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Ed Ruscha Photographer

Weinberg, Adam D. / Rowell, Margit

Published by Whitney Museum of American Art / Steidl Publishers, New York / Göttingen, 2006
ISBN 10: 3865212069 / ISBN 13: 9783865212061
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About the Book

Bibliographic Details

Title: Ed Ruscha Photographer

Publisher: Whitney Museum of American Art / Steidl Publishers, New York / Göttingen

Publication Date: 2006

Binding: Cloth

Book Condition: Fine

Edition: Exhibition Catalogue


184 pp. 20 b/w in-text figures. 170 b/w and colour plates. Foreword by Adam D. Weinberg. Acknowledgements and introductory essay by curator Margit Rowell. Exhibition checklist, selected bibliography, selected chronology and index. Published in conjunction with a travelling exhibition of the same name organized by the Whitney Museum of American Art. Internally clean without marks or additions. Red cloth covered boards with pasted-down b/w plate on the front panel and stamped titles printed in white on the front panel and backstrip. Fine condition with no visible wear or damage. No dustjacket as issued. Size: 4to - over 9¾" - 12" tall. Bookseller Inventory # 007857

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Synopsis: 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.

About the Author: Roni Horn was born in 1955 in New York, where she continues to live and work. Since earning her MFA from Yale University in 1978, she has shown her sculptures, installations and photographs extensively throughout the world. She has had solo exhibitions at the Dia Center for the Arts, the Whitney Museum of American Art and the Centre Pompidou in Paris. Her recent publications include Dictionary of Water, Cabinet of, Wonderwater (Alice Offshore), and Index Cixous (Cix Pax).

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