Titre : Edward Ruscha: Catalogue Raisonne of the ...
Éditeur : Gagosian Gallery / Steidl, New York / Gottingen, Germany
Date d'édition : 2003
Reliure : Hard Cover
Illustrateur : Over 200 Color & b/w Illustrations (chiefly Color photographs); Advertising Matter
Etat du livre : Near Fine
Etat de la jaquette : No Jacket
Signé : Signed by Artist
Edition : First Edition
Nice, clean copy in original publisher's slipcase. , 436,  pages. Exhaustive catalogue of the early works, with introductory essays by Walter Hopps and Yve-Alain Bois, a biographical chronology and 7-part bibliography, list of titles and of authors quoted. Boldly signed by Ruscha in black ink (as "Ed Ruscha", with 3 underlining paraphs) on half- title page. With additional printed invitation to the Gagosian Gallery's signing party at the gallery's Beverly Hills branch, March 1, 2003, present (book was presumably signed at this event). Exceptional copy in a near-perfect slipcase (only slightly bumped at few edges). Size: Folio - over 12" - 15" Tall (small). N° de réf. du libraire L076248
Synopsis : 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 Twentieth 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 Raisonné 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 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.
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