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

Leave Any Information at the Signal: Writings, Interviews, Bits, Pages (October Books)

Arts & Photography

RUSCHA, ED

History & Criticism

The MIT Press

Assembled in the form of a thick block, this book reproduces approximately 600 word drawings, paintings and works on paper by the Los Angeles-based American artist Edward Ruscha (b. 1937). The result is a sort of novel without an obvious plot, a series of words with no narrative. monochromatic, abstract background in the late 1950s and has continued to explore the language-based imagery that has become a hallmark of his work. Pulling 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 shaded backgrounds. Some of the works consist of only one word - great, mud, trust; others of short combinations or phrases - Indeed I do, She sure knew her devotionals and They called her Styrene.

They Called Her Styrene, Etc.

Phaidon Press

The Art of Wall Batterton; Wallworks 1959 to 2005

Wall Batterton

Pharmaka Publ.

Made in San Francisco: Ed Ruscha Etchings: 1982-2014

et.al.

Crown Point Press

Ed Ruscha: Busted Glass

GAGOSIAN GALLERY

Ed Ruscha - Psycho Spaghetti Westerns

DAVID HOCKNEY MOVING FOCUS: COLLECTION DE LA TATE

MORPHET, RICHARD

Smith, Ali

JONES, ALLEN

Rijneveld, Marieke Lucas

TOVEY, RUSSELL

GEHRY, FRANK

McMillan, Andrew

LITTLE, HELEN

HOCKNEY, DAVID

OXTOBY, DAVID

Cusset. Catherine

PFEIFFER, WALTER

HAWORTH, JANN

DIJKSTRA, RINEKE

Jones. Owen

SALTER, GREGORY

SLEEP, WAYNE

QUARLES, CHRISTINA

RAVELLA, BRUNO

STREULI, CHRISTINE

PEAKE, EDDIE

IN FINE

DIRTY BABY is a provocative "trialogue" between the paintings of Ed Ruscha, the music of Nels Cline, and the poems of David Breskin. The title comes from the idea that when different art forms mate, the resulting offspring is no purebred but rather a wonderfully dirty and lovable mutt. The book is divided into two "sides" in the manner of a vinyl record: Side A offers a time-lapse history of Western Civilization; Side B charts the American misadventure in Iraq. The 66 Ruscha pictures in the book are drawn from two rarely seen bodies of work, the "Silhouettes" and the "Cityscapes," in which Ruscha uses "censor strips" in place of the words which normally occupy a prominent place in his pictures. Throughout, Breskin's lyrical verses, using the ancient Arabic form of the ghazal, serve as powerful companions to Ruscha's gorgeously reproduced paintings. To this mix Cline adds more than an hour-and-a-half of new music for a large ensemble: by turns rhapsodic and edgy, heartfelt and raucous, it ranges from acoustic impressionism to dense, dark electronica. Housed in a luscious slipcase and including four CDs, two of music and two of spoken-voice poetry, this vibrant, polyphonic book is a wild surprise produced by three of the most exciting artists working today.

DIRTY BABY

Breskin, David

Cline, Nels

Prestel USA

A decade after his sizzling debut A Private View, Sante d’Orazio returns with a second volume of photo-diary-scrapbook, covering 1997 to 2008. Uncensored and provocative, d’Orazio’s shots are mounted in collage-style entries framed with candid, handwritten observations. All-night parties and day-long photo sessions provide the light and shade of d’Orazio’s jetset lifestyle—celebrities, models, musicians, actors and artists all feature, in various states of dress and undress. Informal images contrast with posed shots, color with black and white, and outtakes are shown along published photos from the likes of Playboy and Interview. With a keen eye, d’Orazio creates a dynamic tableau of moods and styles. Access to this demi-monde is rare; capturing its essence in words and pictures, rarer still. Sante d’Orazio succeeds on both counts.

Sante D'Orazio, Barely Private

Photography & Video

Taschen America, LLC

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's 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. "Ed Ruscha: Gunpowder and Stains" presents some of Ruscha's most amazing illustrations from the 1970s--images that feature cryptic slogans, often reminiscent of advertising language, at turns obscured and revealed by the artist's hand. The book also features two important essays: a very personal commentary on Ruscha's impact by Thomas Demand, and an article by Diedrich Diederichsen that offers an in-depth exploration of Ruscha's combination of images and typed letters.

Ed Ruscha: Gunpowder and Stains

DEMAND, THOMAS

Magers, Philomene

Individual Artists

Verlag De Buchhandlung Walter

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