Ed Ruscha

Commemorating an exhibition at Gagosian, London, this catalog is the first publication to examine the connections between these two artists work. Two booklets in a softcover portfolio feature full-color plates and installation views. An interview with Ruscha and an essay by Margaret Iversen explain how Ruscha first encountered Eilshemius s enigmatic paintings, which of the artist s aesthetic innovations captured Ruscha s imagination, and how his own work relates to and differs from that of the Neglected Marvel Eilshemius.

In the hands of Rogers and Ruscha, the humble lemon is transformed into the ultimate kitchen hero. Packed with fifty inventive recipes, the book casts the lemon as the star of sweet and savory dishes alike. Whether you are whipping up a creamy risotto al limone, baking a showstopping lemon tart, or brightening a salad with a burst of citrus, Rogers s signature style makes every recipe, from appetizers to mains, approachable and unforgettable. Elevating this journey is the singular artistry of Ed Ruscha, whose images, created specifically for this project, transform this book into a visual delight. Ruscha s style is both visually accessible and intellectually layered and invites viewers to appreciate the beauty in the very ordinary and mundane. Known for documenting a single subject in intensive detail, a Ruscha book is an instant collectible.

This sixth volume of Edward Ruscha: Catalogue Raisonne of the Paintings documents the 227 paintings, and studies for paintings, made between 1998 and 2003. Though a number of these works refer in some degree to Ruscha's output of the past two decades, the period inaugurates two major series, the Metro Plots, which diagram streets in Los Angeles and American cities, and the celebrated Mountain paintings. A third series, loosely grouped, takes books as its subject. This period is also notable for the appearance of the first of the Course of Empire paintings, with which the artist would represent the United States at the 51st Venice Biennale in 2005. As in previous volumes, included are numerous documentary photographs, a selection of Ruscha's sketchbook pages, and complete bibliographic references and exhibition histories.

Co-published by OHWOW and The Museum of Contemporary Art (MOCA) Los Angeles, this 192-page hardcover book is a visual examination of moments in and out of frame, expanding the exhibition’s narrative and documenting the fresh and unconventional films, videos, photography, painting, drawings, and sculpture presented in the exhibition. The book also includes film stills and photographs not included in the exhibition. An introductory essay by author and art theorist Francisco J. Ricardo, PhD. , outlines the background to Rebel, explaining the impetus for Franco’s inquiry and his artistic motivations, from conception through execution. REBEL features the work of James Franco, Douglas Gordon, Harmony Korine, Damon Mccarthy, Paul Mccarthy, Terry Richardson, Ed Ruscha, and Aaron Young.

An anthology of writings, interviews, and images by artist Ed Ruscha.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.

Los Angeles-based artist Ed Ruscha, one of the seminal American artists of the past 30 years, is known for taking elements from the visual language of advertising and commercial art: he has made hundreds of 'word' prints, drawings and paintings that exhibit an interplay between bold letters and softly shaded, atmospheric backgrounds. This book reproduces close to 600 'word' artworks by Ruscha, all of which characterize his artistic scope and identity. Assembled together in the form of a thick block, making the book and art 'object' in itself, these images become a sort of novel without an obvious plot: a series of words with no narrative but, rather, with a life of their own. Some of the works consist of only one word - great, mud, trust - and others of short combinations or phrases, such as Indeed I do, She Sure Knew Her Devotionals, Your Polyester People, That Housing Tract is Only Texture, and, of course, They Called Her Styrene. In these works Ruscha's words transcend their apparent randomness to become visual icons of universal emotions and places known and imagined, exposing a dimension of multi-layered irony and threads of subtle and inventive social commentary. This volume embodies an aesthetically appealing compilation presented, in the manner of its content, with bold flair and bright colours: a book that simply cannot be left alone.