Michael Maranda (1966)
Twentysix gasoline stations, 2.0 /
26 gasoline stations, 2.0
[Toronto]: Parasitic Ventures Press, [2010].
[48] p.:
18 cm.
ISBN : 9780981326306 (broch.)
“A reconstruction of Edward Ruscha’s Twentysix Gasoline Stations utilising only images available on the internet”[designed and edited by Michael Maranda].
Download a preview of the book here.
Erica Van Horn
With My Left Hand
Coracle, 2006
28 p.
photocopy with letterpress cover.
16,5 x 13,3 cm
300 ex.
grampeado
ISBN 0 906630 29 0
A re-make of Les Coleman’s With My Right Hand from 1982, this one being Irish Made, as opposed to the earlier one from White Lies Publications being English Made.
Derek Sullivan (Canadá, 1976)
Persistent Huts
New York, EUA: Printed Matter, 2008.
Encadernação: sanfona
14,3 x 17,9 cm
p&b; offset
ISBN: 978-0-89439030-2
Notas: cinta prateada.
Fotografias de seis exemplares do livro Psychobuildings de Martin Kippenberger. O layout imita o livro de Ed Ruscha, Every Building on Sunset Strip.
Michalis Pichler
January 5-31, 2012
Berlin: Greatest hits, 2012.
[12 p.]
21 x 17,5 cm.
400 exemplares.
xerografia
In 1969 Seth Siegelaub organized an exhibition (and publication) with the title January 5 – 31, 1969, one of the first exhibition projects of conceptual art, with the participation of Robert Barry, Douglas Huebler, Joseph Kosuth and Lawrence Weiner.
Back then there was already talking about a so-called “linguistic turn” that had been taken place in the visual arts and in consequence led to idea art. Nevertheless one could hardly deny, that those artistic/poetic strategies are being reused and radicalised around the turn of the millennium and recently.
January 5 – 31, 2012 is gathering some of these positions, presenting Craig Dworkin, Kenneth Goldsmith Jonathan Monk and Michalis Pichler.
Jonathan Monk
& Milk: Today is Just a Copy of Yesterday
Wein, Austria : Schelbrügge / Grazer Kunstverein, 2004
Textos em alemão e inglês
offset-printed, sewn bound
color
15 x 22,7 cm.
[64] p.
800 ex.
ISBN 3851600363
Em um jogo com o clássico livro de artista de Edward Ruscha, Various Small Fires and Milk, um copo de leite é o assunto demonstrativo deste pequeno livro. Uma imagem inicial do copo foi copiada, uma cópia foi feita da cópia, e assim por diante, até atingir 51 gerações do original. A questão se torna complicada quando uma imagem é feita a partir de outra; novas condições e padrões emergem que dificilmente podem ser antecipados. Com cada geração, a reprodução perde algumas informações, as cores mudam, a definição e a resolução podem sofrer, e até mesmo a própria área de imagem começa a mudar. & Milk é uma peça fascinante, bem como um flipbook divertido que agrada a qualquer pessoa interessada em questões de regeneração, duplicação, temporalidade ou gosta de trabalhos que jogam com a obra de Ruscha. Ensaio de Fotolabor Kadmon em Alemão e Inglês.
In a play on the classic artist’s book by Edward Ruscha, Various Small Fires and Milk, a glass of milk is the demonstrative subject of this little book. An initial slide of the glass was duplicated, a duplicate was made of that duplicate, and so on, until there were 51 generations of the original. Matters become complicated when one slide is made from another; new conditions and patterns emerge that can hardly be anticipated. With each generation, the reproduction loses some information, the colors change, definition and resolution suffer, and even the image area itself begins to change. & Milk is a fascinating piece, as well as a fun flip book that appeals to anyone interested in matters of regeneration, duplication, temporality or enjoys plays on Ruscha’s work. Essay by Fotolabor Kadmon in German and English.
Fonte das imagens: http://artistsbooks.info/
Michalis Pichler (Berlim/ ALEMANHA, 1980)
Twentysix Gasoline Stations
New York: Printed Matter, 2004.
36p.; il. col.
14 x 18 cm
Offset
550 ex.
Brochura
First edition 550 copies, limited ed. 50 with white UV-varnish on cover; second ed. 1000
ISBN: 978-0-89439-044-9
Há um tipo especial de posto de gasolina que foi construído em toda a República Democrática Alemã (ou seja: ao redor de uma vasta área de Berlim) pela Total, uma companhia petrolífera francesa, depois que o muro foi derrubado e eles expandiram seus negócios durante os anos 1990. Todos eles foram fotografados.
Ruscha uma vez declarou em uma entrevista que ao criar seu primeiro livro, que veio a ser um modelo de “livro de artista” (e, hoje em dia, altamente colecionável) o título veio primeiro. Então ele pegou um volume de 70-90 fotografias de postos de gasolina e eventualmente “os postos excêntricos foram os primeiros que eu joguei fora.”
There is one particular Gasoline Station which was built all over the former German Democratic Republic (that is: all around the wider area of Berlin) by Total, a French Oil Company, after the wall came down and they expanded their business during the 90’es. All those were photographed.
Ruscha once stated in an interview, that when creating his first book, which came to be an “artist book” role model (and, nowadays, high-end-collectible) the title came first. He then took a bulk of 70–90 photographs of Gas Stations, and eventually “The eccentric stations were the first ones I threw out.”
[fonte]
Eric Doeringer, 1974- (Estados Unidos)
The Xeroxed Book
Nova York : Copycat Publications , 2010.
Bound Photocopies, 8.5 x 11″, 185 p.
edition of 250
The Xeroxed Book is based on Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Robert Morris, Lawrence Weiner – an artists book published by Seth Siegelaub and John Wendler in 1969 that is more commonly known as The Xerox Book. The Xerox Book was conceived as an exhibition in book form: Siegelaub invited the seven titular artists to submit 25-page projects designed to be reproduced by the then-new technology of the photocopy. However, photocopying proved too expensive at the time, and the book was printed on a traditional offset press.
The Xeroxed Book is a photocopied edition of the Xerox Book. Being photocopied, The Xeroxed Book is perhaps closer to Siegelaub’s intent than the original book. However, as a second-generation copy, The Xeroxed Book displays the limitations of photocopying as a reproductive technology. Dust, page edges, distortions, and other familiar Xerox artifacts appear on every page, becoming as much a part of the reading experience as the original artists’ projects.
http://www.ericdoeringer.com/ConArtRec/Xeroxed%20Book/XeroxedBook.html
Doro Boehme
Eric Baskauskas
Various blank pages : and Ink
[Chicago], 2010.
2. ed.
[58] p.: il. color.
19,5 x 14,5 cm.
Impressão em offset
500 ex.
“Various Blank Pages é uma referência direta ou uma releitura do “Various Small Fires”, de Edward Ruscha (1964)”
Primeira edição 500 ex., 2009.
Segunda edição 500 ex., 2010.
Produzido em parceria com Doro Boehme, colega que admira as obras em livro de Ed Ruscha. Nosso trabalho na Coleção de Livros de Artista Joan Flasch deu-nos o privilégio de acesso a algumas das mais famosas obras de Ruscha, como Twentysix Gasoline Stations e Nine Swimming Pools, assim como uma visão do excesso de paródias e homenagens que a cena artística produziu. Nós escolhemos juntar esses fenômenos enquanto olhávamos para outro: o gosto pelos espaços vazios de Ruscha.
Various Blank Pages consiste em reproduções de páginas em branco de livros emblemáticos de Ruscha. Diretamente digitalizado das obras originais e projetado para se parecer com uma das suas obras, talvez a melhor parte desse livro é sua função alternativa como um caderno de notas, caso a novidade da peça desapareça.
Produced with Doro Boehme, a fellow admirer of the book works of Ed Ruscha. Our work at the Joan Flasch Artists’ Book Collection at SAIC gives us the privilege of access to some of Ruscha’s most famous and rare book works such as Twentysix Gasoline Stations and Nine Swimming Pools, as well as insight to the glut of knock-offs and homages that the scene produces. We chose to merge these phenomena while looking at another: Ruscha’s love of empty space.
Various Blank Pages consists of reproductions of the blank pages from Ruscha’s iconic books. Scanned directly from the original works and designed to look like one of his, perhaps the best part about this book is its alternate function as a notebook should the novelty of the piece ever fade.
https://doroboehme.com
http://ericbaskauskas.bigcartel.com/product/various-blank-pages
Capa de “Inveja”, de Guto Lacaz
Guto Lacaz (São Paulo, 1948)
Inveja
[São Paulo], 2007.
[16] p. : il. algumas color.
26 x 20 cm.
Notas de exposição
Exposição “O desenho como instrumento”, no período de 31 de maio a 06 de julho de 2014. Sesc Pompéia – São Paulo.
