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Ed Ruscha: Then & Now
Ed Ruscha
Manufacturer: Steidl
ProductGroup: Book
Binding: Hardcover
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Ed Ruscha: Photographer
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ASIN: 3865211054
Release Date: 2005-08-15 |
Book Description
Between 1963 and 1978 Ed Ruscha produced eighteen small artists' books. Usually self-published in small print-runs, these publications have become seminal works in the history of conceptual art and the photography book. THEN & NOW is the first artist book that Ruscha has made since 1978. One of the most famous of Ruscha's books from that early period is Every Building on the Sunset Strip--a famous stretch of real estate along Sunset Boulevard--published in 1966. In July, 1973 he followed the same procedure when he photographed on Hollywood Boulevard. Loading a continuous strip of 30 feet of Ilford FP-4 black & white film into his Nikon F2 and then mounting it on a tripod in the bed of a pickup truck, he drove back and forth across the 12 miles of street shooting both the north and south sides of its entire length. The negatives were developed, contact sheets were made, and the materials placed in storage. Thirty years later, in 2003, a digital record of Hollywood Boulevard was created and it served as a reference guide for the traditional film/still documentary of 2004. For this shoot, the same type of camera equipment was used to re-photograph the street on 35mm color-negative film. The resulting material of both shoots--4,500 black & white and 13,000 color images--have been scanned and digitally composed into four panoramics of the complete 12 miles. In THEN & NOW the original 1973 North side view is shown along the top of the page and juxtaposed with its 2004 version. The panoramics face each other and they are aligned. The result is what Ruscha refers to as "a piece of history . . . A very democratic, unemotional look at the world." Whilst it is a significant historical document which succinctly conflates and renders the passage of time, it is also a project which spans the career of one of the truly original artists of our time and brings his work full circle.
Customer Reviews:
Cruisin'.......2007-07-22
I bought this from Amazon UK at an amazing low price (perhaps they thought it might eventually be a stockroom dust-catcher) and it turns out to be a wonderful piece of Americana though I'm not quite sure you could call it Art, maybe art.
This is a large book with 148 (unnumbered) pages which open up to thirty-five inches wide with the two versions of Hollywood Boulevard running across the top of the page and the opposite side running along the bottom upside down, sort of awkward if you want to see both sides of the Boulevard at the same time.
The printing (and paper) of the panoramas is excellent. Rarely have I seen images printed in 250dpi, it is so good that you can read all kinds of commercial signage along the way. Regular strollers in the area could possible recognize themselves if they were there on June 5, 2004. As expected there have been plenty of changes between 1973 and 2004. Many of the empty spaces in '73 now have buildings but it does work the other way round, greenery has replaced some buildings by 2004.
Because the book has no text, apart from title and credit pages I often wondered why Ruscha wanted to photograph twelve miles of Hollywood Boulevard. It is unfortunate that for about half the book there is not too much to look at. From the start at Sunset Plaza there are just garden walls, vegetation and a glimpse of houses set back from the street. It's not until you get to Laurel Canyon where apartments start to appear and then the visually interesting commercialism starts around La Brea Avenue. The rest of the route, until it runs into Sunset Boulevard at Hillhurst Avenue, is interesting to look at, though. Here's a tip: pull up HB on Google Earth and see an aerial view as you check out the front of buildings in the book.
'Then & Now' is an intriguing example of Ruscha's work (he designed it, too) which will probably increase in value and I see that signed copies are being offered at eight hundred dollars plus on some book websites.
***FOR AN INSIDE LOOK click 'customer images' under the cover.
Book Description
The Catalogue Raisonn 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. Each volume of the catalogue, designed by Bruce Mau, has a stitched binding and a cloth cover with silver-colored embossing protected by an embossed slipcase. Specifications for subsequent volumes are the same.
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Walker Evans & Company
Peter Galassi ,
Glenn Lowry ,
Stuart Davis ,
Edward Hopper ,
Roy Lichtenstein , and
Ed Ruscha
Manufacturer: The Museum of Modern Art, New York
ProductGroup: Book
Binding: Hardcover
Evans, Walker
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Atget
ASIN: 0870700324
Release Date: 2002-07-02 |
Book Description
Walker Evans' radical photography of the 1930s demonstrated that unembellished photographic fact could serve as a highly poetic language. These works expanded the potential of the art of photography and at the same time defined a lasting iconography that recognized advertising, movies, and car culture as central images of modern American identity. Walker Evans & Company focuses on Evans as a central figure in the arts of the 1920s and 30s, and includes works in photography and other mediums that influenced Evans or were influenced by him, or which resonate in a significant way with aspects of his imagery, sensibility, and style. Among the other artists whose work is featured are: Eugene Atget, Mathew Brady, Stuart Davis, Robert Frank, Lee Friedlander, Edward Hopper, Roy Lichtenstein, Ed Ruscha, August Sander, Andy Warhol, and Edward Weston. Published in conjunction with the second of three cycles of millennial exhibitions at The Museum of Modern Art, New York.
Customer Reviews:
Photo Fine Art.......2007-05-21
Peter Galassi focuses on Evans as one of the great photographers of the twentieth century who also had a huge influence on many American photographers (and some contemporary graphic artists) and the ten visual chapters in this beautiful book provide a convincing case.
Photography as an art form has had a hard time proving it. Unlike fine art paintings, which exist as an entity, photography has mainly presented a visual record in many printed mediums (newspapers, magazines, advertising, packaging, posters) all seen by the public but not as art. Walker Evans helped to change that perception in America.
The first two chapters are interesting because Galassi features photographers who influenced Evans, especially Eugene Atget and his studies of Paris. The remaining eight each start with work by Evans then the chapter theme is carried on by other well-known photographers (and artists) who drew inspiration from the style and subject matter in his work. The hundred creative folk featured are a who's who of American photography since the 1940s.
Just over three hundred images are shown printed in an impressively fine screen (more than 250dpi) that brings out the wonderful detail in so many of them. Galassi contributes a fine introduction and each photographer get a comprehensive list of their photos in the back of the book. Overall I thought this was a fascinating survey American art photography whose origins clearly owe so much to Walker Evans.
***FOR AN INSIDE LOOK click 'customer images' under the cover.
Book Description
Ed Ruscha (b. 1937) initially gained attention in the early 1960s with paintings, drawings, and photographic books that focused on his fascination with the unique culture, vernacular, and sensibility of his adopted home of Los Angeles. Ruscha has been considered a 'West Coast' artist, and although Los Angeles is undeniably the source of inspiration for his art, the themes he addresses are far-reaching and universal. A growing interest in Ruscha's work in recent years has led to major exhibitions that toured the United States, and a number of individual shows in Europe, which re-evaluate his art in this broader scope. This book is the first monograph on Ruscha's work; it looks with discernment and insightful detail at the prolific and many-faceted career of an artist whose work has been variously described as pop, conceptual, or surrealist; a painter as well as a print-, book-, and filmmaker. The thematic and loosely chronological structure of the book brings to light the diversity and depth of Ruscha's art, while at the same time underlining the continuity and recurrence of themes and ideas within his ever surprising and prolific career.Richard D. Marshall is an independent curator and critic who, during his twenty-year tenure as curator at the Whitney Museum of American Art worked extensively with Ruscha. He is the author of Edward Ruscha Los Angeles Apartments, and has published many books and exhibition catalogues on artists Jean-Michel Basquiat, Robert Mapplethorpe, and Louise Bourgeois, among others.
Customer Reviews:
A dashing contribution to modern and forward-thinking artbook shelves.......2006-03-06
Ed Ruscha is a vast gallery of photographer and artist Ed Ruscha's (b. 1937) works. Centering around the popular and often mercantile culture of his Los Angeles home, Ruscha's creations often focus on blending text with art - such as the word "Vanish" spread against a red background fading to black near the top. An avant-garde modern art edge distinguishes this monograph, with many works featuring a crisp and sharp outline or stylized arrangements of text that appear practically 21st century rather than 20th. Very little written text intersperses the monograph; independent curator and critic Richard D. Marshall offers insightful reflections upon Ruscha's creations, but the majority of Ed Ruscha is devoted entirely to the artworks themselves in all their visual and colorful splendor. A dashing contribution to modern and forward-thinking artbook shelves.
A Noble Monograph of an American Icon.......2004-10-31
With the recent news that artist Ed Ruscha has been selected to represent the USA at the 2005 Venice Biennale, it becomes even more important to access the impact of this consistently important artist. ED RUSCHA is a book to accompany the important retrospective of the artist's works throughout his career - from his introduction in the 1960's POP ART movement to the present. The book is lavishly illustrated with excellent reproductions of Ruscha's work and not only repeats the images we have all grown to associate with Pop Art (especially in California) such as his infamous Hollywood sign and Standard Gas Station, images that have endeared him to America much in the same vein as Edward Hopper: it also explores the single word paintings and the artistic comments on our environment that grow more pertinent every day.In addition to this fine book as a full compendium of Ruscha's painting and prints, it is also a wisely written treatise by author Edward D. Marshall in a series of essays that are as fine as any in print in today's museum catalogues. This is a definitive volume on an important artist: it is also a book that would be enjoyed by every guest sitting near your coffee table. Here is a bit of Americana of which we can still be proud!
Grady Harp, October 2004
Book Description
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 "hobby," 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 Ruscha's 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 Ruscha's work in disciplines including painting, drawing, printmaking and photography--are guided and shaped by a single vision.
Customer Reviews:
ED RUSHA'S RED BOOK. photographer.......2007-01-18
It's a brilliant book for understand the rusha's research in photography,what he tooks from pictures and transform in art language.This books is really well done with good text and the immages have a chronologically order and related to the text too.I'm italian and so i have to reed that book ,because speaks about an author that isn't really famous in italy...i think is impossible to find something like that rusha's book in my language
Sorry for my bad english but this book is good for suare!!
The medium is the message.......2006-09-06
A well-produced book of Ruscha's photo work to coincide with his Whitney Museum exhibition. In the first forty pages Margit Rowell (who organised the exhibition) writes about Rusha's life and influences: an intriguing mixture of European commonplace, culture and heavy doses of American commercialism and print pop culture. I thought though that she found it hard going to explain some of his work within the context of fine art. Ruscha doesn't easily fit into a high culture setting and to my mind some of his endeavours are just plain mundane: the 'Babycakes' book for instance (I fancy Ed might well agree with me, too) but he is prepared to have a go at anything: painting, drawing, screenprinting, photography, publishing, films and clearly some great art has come out of all these different mediums.
The photo section of the book (114 pages and beautifully printed in 175dpi) runs from some of his first photo work in the late fifties, his European trip in 1961 to the last one, a color print presciently titled The End#4 from 1998. Annoyingly some of the images in this section could have been larger on the page, frequently the white space overpowers a photo that has plenty of detail. Included are eleven of my favorites, his aerial shots of LA parking lots, actually taken by photographer Art Alanis one Sunday in 1967, when the lots were empty.
Not having seen any of Rusha's famous self-published books I was surprised to read in Rowell's essay that some of them have many blank pages. Ruscha's creative ideas only stretched to so many single images but a book has many pages, so why not just leave some of them blank and maintain the medium of a book. Apart from blank pages there was always the option of just changing the subject. His 1964 'Various Small Fires' features fifteen snapshots of an incendiary nature (a Zippo lighter, a match, domestic gas range, a smoking cigarette, for instance) in a forty-eight page book but there is a sixteenth shot of a glass of milk. Ed said, in 1965, "Milk seemed to make the book more interesting and gave it more cohesion". Go figure!
The back of the book lists the exhibits, a selected bibliography, chronology and finally the index. Overall an excellent overview of Rusha's photography and confirming to me, at least, that he is a bit of a creative enigma.
Book Description
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 20th 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 Raisonn 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. Volume One, on offer here, contains 137 paintings printed in full color from Ruscha's student period to the Pop- and Conceptual-inflected word paintings of the 60s. The catalogue includes a comprehensive exhibition history, bibliography, and biographical chronology, as well as an appreciation by former Menil Collection director Walter Hopps and an essay exploring Ruscha's pioneering use of language as a subject matter by art historian Yve-Alain Bois of Harvard University. Set in Franklin Book type and printed on acid-free, 170-gram Job Parilux paper, each volume of the catalogue has a stitched binding and a cloth cover with silver-colored embossing protected by an embossed slipcase. Specifications for subsequent volumes are the same. All reproductions were converted to digital form, thanks to which process it has been possible to restore the reproductions of long-lost paintings. Ed Ruscha was born in Omaha, Nebraska in 1937 and grew up in Oklahoma City, Oklahoma from 1941 to 1956. He moved to Los Angeles, California and attended the Chouinard Art Institute from 1956 to 1960. His work has been exhibited internationally and is represented in major museums and private collections throughout the world. In 2001, Ruscha was elected to The American Academy of Arts and Letters as a member of the Department of Art.
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- Ruscha / Writing / Painting
- Nice Little Book
- A must for all Ruscha fans/influencees
- very nice
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They Called Her Styrene, Etc.
Ed Ruscha
Manufacturer: Phaidon Press
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Leave Any Information at the Signal: Writings, Interviews, Bits, Pages (October Books)
ASIN: 0714840114 |
Customer Reviews:
Ruscha / Writing / Painting.......2005-05-04
Bob Perelman was thumbing through my copy of Ed Ruscha's They Call Her Styrene (Phaidon, 2000) the other evening, which raises the question of intermedia from another angle. Ruscha, if you don't know his work, is a painter and photographer associated with the 1960s Los Angeles scene that proved to be an intersection between Pop, Funk and Conceptual art. His work takes different forms, but Styrene is representative of the works that have most attracted me: prints, drawings and watercolors involving anything from a single word to short phrases, often against backgrounds that are close to monochromatic but which may suggest a picturesque element. Styrene collects some 600 of these works into a single, affordable volume - I've seen individual paintings priced as high as $45,000. My question is this: fine as they are as visual works of art, are Ed Ruscha's text pieces also writing?
Ruscha himself has a cryptic, but intriguing comment right at the end of the book: "Sometimes found words are the most pure because they have nothing to do with you. I take things as I find them. A lot of these things come from the noise of everyday life." End of comment.
So far as I know, Ruscha has not undertaken to publish these works as writing, nor in the context of writing. As visual art, these works inhabit that territory that utilizes language for its own purposes. Its closest kin in that vein may be the signage of Jenny Holzer, the paintings of Lawrence Weiner, or the poster paintings of Barbara Krueger, but the more densely textual pseudo-philosophical musings of Joseph Kosuth and Art Language aren't entirely unrelated either. Ruscha's prints and paintings make use of color and the illusions of depth and texture in ways that Holzer's do not and his works often lack the overt political commentary one finds in her work and in that of Krueger's. At its most plain, a Ruscha work might consist of white sans serif letters centered against a black background:
A HEAVY
SHOWER
OF SCREWS
or
THICK BLOCKS
OF
MUSICAL FUDGE
or
WARM
AUDITORIUM
While Holzer has executed some pieces etched into benches, a form that has to recall the (literally) concrete poems of Scottish poet Ian Hamilton Finlay, Ruscha's droll texts strike me in many ways being better writing. If, that is, they are writing at all. The last text above, for example, makes great use of the recurrence of the a, r and m sounds (not to mention the echo of the w one hears in the two instances of the u), an attention to the smallest of details that might be more apt to associate with the poetry of Robert Grenier. Microwriting such as this can invoke every pleasure one expects from the best of poetry. The first two pieces above aren't bad either - both use the same strategy of invoking a single term that is "out of context" in its phrase (screws and musical), which functions to set the language around it into a kind of relief, classic demonstrations of what the Russian formalists called ostrananie, Brecht "the alienation effect," and which Pound characterized as "making it new."
In addition to reminding me at moments of Grenier, some of the more visually complex of Ruscha's pieces, where richly textured "3D" words float in idealized pastel skies, remind me of how Hannah Weiner used to describe her visual hallucinations, words that would appear on people's foreheads that to her seemed to be composed in "dog fur" or similar materials. Weiner used these messages to create her "clairvoyant" works, although that aspect of such found language is not carried through her writing - the closest she gets is to occasionally "erase" some lines of certain letters.
All of which makes Ed Ruscha's texts function as an intriguing test of the boundaries of writing - how can a lone word such as "fud," written in what looks like white ribbon on an intense red surface (onto which the letters cast shadows) function as a poem? It can / It can't / It can / It can't - like a Necker cube or other optical illusions, the text strobes in and out of the realm of literature (though it always remains within the realm of the visual). It may be that this flicker effect is precisely Ed Ruscha's contribution to writing.
Nice Little Book.......2002-03-04
I gave this one to a friend who never heard of Ruscha before. He loved it. It's a little unpretentious experience through Ruscha's world. It's not that kind of 7-colour-printed-on-coated-expensive-paper, but works very well as good entertainment and a valid introduction to west coast fine artists. Worth its price.
A must for all Ruscha fans/influencees.......2001-11-01
Funny, but it seems as though every time a new Ed Ruscha book gets released, it then becomes the standard "must-have" edition. In my opinion, this is an excellent book for the price, even if only for a single viewing. What I mean is this: it's more like an object than a book, due to its small area (but thick volume), and lack of publisher information distraction - the absolute first page blatently plunges you into the art immediately. It will take the average art fan a good two hours alone viewing each plate at a contemplative pace. I have had two art shows myself, and Ed's work is by far my closest influence, so I am heavily biased. This book lacks the token interview with the artist, and also his other forms of work (notably the parking lot photography series, which is a sheer delight in its own right), but for the sake of the design, perhaps the book as it is says all it has to say (no pun intended, if you're familiar with his works). Part of the fun, though, with viewing these kinds of Ed's works, is reading his titles and materials used, as they are equally insightful; yes, I miss that. But the average or novice art buff wouldn't even notice it missing. All things considered, this is a great little form of entertainment all contemporary art lovers should own.
very nice.......2000-12-03
My adventures with They Called Her Styrene began on a subway ride in Boston earlier this month. I saw an older woman flipping through a book, each page containting a picture with a few words written on it. I started looking with her as as she flipped through it. She flipped through it for about 20 minutes, and then my stop was next. I was worried I would never know the title of this book, and, being too shy to ask, would leave the train and be unsatisfied. Luckily, just as the train stopped, she closed the book and I saw the title.
I bought it shortly afterwards.
I already described it- it's a book of pictures with words across them. I enjoy it very much. As you sit and thumb through all of the pages, each word or group of words, combined with the colors on the background, conjur all sorts of thought and feelings inside you.
For me, it serves very well to just sit and thumb through it, looking at all the pictures and letting my mind wander as the book prescribes.
Its wonderful.
Book Description
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.
Average customer rating:
- 100 Artists See GOD, not politics
- A truly great idea that is stunnngly dissapointing in its execution
|
100 Artists See God
Meg Cranston ,
Andrea Bowers ,
Angela Bulloch ,
John Baldessari ,
Chris Burden ,
Liam Gillick ,
Rebecca Horn ,
Christian Jankowski ,
Mike Kelley ,
Martin Kippenberger ,
Paul McCarthy ,
Paul Pfeiffer ,
Richard Prince ,
Gerhard Richter ,
Ed Ruscha , and
Diana Thater
Manufacturer: Independent Curators International, New York
ProductGroup: Book
Binding: Paperback
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100 Artists See Satan
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ASIN: 0916365689
Release Date: 2004-04-02 |
Book Description
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.
Customer Reviews:
100 Artists See GOD, not politics.......2006-12-01
In response to the sole review for this book, having been at the exhibit I have to say that both the catalogue and the show did very well in sharing honest and intimate perspectives about personal relationships with divinity. While more political venues consistantly discuss God solely in relationship to religion, church, and state, _100 Artists See God_ serves both as a breath of fresh air and a reminder that the human relationship with the divine is individual and personal, transcending faith and political alignment.
A truly great idea that is stunnngly dissapointing in its execution.......2005-07-27
Art more than any other discipline has the ability to break open new intellectual and emotional ground. It an be a powerful tool. Governments and religions have tried to guide and or control artists since artists began translating their world view’s onto the pictorial and sculptural plane.
Religion has universally been a major control element in the sociology of artists, and the depiction of god is a major taboo in both the Christian and the Muslim world. Between religion and art is a fertile ground for the imagination, it is a ground that is still potentially loaded, a fertile ground for the artist to shock, or stimulate an audience.
You would think that a subject such as the depiction of god (given the military industrial religious complex which is currently so dominant) would engender more than a very light weight response from artists.
Sadly this is not the case. There are no compelling images of faith and devotion nor any compelling criticisms of god and religion, no overt discussion of the grotesque coupling of government and church, and so I can only say that this is a very disappointing book.
It is potentially an interesting project and the curator really ought to be dismissed for their lack of vision and inclusion. So many artists to choose from but they really have filled the book with mediocre works. Sadly evident in the bulk of the work displayed in the book is a lack of insight into the subject and a lackluster commitment to aesthetics.
Book Description
Jonathan Monk, born in the UK in 1969, is a dry-humored mischief-maker who explores 1960s influences in installations, photography, film, sculpture and performance. He has met with success--in 2006 his work appeared in New Photography at The Museum of Modern Art, New York, and at the Tate Triennial. Interviewed here, he tells the respected artist David Shrigley, "it is sometimes difficult to understand where it [art] all begins and ends the unanswerable question keeps us all going." His work is just as quotable, including signs that read, "Meeting point" and "This painting should ideally be hung to the left of an Ed Ruscha." Not coincidentally, this volume includes contributions from influential supporters including Mr. Ruscha and John Baldessari.
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- Edward Hopper: A Catalogue Raisonne
- Electronic Circuits Volume 1.0
- Exploring Publication Design (Design Exploration Series)
- Expressive!
- Extreme Design
- Fancy Nancy and the Posh Puppy (Fancy Nancy)
- Forms, Folds, and Sizes: All the Details Graphic Designers Need to Know but Can Never Find
- Forms, Folds, and Sizes: All the Details Graphic Designers Need to Know but Can Never Find
- Graffiti World: Street Art from Five Continents
- Grantseeker's Toolkit: A Comprehensive Guide to Finding Funding (Nonprofit Law, Finance, and Management Series)
Books Index
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