlemagne Palestine, Judy Pfaff, Lil Picard, Yvonne Rainer, Dorothea Rockburne, Ed Ruscha, Robert Ryman, David Salle, Carolee Schneemann, Richard Serra, Jack Smith, Patti Smith, Robert Smithson, Holly Solomon, Naomi Spector, Nancy Spero, Pat Steir, Frank Stella, Alan Suicide (Vega), David Tremlett, Richard Tuttle, Andy Warhol, William Wegman, Lawrence Weiner, Hannah Wilke, Robert Wilson, Yuri and Irene von Zahn.

An artist’s book consisting of photographs of the intersections along Los Angeles’ famous Sunset Strip, in direct reference to Ed Ruscha’s classic book Every Building on the Sunset Strip.

In 1954 Japanese writer and artist Shohachi Kimura published GINZA HACCHO, with photographs by Yoshikazu Suzuki of every building on Ginza Street in Tokyo as an accordion foldout book. Twelve years later, Ed Ruscha published EVERY BUILDING ON THE SUNSET STRIP in almost exactly the same style. While the latter has become a touchstone of conceptual publications and artists’ books, its predecessor remains largely unknown. Appropriating Shohachi Kimura’s (and Ed Ruscha’s) work, Michalis Pichler’s accordion-folded book opens up to a fourteen-foot strip of photographs of EVERY BUILDING ON THE GINZA STREET of today, each building identified by a street number. Crossroads are also identified with captions. Photographed from a car driving past, the individual photos were then pasted together to make the long accordion fold. Paper joins are visible throughout the book. Pichler’s version offers a modern update, depicting Ginza street in contemporary Tokyo, where the facades are dominated by glamorous high-end global fashion and luxury brands mixed with local heavyweights: SWAROWSKI, Folli Follie, MONTBLANC, YAMAHA, RIMOVA, ZARA, CÉLINE, G SIX, VALENTINO, FENDI, GEOX, PRADA, SONY, NISSAN, MITSUKOSHI, MATSUYA GINZA and LOUIS VUITTON dominating a whole block, BULGARI, TIFFANY, NOVARESE, UGG, KIRA RITO GINZA, Samsonite, Tocca and others on the East-Side. On the West-Side, the parade of by commercial name-dropping includes familiar, festaria, LOUNIE, SHISEIDO, VACHERON CONSTANTINE, DAMIANI, onitsuka tiger, PANDORA, PIAGET, LLADRÓ, Chloé, Abercombie & Fitch, MINX, Yoshinoya, DIANA, UNIQLO, I-PRIMO, SoftBank, GU, TASAKI, MIKIMOTO, MICHAEL KORS, FURLA, CHAUMET, CHANEL, Cartier, AOYAMA, ALFRED DUNHILL, Ermenegildo Zegna, miu miu, POLA, and GINZA TANAKA. Within Pichler’s body of work EVERY BUILDING ON THE GINZA STRIP / GINZA HACCHO represents a piece of serial photography, urban phenomenology, ambiguous social critique and art history karaoke. In a critical essay on appropriation (2009), Pichler discussed techniques of appropriation employed (often combined) in books today, and related the books of Ed Ruscha to its Japanese predecessors.

Exhibition catalogue published in conjunction with show held in July 1971. Organized by Jorge Glusberg. Artists include Vito Acconci, Eleanor Antin, Arakawa, Sue Arrowsmith, David Askevold, Walter Ave, John Baldessari, Manuel Barbadillo, Robert Barry, Otto Beckmann, Luis Benedit, Mel Bochner, Christian Boltanski, Ian Breakwell, Eugen Brikcius, Stuart Brisley, Stanley Brouwn, Donald Burgy, Don Celender, Jürgen Claus, James Collins, Christo, Agnes Denes, Mirtha Dermisache, Antonio Dias, Geniy Dignac, Gregorio Dujovny, David Dye, Stano Filko, Barry Flanagan, Terry Fox, Dr. Herbert Franke, Ken Friedman, Hamish Fulton, Nicolás Garcia Uriburu, Jochen Gerz, Gilbert & George, Carlos Ginzburg, Jorge González Mir, Dan Graham, Víctor Grippo, Klaus Groh, Hans Haacke, Olaf Hanel, Rafael Hastings, Douglas Huebler, Peter Hutchinson, Alain Jacquet, Richards Jarden, Allan Kaprow, On Kawara, Michael Kirby, Alain Kirili, Dusan Klimes, J.H. Kocman, Joseph Kosuth, Uzi Kotler, Christie Kozlov, Alexis Rafael Krasilovsky, Josef Kroutvor, Peter Kuttner, David Lamelas, John Latham, Auro Lecci, Les Levine, Richard Long, Lea Lublin, Jorge de Luján Gutiérrez, Mario Mariño, Vicente Marotta, Charles Mattox, Mario Merz, Mauricio Nannucci, Georg Nees, Dennis Oppenheim, Marie Orensanz, Luis Pazos, Alberto Pellegrino, Alfredo Portillos, Juan Pablo Renzi, Dorothea Rockburne, Juan Carlos Romero, Edward Ruscha, Bernardo Salcedo, Jean Michel Sanéjouand, Richard Serra, Petr Stembera, Clorindo Testa, Antonio Trotta, Timm Ulrichs, Franco Vaccari, Jiri Valoch, John van Saun, Bernar Venet, Edgardo Antonio Vigo, Lawrence Weiner, Ian Wilson, Robert Wittmann, William Woodrow and Gilberto Zorio. Includes biographies of the artists. Text in English and Spanish.

“Catalogue of an exhibition curated by Kynaston McShine and held at MoMA in New York between 2 July and 20 September 1970. The exhibition presented videos and installations by 100 American and European artists (e.g. Vito Acconci, Art & Language, Daniel Buren, Jan Dibbets, Hans Haacke, Dennis Oppenheim, Edward Ruscha, Robert Smithson, or Jeff Wall). It included an early example of dealing with publicly accessible archives within the context of an exhibition and some of the participating artists confronted the issues of political and media based contents: Haacke established MoMA Poll as a first link between the areas of politics and the museum by presenting an open poll on the way the Rockefeller family acted with regard to Nixon’s plans in Indochina. “With an artworld that knows more readily about current work, through reproductions and the wide dissemination of information via periodicals, and that has been altered by television, films and satellites, as well as the jet, it is now possible for artists to be truly international; exchange with their peers is now comparatively simple. The art historian s problem of who did what first is almost getting to the point of having to date by the hour. Increasingly artists use mail, telegrams, telex machines, etc., for transmission of works themselves photographs, films, documents or of information about their activity. For both artists and their public it is a stimulating and open situation, and certainly less parochial than even five years ago.It is no longer imperative for an artist to be in Paris or New York. Those far from the art centers contribute more easily, without the ooften artificial protocol that at one time seemed essential for recognition.” (source: Kynaston McShine, “Introduction to Information”, in the catalogue).

This exhibition catalogue, published by the Musée d’Art Modern of Paris in 1981, includes works by Bill Beckley, Hilla and Bernd Becher, Christian Boltanski, Victor Burgin, James Collins, Chérif and Silvie Defraoui, Stefan de Jaeger, Jan Dibbets, Tom Drahos, Hans Peter Feldmann, Hamish Fulton, Paul-Armand Gette, Jochen Gerz, Luigi Ghirri, Gibert and George, Jan Groover, David Haxton, John Hillard, Nicolas Hondrogen, Les Krims, Edmund Kuppel, Jean Le Gac, Barbara and Michael Leisgen, Annette Messager, Giuseppe Penone, Richard Prince, Arnulf Reiner, Edward Ruscha, Sarkis, Cindy Sherman, Michael Snow, Eve Sonneman, Bruno Stevens, William Wegman, and Michele Zaza.

The camera’s romance with the car: a photo history

Autophoto explores photography’s longstanding and generative relationship to the automobile. Since its invention, the automobile has reshaped our landscape, extended our geographic horizons and radically altered our conception of space and time, influencing the practice of photographers worldwide.
The book shows how the car provided photographers with new subject matter and a new way of exploring the world. It brings together 500 works made by 100 historical and contemporary artists from around the world, including Robert Adams, Brassaï, Edward Burtynsky, Langdon Clay, John Divola, Robert Doisneau, William Eggleston, Elliott Erwitt, Walker Evans, Robert Frank, Lee Friedlander, Anthony Hernandez, Yasuhiro Ishimoto, Jacques Henri Lartigue, Joel Meyerowitz, Daido Moriyama, Catherine Opie, Martin Parr, Rosângela Rennó, Ed Ruscha, Hans-Christian Schink, Malick Sidibé, Stephen Shore and Henry Wessel.
Capturing formal qualities such as the geometric design of roadways or reflections in a rear view mirror, these photographers invite us to look at the world of the automobile in a new way. Autophoto also includes other projects, such as a series of car models that cast a fresh eye on the history of automobile design, created specifically for the Fondation Cartier show by French artist Alain Bublex, plus a comparative history of automobile design and photography, essays by scholars and quotes by participating artists.

This book presents 123 calling cards of artists (painters, sculptors, photographers, architects, graphic designers, illustrators etc.) from the 18th century to the present day. The facsimiled cards are slipped like bookmarks into a book by several authors on the history of the use of calling cards, the social context in which they were produced, and related historical and fictional narratives. The often unexpected graphic qualities of these personalized objects, each designed to capture an individual identity within the narrow confines of a tiny rectangle card, implicitly recount a history of taste and typographic codes in the West. But this calling card collection also lays the foundations for a microhistory of art, inspired by the Italian microstoria, or a looser narrative that breaks free from geographic contexts and historical periods. We can imagine how social networks were formed before the advent of Facebook, and how artists defined themselves in the social sphere, whether they were students or teachers, dean of the art school or museum curator, founder of a journal, firm, restaurant or political party, and so on. Superimposed on this imaginary or idealized network formed by chance encounters is a living network of students of art or history, historians or anthropologists, librarians, archivists, gallerists, museum curators and artists themselves, the network upon which this pocket museum is constructed. The sheer variety of perspectives and stories brought together here makes this book a prodigious forum for discussion. The carded artists include: Absalon, Anni and Josef Albers, John Armleder, Iain Baxter, Larry Bell, Joseph Beuys, Joseph Binder, Max Bill, Pierrette Bloch, Rosa Bonheur, Irma Boom, Aglaüs Bouvenne, Constantin Brancusi, Marcel Broodthaers, Antonio Canova, Caran d’Ache, A.M. Cassandre, Chenue malletier, Iris Clert, Claude Closky, Le Corbusier, Silvie Défraoui, Sonia Delaunay, Fortunato Depero, Marcel Duchamp, A.R. Dunton, Céline Duval, Nathalie Du Pasquier, Yan Duyvendak, Daniel Eatock, Edward Fella, Sylvie Fleury, Schwestern Flöge, Piero Fornasetti, Hans Frank, Lene Frank, Emile Gallé, General Idea, Dan Graham, Wolfgang von Gœthe, Jean-Baptiste Greuze, Walter Gropius, Guerrilla Girls, Hector Guimard, Friedrich Haeffcke, Raymond Hains, Keith Haring, Raoul Hausmann, John Heartfield, Anton Herrgesell, Jean-Auguste-Dominique Ingres, Ray Johnson, Ana Jotta, Wassily Kandinsky, André Kertész, Martin Kippenberger, Paul Klee, Johann Adam Klein, Yves Klein, Július Koller, Joseph Kosuth, Yayoi Kusama, Carl Gotthard Langhans, Fernand Léger, Pierre Leguillon, George Maciunas, Robert Mallet-Stevens, Edouard Manet, Piero Manzoni, Christian Marclay, Filippo Tommaso Marinetti, Karel Martens, Annette Messager, Lucia Moholy, Piet Mondrian, Valérie Mréjen, Félix Nadar, Isamu Noguchi, The Offices of Jenny Holzer, Peter Nadin, Richard Prince and al., Yoko Ono, Claes Oldenburg, Nam June Paik, Francis Picabia, Adrian Piper, Emil Pirchan, Man Ray, Les ready made appartiennent à tout le monde®, Carl August Reinhardt, Gerrit Rietveld, Auguste Rodin, Edward Ruscha, Alexander Search, Willem Sandberg, Erik Satie, Gino Severini, Johan Gottfried Schadow, Egon Schiele, Oskar Schlemmer, Käthe Schmidt, Roman Signer, Alec Soth, Gertrude Stein and Alice Toklas, Jack Smith, Hélène Smith, Harald Szeemann, Sophie Taeuber, Karel Teige, Oliviero Toscani, Theo van Doesburg, Roman Vishniac, Andy Warhol, Weegee, Neill Whistler, Heimo Zobernig, Piet Zwart, Emmy Zweybrück Prochaska With texts by: Samuel Adams, Damarice Amao, Daniel Baumann, Stuart Bertolotti-Bailey, Géraldine Beck, Paul Bernard, Christian Besson, Christianna Bonin, Véronique Borgeaud, Marie de Brugerolle, Garance Chabert, Kyrill Charbonnel, Yann Chateigné, Manuel Cirauqui, Chiara Costa, Caroline Coutau, Jean-Baptiste Delorme, Carla Demierre, Dakota DeVos, Corinne Diserens, Eva Fabbris, Patricia Falguières, Arthur Fink, Sophie Gayerie, Kati Gegenheimer, Mark Thomas Gibson, Nicolas Giraud, Victor Guégan, Andrea Gyorody, Nastassja Haidinger, Dean Inkster, Aurélie Jacquet, Elisabeth Jobin, Vincent Jolivet, Moritz Küng, Angela Lampe, Charlotte Laubard, Anaël Lejeune, Quentin Lannes, Pierre Leguillon, Charlotte Magnin, Nicole Marchand-Zañartu, Valérie Mavridorakis, Aurélien Mole, Michael J. Moore, Adrien Mouginot, Christiane Mühlegger, Émilie Parendeau, Ying Sze Pek, Corine Pencenat, Mathias Pfund, Fabien Pinaroli, Raphaël Pirenne, Paulo Pires do Vale, Carrie Pilto, Frans Postma, Jeanne Quéheillard, Fabienne Radi, Ivan Ristić, Vincent de Roguin, Paul-Louis Roubert, Margot Sanitas, Gilles Saussier, Elana Shapira, Klaus-Peter Speidel, Friedrich Tietjen, Rebecca Topakian, Gesine Tosin, Xiaoda Wang, Christophe Wavelet, David Zerbib, Célia Zuber.
Co-published by HEAD – Genève (Geneva University of Art and Design) and Edition Patrick Frey under the patronage of the Museum of Mistakes Editors: Pierre Leguillon in collaboration with Barbara Fédier and Kyrill Charbonnel, Pauline Cordier, Aurélie Jacquet, Aline Melaet, Anaïs Perez, and Charlotte Schaer, students of WorkMaster at HEAD – Genève

Milk and Melancholy looks at milk through the lens of photography and from the angle of art. Specifically, it considers the milk splash in all its manifestations, representations, and variations, tracing the complex flow of the image in works ranging from Harold Edgerton’s milk drop coronet to Jeff Wall’s exploding milk carton. In Milk and Melancholy, Kenneth Hayes considers milk as corporate advertising’s mustache of health; as the antiwine; as a complex mixture of fat, protein, corpuscles, lactose, chyle, and plasma that lacks darkness but lacks also the morally pure transparency of crystal; and as the luminous middle term between mercury’s glare and water’s transparency. He offers the first-ever history of the “knowledge of splashes,” a history that brings together Goethe’s theory of optics, the invention of the stroboscope, and the milk paint dripped by Jackson Pollock in the 1940s. Taking Edgerton’s famous photograph as a starting point, Hayes tracks its influence in the infinite variety of representations of milk in the work of more than twenty artists including Pollock, Ed Ruscha, Barbara Kruger, Bruce Nauman, Adrian Piper, Martha Rosler, Mike Kelley, and William Wegman. More than 100 images, most of them in color and all of them exquisitely reproduced, illustrate Hayes’s text. With this book, a splash in its own right, we will never see milk as a mere grocery item again. Milk and Melancholy is the first book from Prefix Institute of Contemporary Art, publisher of the award-winning magazine Prefix Photo.Artists include David Askevold, John Baldessari, Iain Baxter, Braco Dimitrijevic Harold Edgerton, General Idea, Gilbert and George, Jack Goldstein, Mike Kelley, Barbara Kruger, David Lamelas, Bruce Nauman, Adrian Piper, Sigmar Polke, Jackson Pollock Richard Prince, Martha Rosler, Ed Ruscha, Andres Serrano, Jeff Wall, William Wegman, A. M. Worthington

The first English translation of a famous 1972 debate between Dutch graphic designers Wim Crouwel and Jan van Toorn, a public clash of subjectivity versus objectivity at Amsterdam’s Museum Fodor that helped set the stage for bold philosophical showdowns to come in design culture.
Held in response to an exhibition of Van Toorn’s work at Stedelijk Museum, including student posters protesting the Vietnam War—in an era of youth culture and increasing resistance to authority, capitalism, and the power of media—the stakes were aesthetic, ethical, and politically charged.
Crouwel defended his approach of neutrality and austere rationalism, attention to typography and worksmanship, and professionalism in service of the client’s message. Van Toorn argued for his use of chaos, collage, and photographs of everyday life; that a designer’s ideas, personality, and political commitments are integral to the work.
Dialogue on The Debate has reverberated in graphic design circles for the four decades since, and it is often referenced in modern design criticism as a key marker for the philosophical positions that continue to define the profession. The first English transcript of this key event in design history will allow a contemporary audience to discover the ongoing relevance of The Debate in an increasingly complex visual culture.
Along with the transcript, this pocket-sized clothbound book contains a foreword by prominent design critic Rick Poynor, and essays from Dutch design historian Frederike Huygen, who discusses the historical context of the debate, and curator Dingenus van de Vrie, who looks more closely at these two giants’ different perspectives on graphic design. A color gallery juxtaposes a representative selection from the oeuvres of Crouwel and Van Toorn, including exhibition designs, calendars, posters, brochures, artist book designs, postal stamps, and fascinating works such as the script of a 1969 stage production based on a story by Jorge Luis Borges, sealed in a tin can, and a many-gatefolded catalog for Ed Ruscha’s “Dutch Details” at Groninger Museum.

This beautiful, hefty catalogue of the most important works from one of the world’s finest collections of Minimal, Arte Povera and Conceptual art includes work by Carl Andre, John Baldessari, Marcel Broedthaers, Hanne Darboven, Gilbert & George, Donald Judd, On Kawara, Mike Kelley, Martin Kippenberger, Joseph Kosuth, Sol LeWitt, Bruce Nauman, Gerhard Richter, Ed Ruscha, Robert Ryman, Robert Smithson and Lawrence Weiner, among others. In her essay, the esteemed independent curator and art historian Anne Rorimer writes, “Such is the breadth and depth of the Herbert Collection that an entire book on the art of the 1960s and 1970s could be written based on the many exemplary works included in it. As a group, works in the collection point to the revolutionary activity occurring at a time when long-held conventions associated with painting and sculpture were being questioned or overturned in the interest of aesthetic renewal. Each work, separately, speaks volumes about innovations in art production labeled by terms such as Minimal art, Arte Povera or Conceptual art. These terms, although by no means carved in stone, identify shared methods and goals pursued by artists on both sides of the Atlantic during the years leading up to and extending beyond 1968.

Exhibition catalogue published in conjunction with the Encuentros de Arte Pamplona Festival, June 26 – July 3, 1972, which intended to bring avant-garde art to the public. Nearly every other page is a foldout displaying the work of the exhibition’s 350 participants, among whom were John Cage, Man Ray, Luis Buñuel, Vito Acconci, Ed Ruscha, Dana Reitz, Eduardo Chillida, Shusaku Arakawa, Iannis Xenakis, and Juan Hidalgo. Also contains a schedule of the week’s events and transparent plastic projector sheets listing the exhibition’s organizers. Pages printed in color, black-and-white, and monochrome.

Documenta 5 by Jef Cornelis is the second title of the new “Archives” collection, which is dedicated to landmark exhibitions and curatorial practices, and which provides reference material and moving images to a growing field of research, that of curatorial studies and exhibition history. Held in Kassel between June and October 1972, “Documenta 5” was curated by “master–curator” Harald Szeemann and remains one of the most important international exhibitions of the past few decades. Entitled “Interrogation of Reality—Picture Worlds Today,” it brought together works by Marcel Broodthaers, Christian Boltanski, Arnulf Rainer, Claes Oldenburg, Gerhard Richter, and Ed Ruscha, and could be called the first exhibition as a spectacle. Introducing the different sections (“Artist’s Museum,” “Individual Mythologies,” etc.) and protagonists, the film is both a report on trends and pacesetters of the time, as well as an approach to the phenomenon of Documenta, questioning the definitions of exhibition maker, artist, exhibition, contemporary art.

A directory of the requests, addresses and index to the decentralized files and corres-sponge dance network compiled by Vancouver’s Image Bank from January 1970 to November 1972; requests originally appeared in File Magazine. A fascinating archive of the 1970s West Coast, and international, conceptual art scene and mail-art networking. Includes requests for images by Gilbert and George; Iain Baxter/N.E. Thing Co.; Joseph Beuys; bill bissett; William Burroughs; Christos Dikeakos; Arthur Erickson; Joe Fafard; Philip Glass; Sol Lewitt; Lucy Lippard; Gordon Matta; Robert Rauschenberg; Ed Ruscha; Ian Wallace; Joyce Wielan, among many, many others, with their mailing addresses.

#1 “The Opening Salvo” Richard Kostelanetz and Henry Korn, editors (1970) “Assembling: A cooperative annual magazine of the unpublished and the unpublishable – selected and printed by the contributors. Compiled by Richard Kostelanetz and Henry James Korn… Contributors were invited to submit 1000 copies of up to four 8.5 x 11 in. pages of anything they wanted to include, printed at their own expense on any paper by any means…” – from introduction. Contributions to this issue include original works by Vito Acconci, Tom Ahern, Arakawa, Lee Baxandall, Gay Beste, George Chambers, Marvin Cohen, Regina Cohen, Mad Dog, Raymond Federman, Rosalie Frank, Paul Friedman, Madeline Gins, Elizabet Ginsberg, Dan Graham, Aime Rene Groulx, Jan Jacob Herman, Roni Hoffman, Scott Hyde, David Ignatow, Arno Karlen, Lynn P. Kohl, Henry J. Korn, Richard Kostelanetz, Robert Lax, Arthur Layzer, Bernadett Mayer, Carole S. McCauley, Peter Melnick, Richard Meltzer, Michael Metz, Elana Nachman, Liam O’Gallagher, Michael J. Phillips, Edward Ruscha, Alan Sondheim, Ronald M. Spatz, K. & R. Waldrop, Nancy Weber, Hannah Weiner, Steve Welte, Stephen Wiest

In Under Blue Cup, Rosalind Krauss explores the relation of aesthetic mediums to memory–her own memory having been severely tested by a ruptured aneurysm that temporarily washed away much of her short-term memory. (The title, Under Blue Cup, comes from the legend on a flash card she used as a mnemonic tool during cognitive therapy.) Krauss emphasizes the medium as a form of remembering; contemporary artists in what she terms the “post-medium” condition reject that scaffolding. Krauss explains the historical emergence of the post-medium condition and describes alternatives to its aesthetic meaninglessness, examining works by “knights of the medium”–contemporary artists who extend the life of the specific medium. These artists–including Ed Ruscha, William Kentridge, Sophie Calle, Harun Farocki, Christian Marclay, and James Coleman–reinstate the recursive rules of a modernist medium by inventing what Krauss terms new technical supports, battling the aesthetic meaninglessness of the post-medium condition. The “technical support” is an underlying ground for aesthetic practice that supports the work of art as canvas supported oil paint. The technical support for Ruscha’s fascination with gas stations and parking lots is the automobile; for Kentridge, the animated film; for Calle, photojournalism; for Coleman, a modification of PowerPoint; for Marclay, synchronous sound. Their work, Krauss argues, recuperates more than a century of modernist practice. The work of the post-medium condition–conceptual art, installation, and relational aesthetics–advances the idea that the “white cube” of the museum or gallery wall is over. Krauss argues that the technical support extends the life of the white cube, restoring autonomy and specificity to the work of art.

Le livre et l’artiste ? Vaste enjeu qui englobe une immense disparité de styles, d’histoires, de concepts, qui voient le jour depuis que ces ouvrages existent, car le livre fait par un artiste est au croisement entre l’univers du livre et celui des arts visuels. Cependant quoi de plus dissemblable qu’un ouvrage d’Edward Ruscha, tel que Twentysix Gasoline Stations et un autre d’Anselm Kiefer, Les Reines de France. Le premier est un tirage en offset, le second, un exemplaire unique. Ce sont pourtant deux livres d’artiste. Entre ces deux livres, il existe tout aussi bien des livres de deux pages, des ouvrages de vingt feuillets en sérigraphie, des ouvrages avec des textes, des ouvrages sans texte, etc. Les interventions du colloque, complémentaires ou parfois contradictoires, montrent le foisonnement esthétique, théorique, développé autour des artistes, quand ils se mettent à s’occuper de ce petit volume rectangulaire d’aspect anodin que l’on trouve le plus souvent sur les tables des librairies : le livre. Ce colloque met aussi en évidence la portée littéraire, artistique théorique de cette famille de livres, grâce à des spécialistes aux compétences variées : artistes, éditeurs, responsables de collections spécialisées, historiens et philosophes.

Contents Peter Eisenman: opening essay on conceptual architecture [pages 1-5] Ant Farm [pages 6-10] Archigram [pages 11-16] Archizoom [pages 17-21] Francois Dallegret [pages 22-28] Haus-Rucker-Company [pages 29-33] Craig Hodgetts [pages 34-36] Les Levine [pages 37-41] Onyx [pages 42-46] Ed Ruscha [pages 47-53]: Five 1965 Girlfriends Super Studio [pages 54-58] Also a special section documenting the Minneapolis conference “Hennepin: The Future of an Avenue”

The accompanying volume to an exhibition of Robert Rauschenberg’s personal collection, held at Gagosian Gallery, New York. Expanding upon the exhibition at Gagosian Gallery in New York (2011), this book doubles as an accompanying “reader” and features works by over sixty-five artists from Rauschenberg’s collection, including Joseph Beuys, Mathew Brady, Alexander Calder, Jim Dine, Jasper Johns, Brice Marden, Henri Matisse, Ed Ruscha, Cy Twombly, and Andy Warhol. Art historian and scholar Robert Storr contributes an essay focusing on Rauschenberg’s inspirations, friendships, and affinities as well as their myriad of interrelations. Biographies of each artist written by Mimi Thompson complement the illustrations of artworks and rare archival photographs, and show the influence of the artist’s work within Rauschenberg’s unique collection.

A collection of artists’ books by: Marina Abramovic, Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Robert Morris, Ida Applebroog, Armando, Sophie Taeuber-Arp, Jean Arp, Richard Artschwager, Enrico Baj, Guido Ballo, John Baldessari, Miroslaw Balka,Balthus, Georg Baselitz, Marius Bauer, Merina Beekman, Joseph Beuys, Marcel Broodthaers, David Bunn, Chris Burden, Eduardo Chillida, Catherine Claeyé, Francesco Clemente, Chuck Close, Jean Cocteau, George Hugnet, Bruce Conner, Michael Craig-Martin, Olafur Eliasson, Max Ernst, Yves Tanguy, Tristan Tzara, Anya Gallaccio, Ryan Gander, Alberto Giacometti, Gilbert & George, Pim van Halem, Jonathan Hammer, Sjoerd Hofstra, John Billingham, Jörg Immendorf, Xu Pei, Rein Jansma, Jasper Johns, Ellsworth Kelly, Paul Klee, Jannis Kounellis, Barbara Kruger, Stephen King, André Lanskoy, Henri Laurens, Richard Long, Kasper Andreasen, Tine Melzer, Christien Meindertsma, Sophie Calle , Constant Nieuwenhuys / Gerrit Kouwenaar, Guiseppe Penone, Sigmar Polke, Ken Price / Charles Bukowski, Robert Rauschenberg, David Sandlin, Koosje Schmeddes, Sean Scully, Kiki Smith, Nicolas de Staël, Antoni Tàpies, Andrea Tippel, Richard Tuttle, Damian van der Velden, herman de vries, Hans Waanders, Kara Walker, Alicja Werbachowska, Christopher Wool, Raymond Pettibon, Paul Éluard, Marino Marini, Alicia Martin, Paul McCarthy, Jason Roades, Jack Milroy, René Char, Henry Moore, Robert Motherwell, Octavio Paz, Roman Ondak, Henk Peeters, Edward Ruscha, Man Ray, Louise Bourgeois, Sonia Delaunay, Wassily Kandinsky, Ellsworth Kelly, Joan Miró, Fernand Leger, Sol LeWitt, Henry Matisse, A.R. Penck, Pablo Picasso, Andy Warhol and Lawrence Weiner.

En 1963 paraît un étonnant petit livre d’images photographiques intitulé Twentysix Gazoline Stations. Signé du peintre californien Edward Ruscha, il est exemplaire d’un genre nouveau : le livre d’artiste. Anne Moeglin-Delcroix rend compte de la naissance et du développement du livre d’artiste aux États-Unis et en Europe en relation avec les avant-gardes des années 1960 et 1970. Parce qu’il est inséparable de l’émergence de l’art dit ” contemporain ”, le livre d’artiste est une excellente introduction à la compréhension de ses principaux enjeux comme à la diversité de ses manifestations. Chaque chapitre aborde le livre d’artiste à la lumière d’un mouvement caractéristique de l’art contemporain qu’il éclaire en retour. Ainsi cette Esthétique du livre d’artiste invite-t-elle à une réflexion sur le livre comme forme artistique autant que comme recherche d’une autre façon de faire de l’art. Cet ouvrage constitue la synthèse la plus large à ce jour de la production internationale. Depuis sa première édition en 1997, il s’est imposé comme l’étude de référence sur le sujet. Pour cette nouvelle édition, le texte, revu et augmenté, s’est enrichi de nombreuses reproductions. Quelques 700 livres y sont recensés (750 illustrations), productions de plus de 500 artistes, parmi lesquels Ruscha, Marcel Broodthaers, Christian Boltanski, Daniel Spoerri…

The extraordinary story of the artists who propelled themselves to international fame in 1960s Los Angeles

Los Angeles, 1960: There was no modern art museum and there were few galleries, which is exactly what a number of daring young artists liked about it, among them Ed Ruscha, David Hockney, Robert Irwin, Bruce Nauman, Judy Chicago and John Baldessari. Freedom from an established way of seeing, making, and marketing art fueled their creativity, which in turn inspired the city. Today Los Angeles has four museums dedicated to contemporary art, around one hundred galleries, and thousands of artists. Here, at last, is the book that tells the saga of how the scene came into being, why a prevailing Los Angeles permissiveness, 1960s-style, spawned countless innovations, including Andy Warhol’s first exhibition, Marcel Duchamp’s first retrospective, Frank Gehry’s mind-bending architecture, Rudi Gernreich’s topless bathing suit, Dennis Hopper’s Easy Rider, even the Beach Boys, the Byrds, the Doors, and other purveyors of a California style. In the 1960s, Los Angeles was the epicenter of cool.

Since the 1960s, Los Angeles has been a hub for groundbreaking art. This slim volume features work by Bas Jan Ader, Michael Asher, John Baldessari, Chris Burden, Douglas Huebler, Larry Johnson, Mike Kelley, William Leavitt, Paul McCarthy, Bruce Nauman, Maria Nordman, Raymond Pettibon, Stephen Prina, Allen Ruppersberg, Ed Ruscha and Christopher Williams.

Photography After Conceptual Art presents a series of original essays that address substantive theoretical, historical, and aesthetic issues raised by post-1960s photography as a mainstream artistic medium†

  • Appeals to people interested in artist’s use of photography and in contemporary art††
  • Tracks the efflorescence of photography as one of the most important mediums for contemporary art†
  • Explores the relation between recent art, theory and aesthetics, for which photography serves as an important test case†
  • Includes a number of the essays with previously unpublished photographs
  • Artists discussed include Ed Ruscha, Bernd and Hilla Becher, Douglas Huebler, Mel Bochner, Sherrie Levine, Roni Horn, Thomas Demand, and Jeff Wall

At the end of the 1960s in the USA a group of painters stepped out of the shadows of Abstract Expressionism and turned towards the tradition of painterly realism but, however, in doing so they also exaggerated the illusionism that had been handed down from the 1920s and 1930s. These painters often used the photographic image as a verbatim model but could ‘correct’ the photographs as Chuck Close did in his portraits by placing different photos next to each other in order to give each segment of the picture its own focal point and, in a complex work process, turning photography into painting. Starting from the MUMOK’s extensive collection of 40 works, this major exhibition places the museum’s own holdings in a context of realisms and investigates the concepts behind a painting genre that is determined by the subject matter of the city, streets, automobiles and the American way of life. Time and again the Photorealists emphasised the importance of Pop Art some of which is shown at the start of the exhibition before the presentation of the main protagonists. Artists represented in the exhibition include: Richard Artschwager, Peter Blake, Chuck Close, Thomas Demand, William Eggleston, Eric Fischl, Andreas Gursky, Richard Hamilton, Duane Hanson, David Hockney, Candida Höfer, Jasper Johns, Alex Katz, Jeff Koons, Louise Lawler, Roy Lichtenstein, Malcolm Morley, Tom Phillips, Sigmar Polke, Mel Ramos, Gerhard Richter, James Rosenquist, Thomas Ruff, Ed Ruscha, Markus Schinwald, Cindy Sherman, Thomas Struth, Jeff Wall, Andy Warhol, Tom Wesselmann.

Originally published in 1972 by the Nigel Greenwood Gallery, Book as Artwork 1960/1972 was the first catalogue devoted to the then new medium of the artist’s book and it remains a canonical reference (though one that, due to its scarcity, is not as well known as it should be). This publication started as an article and a list of about 80 artists’ books which appeared in 1970 in the first issue of the Italian magazine Arte. Not long after it was translated and published in Interfunktionen. Then in 1972 the Nigel Greenwood Gallery in London mounted an exhibition of artists’ books and issued a catalogue with an updated text by Celant and a greatly expanded bibliography (now nearly 300 titles) jointly compiled by Celant and Lynda Morris. The exhibition was the first of its kind and the catalogue a genuinely historic publication. Grounded in the media studies of Marshall McLuhan and philosophical writings of Herbert Marcuse, Celant’s analysis of the medium has the feeling of a definitive statement. He lays out exactly what makes the medium important while noting the historical trends and key individuals that led to its rapid development after 1960. Significantly, the history Celant wrote in 1972 is much broader than the overly simplistic Dieter-Rot-in-Europe-and-Ruscha-in-America origin myth of the artist’s book that has gained currency since. Besides Ruscha and Rot, Celant’s text emphasizes the early influence of John Cage but he also encompasses into the narrative such disparate or overlooked elements as the Zaj group in Spain and Arte Povera in Italy, as well as work related to Fluxus, Art & Language, Land Art, Pop, Minimalism, Conceptualism, etc. The bibliography includes books that range from the iconic to the virtually unknown by Vito Acconci, Carl Andre, Alison Knowles, Richard Hamilton, Piero Manzoni, Joseph Kosuth, John Latham, Andy Warhol, Bob Law, Yoko Ono, Michelangelo Pistoletto, Henry Flynt, Hanne Darboven, Dan Graham, Dick Higgins, Joel Fisher, Athena Tacha, John Stezaker, Gianfranco Baruchello, Jose Luis Castillejo, Sol Lewitt, Robert Morris, Stanley Brouwn, Edouardo Paolozzi, Bruce Nauman and Bruce McLean, to name just a few of the artists whose work is cited. With this new edition it is possible to regain the perspective of 1972. It was a period when, as Celant describes it, the “the rules used for the identification of the art object were destroyed” and thus “medium became significant in itself.” Artists’ books were emblematic of the new multidisciplinary approach taken by the era’s avant-garde and, as that approach continues to be the predominant mode among artists working today, it is increasingly clear that artists’ books have been, and continue to be, integral to the practice of art in the contemporary era.

Exhibition catalogue published in conjunction with show held at the Galerie Mansart, Paris, May 29 – October 12, 1997. Text by Jean-Pierre Angremy. Includes an exhibition checklist, bibliography, and numerous black-and-white illustrations. Artists exhibited include Edward Ruscha, Ian Hamilton Finlay, Marcel Broodhaers, Robert Filliou, Joseph Beuys, Wolf Vostell, Lawrence Weiner, Robert Barry, Hans-Peter Feldmann, Annette Messager, Christian Boltanski, Sol LeWitt, Peter Downsbrough, Hanne Darboven, Jean Le Gac, Jochen Gerz, John Baldessari, Dieter Roth, and others. Text in French.

Cet ouvrage réunit la plupart des écrits d’Anne Moeglin-Delcroix sur le livre d’artiste dispersés dans des revues, catalogues d’exposition et ouvrages collectifs, en France ou à l’étranger, ainsi que quelques textes inédits. Ils représentent vingt-cinq ans de réflexion sur ce domaine nouveau des arts visuels dont la genèse au cours des années soixante et le développement jusqu’à nos jours sont inséparables des enjeux artistiques contemporains. L’accent est mis sur le rôle décisif des pionniers dans la définition de l’esprit et des lois du genre, notamment Edward Ruscha, Lawrence Weiner, Sol LeWitt aux États-Unis, Dieter Roth, Marcel Broodthaers, Ian Hamilton Finlay, Herman de Vries, Robert Filliou et Christian Boltanski en Europe. Ceux-ci inaugurent une tradition que les artistes plus jeunes, de Claude Closky à Jonathan Monk, poursuivent et interrogent, chacun à sa manière. Cette anthologie comporte trois parties : un ensemble d’analyses générales, suivant l’ordre chronologique de leur écriture qui est aussi celui de l’élaboration d’une pensée, historique et esthétique, sur un objet presque vierge à l’époque ; des études monographiques reflétant la diversité des approches du livre par les artistes contemporains ; des textes brefs, interventions et mises au point sur la nature et la signification du livre d’artiste, exprimant l’engagement de l’auteur au sein de la communauté scientifique internationale et parmi les artistes eux-mêmes.

One of the premier institutions of contemporary art in the country, the Walker Art Center also holds an important collection of over 11,000 objects from the early 20th century to the present. These holdings reflect the Center’s renowned multidisciplinary program, and include paintings, sculpture, prints, photography, film, video, installations, and digital arts that range in date from classic early modernist to cutting edge contemporary. While aiming to represent the immense diversity in art-making around the world, the collection also is known for several areas of specialty including Minimalism, Arte Povera, Fluxus, and contemporary printmaking. In-depth representations of work by individual artists, including Matthew Barney, Joseph Beuys, Merce Cunningham, Jasper Johns, William Klein, Robert Motherwell, and Kara Walker reflect the Center’s long and close relationships with many of the century’s most creative minds. Showcased in this stunning, expansive, well-designed volume are more than 650 beautifully reproduced works of art. Co-authored by the Walker’s curators and staff, and more than 30 Walker alumni, this book draws heavily on Walker archival material to serve as both a history of the institution and a primer on modern and contemporary art. Adding further dimension to the polyvocal, multifaceted rendition of this dynamic public art center are contributions from a select group of acclaimed writers including, A.S. Byatt, Joshua Clover, Arthur Danto, Dave Eggers, Darby English, Annie Proulx, David Shapiro, and others. The catalogue is published in conjunction with the Spring 2005 re-opening of the newly expanded Walker Art Center. Artists include Matthew Barney, Chuck Close, Bruce Conner, Joseph Cornell, Merce Cummingham, Dan Flavin, Robert Gober, Dan Graham, David Hockney, Donald Judd, Ellsworth Kelly, William Klein, Sherrie Levine, Sol Lewitt, Roy Lichtenstein, Sharon Lockhart, Kerry James Marshall, Bruce Nauman, Isamu Noguchi, Claes Oldenburg, Raymond Pettibon, Richard Prince, Charles Ray, Edward Ruscha, Cindy Sherman, Lorna Simpson, Kiki Smith, Frank Stella, Kara Walker, Andy Warhol, and many others. Edited by Joan Rothfuss and Elizabeth Carpenter. Essays by Elizabeth Alexander, A.S. Byatt, Dave Eggers, Arthur C. Danto, Wayne Koestenbaum, James Lingwood, Linda Nochlin, Annie Proulx, David Shapiro, Charles Simic, Howard Singerman, Hamza Walker et al.

Essays include “The Gold-diggers of ’84: An Interview with General Idea”; “Different Strokes for Different Folks: An Interview with Van Schley,” and includes a bound in portfolio of loose elements; “Shuck and Jive: An Interview with Lowell Darling”; “… a kind of Huh? A interview with Edward Ruscha” and “Man Ray, Do You Want To… An Interview with William Wegman”.

The arts have changed since 1885, and Les Grands Spectacles sets out to document this evolution in three phases. Starting with the invention of film and the standardisation of the bourgeois theatre-house in the late 19th century, the book then focuses on the modernisation and dissemination of the mass media after World War Two, and finally arrives at the situation of art at the beginning of the new millennium, where events cultivate a theatrical quality, and the individual’s every intimate impulse can become entertainment for the masses. Les Grands Spectacles also shows what effects these changes have had on art or have been spurred by art, and how the social significance of the sensational, the tragic or the deceptive has been understood in art and the material of the spectacle explored, extended, hijacked, altered or destroyed in artworks. Artists in the exhibition include Vito Acconci, John Baldessari, Matthew Barney, Vanessa Beecroft, Maurizio Cattelan, Jake & Dinos Chapman, Marcel Duchamp, Marlene Dumas, Sylvie Fleury, Nan Goldin, Dan Graham, Richard Hamilton, Damien Hirst, Candida Höfer, Martin Kippenberger, Yves Klein, Gustav Kluge, Jeff Koons, Yayoi Kusama, El Lissitzky, Robert Longo, Paul McCarthy + Jason Rhoades, Jonathan Meese, Laszlo Moholy-Nagy, Otto Mühl, Takashi Murakami, Dennis Oppenheim, Raymond Pettibon, Pablo Picasso, Richard Prince, Mimmo Rotella, Dieter Roth, Ed Ruscha, Jean Tinguely, Cindy Sherman, Joel Sternfeld, Hiroshi Sugimoto, Nicola Tyson, Dziga Vertov, Catherine Wagner, Andy Warhol, Franz West, and many, many others. Essays by Magrit Brehm, Roberto Ohrt and Klaus Theweleit.

‘For me, it’s like buying gifts for myself and some are really fantastic: occasionally I am really amazed by what I have bought when it arrives, as often the catalogue description does not do justice to the physical object itself.’ ⎯ Jonathan Monk Jonathan Monk is an artist who loves other artists. His work draws on oblique autobiographical references and personal anecdotes together with art historical strategies and legacies to express a critical camaraderie in his subject. Cover Version features a selection of seminal publications from Monk’s extensive collection of artists’ books. Sol Le Witt, Lawrence Weiner and Ed Ruscha are represented side by side to form a cogent series, which presents a contemporary investigation into materiality and the problems of signification in conceptual art publishing. An integral section of Cover Version is a transcribed telephone conversation between Jonathan Monk and Seth Siegelaub, which unfolds and discusses their mutual obsession with book making and collecting whilst speculating on the nature of the object. This ‘collectable’ book also has three different covers designed with its monetary value in euros, dollars and pounds, a direct reference to Lawrence Weiner’s 1968 publication Statements.

With a mix of irreverence and sincerity, artists John Baldessari and Meg Cranston here tackle nothing less than the question of God. Acting as curators, they have invited 100 artists to respond to one of art’s most enduring challenges: picturing the divine. The artists selected are those whose work the curators know and admire, those who possess the sense of humor and audacity necessary for such a project, or artists who are “likely to surprise.” The works in this exhibition explore many different themes, including miracles, divine intervention, baptism, heaven, martyrdom, and the search for enlightenment. Included is one work by each of the 100 artists–primarily drawings, photographs, and paintings, along with a few sculptures and single-channel videos–some of them made in response to the curators’ call for participation. Represented artists include Reverend Ethan Acres, Eleanor Antin, Chris Burden, Sam Durant, Jimmie Durham, Nicole Eisenman, Katharina Fritsch, Liam Gillick, Jack Goldstein, Scott Grieger, Rebecca Horn, Christian Jankowski, Mike Kelley, Mary Kelly, Martin Kippenberger, Louise Lawler, Roy Lichtenstein, Rita McBride, Paul McCarthy, Catherine Opie, Tony Oursler, Jorge Pardo, Raymond Pettibon, Paul Pfeiffer, Richard Prince, Rob Pruitt & Jonathan Horowitz, Gerhard Richter, Susan Rothenberg, Ed Ruscha, Gary Simmons, Lawrence Weiner, James Welling, and Franz West.

Ed Ruscha is among the most innovative artists of the last forty years. He is also one of the first Americans to introduce a critique of popular culture and an examination of language into the visual arts. Although he first made his reputation as a painter, Ruscha is also celebrated for his drawings (made both with conventional materials and with food, blood, gunpowder, and shellac), prints, films, photographs, and books. He is often associated with Los Angeles as a Pop and Conceptualist hub, but tends to regard such labels with a satirical, if not jaundiced, eye. Indeed, his work is characterized by the tensions between high and low, solemn and irreverent, and serious and nonsensical, and it draws on popular culture as well as Western art traditions. Leave Any Information at the Signal not only documents the work of this influential artist as he rose to prominence but also contains his writings and commentaries on other artistic developments of the period. The book is divided into three parts, each of which is arranged chronologically. Part one contains statements, letters, and other writings. Part two consists of more than fifty interviews, some of which have never before been published or translated into English. Part three contains sketchbook pages, word groupings, and other notes that chart how Ruscha develops ideas and solves artistic problems. They are published here for the first time. The book also contains more than eighty illustrations, selected and arranged by the artist.

Edward de Bono invented the term lateral thinking and defined it as such: “1.You cannot dig a hole in a different place by digging the same hole deeper. 2.Lateral Thinking is for changing concepts and perceptions instead of trying harder with the same concepts and perceptions. 3.In self-organizing information systems, asymmetric patterns are formed; Lateral Thinking is a method for cutting across from one pattern to another.” As the title of this book, Lateral Thinking refers to the non-traditional approach that the Museum of Contemporary Art, San Diego, has applied to building its collection. Curatorially independent, striking a balance between the regional and the global, the emerging artist and the established figure, the MCA has always worked to represent important developments in mainstream art while also identifying significant developments that fall outside of conventional categories. The museum’s efforts to illuminate a new axis mapping the contemporary art world — one running north and south through North, Central, and South America instead of east and west through the United States and Europe. Featuring the work, in virtually all media, of more than 65 artists including Matthew Barney, Jose Bedia, Vanessa Beecroft, John Currin, David Hammons, Gary Hill, Gabriel Orozco, Edward Ruscha, Cindy Sherman, and Lisa Yuskavage.

Many of today’s artists display an affinity for the techniques and subjects of 1960s and 70s conceptual art. A new look at the work of Bas Jan Ader, Carl Andre, Art & Language, John Baldessari, Marcel Broodthaers, Daniel Buren, Jan Dibbets, Gilbert & George, Joseph Kosuth, Sol Lewitt, Bruce Nauman, On Kawara, Edward Ruscha, Robert Ryman, Robert Smithson, Lawrence Weiner, and others bears exploring in relation to the processes and themes of contemporary art. By considering conceptual art in the Netherlands and Belgium from 1965-1975, this publication hopes to answer such questions, especially in relation to the Netherlands as a melting pot for ideas and the importance of Dutch institutions in supporting and disseminating conceptual art.

Due in large part to the bombing of the Oklahoma City Federal Building, the crash of TWA Flight 800, and the O. J. Simpson trial, the once-arcane field of forensics has taken hold of the popular imagination. Scene of the Crime, which accompanies an exhibition of the same name organized by UCLA at the Armand Hammer Museum and supported by the Fellows of Contemporary Art, considers the art object as a kind of forensic evidence. Like the chalk outline of a murdered body, certain works of art invoke off-screen drama, prior trauma, or a history redolent of criminality, violation, or mysterious turbulence. From the evidentiary traces presented in these exhibits, the viewer is prompted to reconstruct behavior, motivations, and events. This forensic approach emphasizes the viewer’s role as investigator while underscoring the cluelike and contingent status of the art object. The book is not about works of art that simply document criminal acts. Rather, it is about a strain of art that presents the art object as a clue to absent meanings or actions. From seminal works by Ed Ruscha, Bruce Naumann, Barry Le Va, and David Hammons to recent works by Paul McCarthy, Sharon Lockhart, James Luna, and Anthony Hernandez, this art declares that it is about more than meets the eye, raising the suspicion that a significant segment of contemporary art is concerned with forensic strategies and demands an investigative approach. Artists: Terry Allen, D-L Alvarez, John Baldessari, Lewis Baltz, Uta Barth, Nayland Blake, Chris Burden, Vija Celmins, Bruce Conner, Eileen Cowin, John Divola, Sam Durant, Vincent Fecteau, Bob Flanagan and Sheree Rose, Janet Fries, David Hammons, Richard Hawkins, Anthony Hernandez, Alexander Jason, Mike Kelley, Ed and Nancy Kienholz, Barry Le Va, Sharon Lockhart, James Luna, Monica Majoli, Mike Mandel and Larry Sultan, Paul McCarthy, Richard Misrach, Bruce Nauman, Robert Overby, Nancy Reese, Michelle Rollman, Ed Ruscha, Alexis Smith, George Stone, Jeffrey Vallance.

This anthology presents over two decades of the most memorable issues and events of contemporary art as seen through the pages of Flash Art, the controversial, contradictory art magazine that has influenced both cultural taste and artistic development for twenty-one years. From Arte Povera, Process Art, Conceptual Art, Performance Art, and Post-Conceptualism to Pictures, the Transavantgarde, the East Village, and NeoConceptualism, Flash Art has functioned as both forum and catalyst for current art trends. The book includes such artists and theorists as Bernd and Hilla Becher, Rebecca Horn, Joseph Kosuth, John Baldessari, Gordon Matta-Clark, Sherrie Levine, Gilles Deleuze, Edward Ruscha, Mimmo Paladino, Jean-Francois Lyotard, Frank Stella, Julia Kristeva, Jean Baudrillard, Fredric Jameson, Jeff Koons, Donald Judd, Peter Halley, David Salle, Gerhard Richter, and Germano Celant. It documents the magazine’s policy and trajectory throughout the course of contemporary culture a policy that has been consistently concerned with capturing the new and the radical, transforming them inevitably, into the event.

This splendid celebration of the illustrated book as an art form begins with remarkable works produced in France by Henri de Toulouse-Lautrec and Paul Gauguin at the end of the 19th century, and traces the international development of the modern illustrated book to the last decade of the 20th century. Major artists of the modern movement, among them Marc Chagall, Henri Matisse, and Pablo Picasso, turned to the “illumination” of poems, classical literature, and their own writings to make books that are now collectors’ objects, luxuriously produced. Such limited editions have continued to be produced alongside other types of artists’ books aimed at a much larger audience. The more available artists’ books have served a different purpose, often expressing aesthetic and political principles, in the hands of such artists as Kasimir Malevich, Marcel Duchamp, Ed Ruscha, Joseph Beuys, and Barbara Kruger. Accompanying texts consider the historical background, complex relationships between artists and book manufacturers, technical constraints, and recent changes.

The relationship between architecture and photography is the focus of this book that features the work of eighteen influential artists, from the 1930s to the present day. Architecture has long been a subject matter for photographers, who utilize the medium not just to document the built world, but also to reveal wider truths about society. This book features chapters devoted to various artists–among them, Berenice Abbott, Walker Evans, Ed Ruscha, Bernd and Hilla Becher, Andreas Gursky and Iwan Baan–and includes 220 color and duotone images. Each chapter opens with a text introducing the artists’ work, followed by reproductions of their photographs. Arranged chronologically, the book documents the birth of the skyscraper against the backdrop of the Great Depression; the rise of the modernist tradition in America, post-colonial Africa, and India; the effects of industry on 1960s Europe; the increasing suburbanization of America and Europe; and the consequences of today’s mass urbanization in Asia, the Middle East, and South America. Far-reaching and penetrating, this volume reflects on the ongoing dialogue between photography and architecture.

Among his many facets, Alexander Iolas (1907-1987) is recognized as a great champion of Surrealism in America, and for mounting Andy Warhol’s first gallery exhibition and Ed Ruscha’s first solo show in New York. A fantastic character and passionate art lover, Iolas built deep personal relationships and facilitated intercontinental connections among artists, gallerists and collectors via his galleries in Athens, Geneva, Madrid, Milan, New York and Paris. Noted for the pivotal role he played in the building of the Menil Collection in Houston, Iolas operated according to his own taste and discerning eye. This fully illustrated publication includes archival photographs and installation views documenting the artworks, movements, personalities and friendships spanning critical periods in the art of the twentieth century. It includes work by Giorgio de Chirico, William Copley, Joseph Cornell, Max Ernst, Lucio Fontana, Yves Klein, René Magritte, Ed Ruscha, Niki de Saint Phalle, Takis, Dorothea Tanning, Paul Thek and Andy Warhol.

Ed Ruscha: Industrial Strength is published on the occasion of the artist’s completion of “Industrial Strength Sleep,” a 23-foot by 9-foot tapestry created at The Fabric Workshop and Museum in Philadelphia and based on his 1989 painting of the same name. In his introductory essay, curator Paul Schimmel explains the artist’s process: “Though Ruscha has consistently pushed the boundaries of his own iconography, which typically comprises concrete words and phrases, it is in fact his range of materials and processes that has characterized the ever-changing and restless nature of his practice.” The piece–which took three years to complete–was produced at Flanders Tapestries in Wielsbeke, Belgium; Mary Anne Friel, Master Printer at The Fabric Workshop, oversaw production. The publication also includes an essay by art historian and critic Thomas E. Crow.
Over the course of his nearly 40-year career, Ruscha, who was the United States representative at the 51st Venice Biennale in 2005, has consistently used the expansive landscape of Los Angeles–where he has lived and worked since the late 1950s–in his paintings as a backdrop for the often humorous vernacular phrases with which he communicates a particular urban experience.

Exhibition catalogue / artist’s book published in conjunction with show held October 8 – November 3, 1963. Catalogue designed, with printed acetate dust-jacket, by Marcel Duchamp. Introduction by Walter Hopps, with two short interview quotes credited to R.H. and M.D. (Richard Hamilton and Duchamp). Catalogue operates as an early quasi catalogue raisonné of Duchamp’s work, incorporating a “Chronology: Certain Facts of and About Marcel Duchamp,” indexes of “Early Work 1902-1911,” “Chess Paintings, Drawaings, & the Game,” “Climactic Work of Oil on Canvas, 1911-12,” “”… Out of Cubism and into a Mechanomorphology, 1912,” “A Moment of Critical Change… Notation and Measurement, 1913-14,” “Related to The Large Glass, 1913-14,” “The Large Glass Continues to its Sate of Incompletion…,” “First Readymades and Related Work, 1912-1916,” “Readymades Continue, 1916-1919,” “Late Readymades, 1919-1924,” “Optical Works, 1918-36 (Plus Later Editions),” “Recent Activities, 1935-1942,” “Recent Activities [1943-1951],” “Recent Activities, 1953-63.” Catalogue printed by Cunningham Press, who would later print many of Edward Ruscha’s artists’ books. Reference: Arturo Schwarz, “The Complete Works of Marcel Duchamp,” Harry N. Abrams, New York, 1970, pp. 541.

Multiples by: John L. Tancock, Abe Ajay, Otmar Alt, Arman, Jean Arp, Richard Artschwager,Enrico Baj, Mary Bauermeister, Miguel Berrocal, Joseph Beuys, Max Bill, Mel Bochner, Sandro Bocola, Hartmut Bohm, Agostino Bonalumi, Victor Bonato,Davide Boriani, Derek Boshier, Martha Boto, David Bradshaw, K.P. Brehmer,Marcel Broodthaers, Robert Bryant, Ursula Burghardt, Pol Bury, John Cage,Alexander Calder, Malcolm Carder, Enrico Castellani, Alik Cavaliere, Mario Ceroli, Thomas Chimes, Christo, Chryssa, Genevieve Claisse, Gianni Colombo,Kenelm Cox, Carlos Cruz-Diez, Bill Culbert, Allan D’Arcangelo, Sandro de Alexandris, Lucio Del Pezzo, H.R. Demarco, Walter De Maria, Jim Dine, Herbert Distel, Francesco Marino di Teana, Piero Dorazio, Angel Duarte, Marcel Duchamp, Max Ernst, Michel Fadt, Rafael Ferrer, Robert Filliou, Lucio Fontana,Horacio Garcia-Rossi, Karl Gerstner, Gilbert & George, Ludwig Gosewitz, Hans Haacke, Raymond Hains, Etienne Hajdu, Richard Hamilton, Maurice Henry,Eva Hesse, Charles Hinman, Karl Horst Dodicke, Douglas Huebler, Fritz Hendertwasser, Jean Ipousteguy, Allen Jones, Howard Jones, Donald Judd,Iwao Kagoshima, Stephen Kaltenbach, Pierre Keller, Milan Knizak, Piotr Kowalski, David Lamelas, Fernand Leger, Julio Le Parc, Sol LeWitt, Roy Lichtenstein, Shoji Lida, Liliane Lijn, Richard Lindner, Yuan-Chia Li, Bernard Luginbuhl, Adolf Luther, Rene Magritte, Piero Manzoni, Enzo Mari, Marisol,Gino Marotta, Henri Matisse, Paul Matisse, Rory McEwen, Tomio Miki, Marcello Morandini, Francois Morellet, Robert Morris, Bruno Munari, Bruce Nauman,Louise Nevelson, Kazuo Okazaki, Claes Oldenburg, Dennis Oppenheim, George Ortman, Claus Paeffgen, Palermo, Pavlos, Henry Pearson, David Pelham, Alicia Penalba, Michelangelo Pistoletto, Sigmar Polke, Arnaldo Pomodoro, Gio Pomodoro, William Pye, Edival Ramosa, Robert Rauschenberg, May Ray, Martial Raysse, Paul Reich, George Rickey, Larry Rivers, James Rosenquist, Dieter Rot [Dieter Roth], Mimmo Rotella, Gerhard Rühm, Edward Ruscha, Lucas Samaras,Remo Saraceni, Pedroni Sarenco, Alan Saret, Nicholas Schoffer, Peter Sedgley,George Segal, Richard Serra, Richard Smith, Tony Smith, Robert Smithson,Kenneth Snelson, Francisco Sobrino, Keith Sonnier, Jesus Raphael Soto, Daniel Spoerri, Klaus Staeck, Klaus Staudt, Joel Stein, Saul Steinberg, Kumi Sugai,George Sugarman, Takis, Paul Palman, Takao Tanabe, Andre Thomkins, Joe Tilson, Jean Tinguely, Luis Tomasello, David Tremlett, Ernest Trova, Michael Tyzack, Raoul Ubac, Gunther Uecker, De Wain Valentine, Gregorio Vardanega,Victor Vasarely, Wolf Vostell, Andy Warhol, Willy Weber, Lawrence Weiner,Gunter Wesler, Ludwig Wilding, Jean Pierre Yvaral

The book covers are of real sandpaper with the front cover being a sheet of 100-grit sandpaper and the back cover a coarser 50-grit sheet. The title “Billy” is in pink flocking on cover, bound with machine screws and nuts. Reference: No. M10 in Engberg and Phillpot, ‘Edward Ruscha : Edition 1959-1999, Catalogue Raisonné,’ Walker Art Center, Minneapolis,

As seen in O: The Oprah Magazine, the New York Times Book Review, USA Today, Cool Hunting, and countless other media outlets, The Map as Art is available now in a paperback edition. This volume by Katharine Harmon, author of our best-selling book You Are Here, extends that book’s celebration of mapmaking to the world of artists’ maps.

It is little surprise that in an era of globalized politics, culture, and ecology contemporary artists are drawn to maps to express their visions. Using paint, salt, souvenir tea towels, or their own bodies, map artists explore a world free of geographical constraints. In The Map as Art, Harmon collects 360 colorful, map-related artistic visions by well-known artistsósuch as Ed Ruscha, Julian Schnabel, Olafur Eliasson, William Kentridge, and Vik Munizóand many more less-familiar artists for whom maps are the inspiration for creating art. Essays by Gayle Clemans bring an in-depth look into the artists’ maps of Joyce Kozloff, Landon Mackenzie, Ingrid Calame, Guillermo Kuitca, and Maya Lin. Together, the beautiful reproductions and telling commentary make this an essential volume for anyone open to exploring new paths.