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Another Twenty-Six Gas Stations is the debut artist book by photographic author Gregory Eddi Jones. It's comprised of screen grabs of gas station surveillance footage found on YouTube.
Campany has now edited a book of 35 images simply entitled, Gasoline.
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 fetishised objet d'art to cheaply-printed booklet is explored and its unique creative and cultural contributions celebrated.
The renowned artist Ed Ruscha was born in Nebraska, grew up in Oklahoma, and has lived and worked in Southern California since the late 1950s. Beginning in 1956, road trips across the American Southwest furnished a conceptual trove of themes and motifs that he mined throughout his career. The everyday landscapes of the West, especially as experienced from the automobileÑgas stations, billboards, building facades, parking lots, and long stretches of roadwayÑare the primary motifs of his often deadpan and instantly recognizable paintings and works on paper, as well as his influential artist books such as Twentysix Gasoline Stations and All the Buildings on the Sunset Strip. His iconic word imagesÑdeclaring Adios, Rodeo, Wheels over Indian Trails, and Honey . . . I Twisted through More Damn Traffic to Get HereÑfurther underscore a contemporary Western sensibility. RuschaÕs interest in what the real West has becomeÑand HollywoodÕs version of itÑplays out across his oeuvre. The cinematic sources of his subject matter can be seen in his silhouette pictures, which often appear to be grainy stills from old Hollywood movies. They feature images of the contemporary West, such as parking lots and swimming pools, but also of its historical past: covered wagons, buffalo, teepees, and howling coyotes. Featuring essays by Karin Breuer and D.J. Waldie, plus a fascinating interview with the artist conducted by Kerry Brougher, this stunning catalogue, produced in close collaboration with the Ruscha studio, offers the first full exploration of the painterÕs lifelong fascination with the romantic concept and modern reality of the evolving American West. Published in association with the Fine Arts Museums of San Francisco Exhibition dates: de Young, San Francisco: July 16ÐOctober 9, 2016
Tiré du site Internet www.buypichler.com: " [...] SIX HANDS AND A CHEESE SANDWICH is a book about books, a catalogue and an art/bookwork in its own right. Content: By now the appropriation and paraphrasing of Ed Ruscha constitutes a genre of its own. The first were 1968 Bruce Nauman with 'Burning Small Fires' and 1971 'Ed Ruscha' (actually Joel Fisher) with 'Six Hands and a Cheese Sandwich', with further appropriations or hommages over the decades, and in the last years it almost became fashionable, the evidence is massive. This little booklet features an extensive bibliography with way more than 100 entries There is actually none of the books published by Ruscha in the 60ies, which has not been paraphrased yet, be it the Gas Stations (e.g. Jeff Brouws, Toby Mussmann, Eric Tabuchi, Michalis Pichler, Anonymus, Michael Maranda), the Fires (e.g. Bruce Nauman, Jonathan Monk, Yann Serandour, Thomas Galler), the Apartments (John O'Brian, Anne-Valerie Gasc, Eric Doehringer), the Parking Lots (Hermann Zschiegner, Travis Shaffer), the Swimming Pools (Jen Denike, Taro Hirano), the Real Estate Opportunities (Adam&Kate Davis, Eric Doehringer), the Royal Road Test (Tom Sachs, Simon Morris, Martha Hlady) or the Sunset Strip (J.F. Schnyder, Jonathan Monk, Derek Sullivan, Tom Sowden), even the Palm Trees (Tadej Pogocar, Eric van der Wejde), Colored People (Jonathan Monk, Tanja Lazetic) and Hard Light (Achim Riechers) have been taken up explicitly. The assembly attempts to span a larger arc of tension, integrate Ruscha's own books and put him into a evolution line in particular with the publications of Hiroshige and Hokusai, whose titles show great parallels in rhythm and use of numeric and vague enumerations. The missing link could be Yoshikazu Suzuki's GINZA HACCHO, buildings on Ginza, Tokyo, published as an accordion foldout book - in 1952, hence preceding Ruscha's Sunset Strip for 13 years- in the same street-view-style which was for very long considered essentially Ruscha."
Edited and with an Essay by Sylvia Wolf.
'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.
"Continuing his investigation of the Los Angeles vernacular landscape, "Thirtyfour Parking Lots" features aerial photographs of (mostly) empty parking lots adjacent to structures ranging from the iconic (then-new Dodger Stadium, The Hollywood Bowl) to the ordinary (retail stores and office buildings). The series' bird's-eye perspective reveals not only the distinctive, but often unnoticed layout and painted markings of these lots, but also the oil stains and other traces of their users."