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STAFF PICKS | FROM THE SHELVES

AVERY LOZADA | DATE 10/17/2011

California Dreaming

Ed Ruscha: Fifty Years of PaintingD.A.P./Distributed Art Publishers
MEX/LA: Mexican Modernisms in Los Angeles 1930-1985Hatje Cantz
It Happened at PomonaPomona College Museum of Art
Nine Lives: Visionary Artists from L.A.Hammer Museum
Karin Apollonia Müller: Angels in FallKruse Publisher
Ed Panar: Golden PalmsJ&L Books
The Beautiful & The DamnedFoggy Notion Books/Smart Art Press
Michael Light: LA Day, LA NightRadius Books
Art from Los Angeles: From the 60s-90sWalther König, Köln
L.A. Object & David Hammons Body PrintsTilton Gallery

Ed Ruscha: Fifty Years of PaintingEd Ruscha: Fifty Years of Painting

Published by D.A.P./Distributed Art Publishers.
Text by James Ellroy, Ralph Rugoff, Alexandra Schwartz, Bruce Wagner, Ulrich Wilmes. Interview by Kristine McKenna.

Transforming words into icons and images into wide-screen epics, Ed Ruscha has wholly reconceived the terms of painting for our era. Tagged variously as a Conceptualist, Pop artist or latter-day Surrealist, Ruscha flouts category, or rather incorporates all categories, always surprising and experimenting with both subject and method. His paintings are steeped in our times: cinema, advertising, logos, late capitalism and the twists and turns of postwar art have all informed his iconography since the early 1960s, arriving on the cool surfaces of his canvases with magnetic detachment. Ruscha eschews process and focuses exclusively on the final product: “the means to the end has always been secondary in my art,” he has said. Ruscha has also reinvented the use of words in art, finding disquieting ways to invest language with a weird, throbbing, ambient static, never aspiring to what he calls “word gestures,” since “each word is an excursion unto itself.” Fifty Years of Painting focuses on Ruscha's majestic oeuvre of paintings. A magnificent publication, it comes housed in a slipcase that sports the artist's classic painting “Standard Station” (1966), and, alongside fantastic reproductions, it contains a preface by novelist James Ellroy, essays by Ralph Rugoff, Alexandra Schwartz and Ulrich Wilmes, a text by novelist Bruce Wagner, an interview with the artist by Kristine McKenna, an illustrated chronology and an exhibition history.
Ed Ruscha (born 1937) has made pioneering work in the media of painting, printmaking, drawing, bookmaking, photography and film since 1958. Associated in the early 1960s with the Ferus Gallery, Ruscha was included in Walter Hopps' landmark Pop art show New Painting of Common Objects, at the Pasadena Art Museum in 1962.

PUBLISHER
D.A.P./DISTRIBUTED ART PUBLISHERS

BOOK FORMAT
Slip, Hardcover, 12 x 10 in. / 192 pgs / 153 color / 30 bw.

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CATALOG: SPRING 2010 p. 171   

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ISBN 9781935202066 TRADE
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MEX/LA: Mexican Modernisms in Los Angeles 1930-1985MEX/LA: Mexican Modernisms in Los Angeles 1930-1985

Published by Hatje Cantz.
Text by Mariana Botey, Harry Gamboa Jr., Ana Elena Mallet, Catha Paquette, Jennifer Sternad, et. al.

The years from 1945 to 1985 are often identified as the moment in which Los Angeles established itself as a leading cultural center in America. However, this conception of its history entirely excludes the very controversial presence of the Mexican muralists, as well as the work of other artists who were influenced by them and responded to their ideas. It is likewise often thought that Los Angeles' Mexican culture arrived full formed from outside it, when in fact that culture originated within the city--it was in Los Angeles and Southern California that José Vasconcelos, Ricardo Flores Magón, Octavio Paz and other intellectuals developed the iconography of modern Mexico, while Anglos and Chicanos were developing their own. David Alfaro Siqueiros, Clemente Orozco, Alfredo Ramos Martínez and Jean Charlot made some of their earliest murals in Los Angeles, influencing the Mexican, Mexican-American and Chicano artists of the 1970s and 80s. MEX/LA: Mexican Modernism(s) in Los Angeles 1930-1985 focuses on the construction of different notions of “Mexicanidad” within modernist and contemporary art created in Los Angeles. From the Olvera Street mural by Siqueiros, to the Golden Age of Mexican cinema and the Disney silver-screen productions, to the revitalization of the street mural, up to the performance art of Guillermo Gómez-Peña, MEX/LA explores the bi-national and hybrid forms of artistic practices, popular culture and mass-media arts that have so uniquely shaped Los Angeles' cultural panorama.

PUBLISHER
HATJE CANTZ

BOOK FORMAT
Hardcover, 8.5 x 10.5 in. / 224 pgs / 75 color / 140 bw.

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PUB DATE
Out of print

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CATALOG: FALL 2011 p. 44   

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ISBN 9783775731331 TRADE
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It Happened at PomonaIt Happened at Pomona

Art at the Edge of Los Angeles 1969-1973

Published by Pomona College Museum of Art.
Edited by Rebecca G. McGrew, Glenn R. Phillips, Marie Shurkus. Text by Thomas Crow, David Pagel.

From 1969 to 1973, a series of radical art projects took place at the far eastern edge of Los Angeles County at the Pomona College Museum of Art, in Claremont, California. Here, Hal Glicksman, a pioneering curator in Light and Space art and former assistant to Walter Hopps, and Helene Winer, later the director of Artists Space and founder of Metro Pictures gallery in New York, curated landmark exhibitions by young local artists who bridged the gap between postminimalism and Conceptual art and presaged the development of postminimalism in the late 1970s. Among these artists were Bas Jan Ader, Michael Asher, Mowry Baden, Lewis Baltz, Chris Burden, Judy Chicago, Ger van Elk, Jack Goldstein, Robert Irwin, William Leavitt, John McCracken, Allen Ruppersberg, James Turrell and William Wegman. Providing unprecedented and revelatory insight into the art history of postwar Los Angeles, It Happened at Pomona chronicles the activities of artists, scholars, students and faculty associated with the College during this period. The book provides new insight into the relationship between postminimalism, Light and Space art and various strands of Conceptual art, performance art and photography in California, while contributing substantial new information about interconnections between artistic developments in Los Angeles and New York.

PUBLISHER
POMONA COLLEGE MUSEUM OF ART

BOOK FORMAT
Paperback, 9 x 13 in. / 386 pgs / 120 color / 160 bw.

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CATALOG: FALL 2011 p. 45   

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Nine Lives: Visionary Artists from L.A.Nine Lives: Visionary Artists from L.A.

Published by Hammer Museum.
Text by Ali Subotnick.

Nine Lives: Visionary Artists from L.A.--an exhibition curated by Ali Subotnick at Los Angeles' Hammer Museum--features nine idiosyncratic Los Angeles-based artists spanning several generations, including Lisa Anne Auerbach, Julie Becker, Llyn Foulkes, Charles Irvin, Hirsch Perlman, Victoria Reynolds, Kaari Upson, Jeffrey Vallance and Charlie White. These artists have in common the aim of transporting viewers to an alternate reality with work that gets under your skin and sticks in your head yet incorporates a degree of self reflection. They eschew the dreamy California cliché of superficial comfort and glamour to instead focus--in profoundly disturbing yet often humorous ways--on the world in which we live.
Ali Subotnick is a curator at the Hammer Museum. In 2006, along with her frequent collaborators Maurizio Cattelan and Massimiliano Gioni, she co-curated the 4th Berlin Biennial.

PUBLISHER
HAMMER MUSEUM

BOOK FORMAT
Hardcover, 9 x 6.5 in. / 200 pgs / 70 color.

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Active

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CATALOG: SPRING 2009 p. 130   

PRODUCT DETAILS
ISBN 9780943739366 TRADE
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Karin Apollonia Müller: Angels in FallKarin Apollonia Müller: Angels in Fall

Published by Kruse Publisher.
Text by Rodney Sappington.

Copies of the classic "New Objective" photo book Angels in Fall, originally published in 2001 and thought to be out of print, are now available again. In it, vast, rational parking lots loom into focus, the smoggy grid of a Los Angeles neighborhood evaporates into the horizon and a man finds shelter from a rainstorm under an orange plastic sheet in an industrial wasteland… The landscapes of the respected German-born, Los Angeles-based photographer Karin Apollonia Müller evoke human presence and absence and the spatiality of human desire at a time when all things synthetic, flexible and global have overtaken their more organic and local counterparts. According to Martin Parr and Gerry Badger's important survey The Photobook Volume II, Müller "shows non-place rather than place, an environment that has an ethereal, other-worldly quality. It is a city familiar to us from moving images, yet in her hands it emerges both fresh and strange. This is the most convincing photographic representation of Los Angeles since that of Ed Ruscha in the 1960s and Robert Adams' Los Angeles Spring of 1986." And Christopher Knight of the Los Angeles Times wrote, "A more apposite public portrait of this city would be hard to imagine."

PUBLISHER
KRUSE PUBLISHER

BOOK FORMAT
Hardback, 12 x 10.5 in. / 112 pgs / 44 color.

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CATALOG: SPRING 2008 p. 101   

PRODUCT DETAILS
ISBN 9783873973992 TRADE
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Ed Panar: Golden PalmsEd Panar: Golden Palms

Published by J&L Books.
Edited by Ed Panar, Jason Fulford. Interview by Charlotte Cotton.

When Ed Panar moved to Los Angeles, he opted not to get a car. Or a high-end camera. For two years. His compact was, "quick, cheap and direct, and that seemed to suit L.A." The color photographs collected in Golden Palms reflect Panar's walking life there, with the cumulative effect of a subtly funny tour through the city's lost back streets--parts of contemporary Los Angeles that most people would simply speed past in their cars. His subjects, including "The 405," "Near Ventura Boulevard," "Tuesday Afternoon," "Summer" and "Coming Home," were often, he says, "like cartoon characters I'd find while I was walking around, like the rainspout attached to the wall, in a city where it doesn't rain." And like that rain spout, many of the images capture especially peculiar intersections of nature and architecture, like a set of gnarled, clawlike tree roots gripping the sidewalk, a squirrel ignoring a trash can next to his tree, or palm trees photographed against stucco walls, looking like Dr. Seussian vegetation straight out of The Lorax. With an interview by the esteemed photo historian and curator, Charlotte Cotton.

PUBLISHER
J&L BOOKS

BOOK FORMAT
Hardcover, 10 x 8 in. / 96 pgs / 56 color.

PUBLISHING STATUS
PUB DATE
Out of print

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CATALOG: FALL 2007 p. 48   

PRODUCT DETAILS
ISBN 9780974690865 TRADE
LIST PRICE: $30.00 CDN $35.00

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STATUS: Out of print | 11/30/2012

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The Beautiful & The DamnedThe Beautiful & The Damned

Punk Photographs by Ann Summa

Published by Foggy Notion Books/Smart Art Press.
Edited by Kristine McKenna. Foreword by Exene Cervenka.

When photographer Ann Summa arrived in Los Angeles in 1978, the city’s punk scene was still fresh, diverse, smart, utterly original—and fertile territory for a young photographer. The Beautiful & the Damned is a collection of her portraits of the musicians, artists and fans who made Los Angeles such a crucial part of the history of punk. Taken between 1978 and 1984, the images mostly revolve around L.A.’s first punk generation, and include portraits of the Germs, the Screamers, X, the Cramps and the Gun Club, among many others. From there, the book expands its scope to accommodate the cross-pollination that took place between L.A.’s punk scene and the fine art community, (at the time, the audience for avant-garde artists such as the Kipper Kids, Johanna Went and Laurie Anderson was primarily drawn from the underground music scene), and the two other cities—London and New York—that played a central role in the birthing of punk. Photographed during their first U.S. tours are U.K. groups the Clash, Magazine, the Fall, the Slits, Bow Wow Wow and the Pretenders, among others. Visiting dignitaries from New York include Television, James Chance, Lydia Lunch and Talking Heads. Also included are portraits of artists who served as an inspiration to L.A. punks—Captain Beefheart, Iggy Pop and David Bowie, among others—plus candid shots of unidentified audience members. Edited and with an introduction by Kristine McKenna, The Beautiful & The Damned includes 95 previously unpublished images.
Ann Summa studied photography in Japan. Her work has been regularly published for the past 30 years in publications including Artnews, Rolling Stone and The Los Angeles Times.

PUBLISHER
FOGGY NOTION BOOKS/SMART ART PRESS

BOOK FORMAT
Hardcover, 9.25 x 12.25 in. / 112 pgs / 182 bw.

PUBLISHING STATUS
PUB DATE
Out of print

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CATALOG: FALL 2010 p. 52   

PRODUCT DETAILS
ISBN 9781935202271 TRADE
LIST PRICE: $39.95 CDN $50.00

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Michael Light: LA Day, LA NightMichael Light: LA Day, LA Night

Published by Radius Books.

The greater Los Angeles area covers 4,850 square miles--the size of a small country--and holds almost 18 million people. Perhaps America’s largest human creation, it has been vilified and celebrated in equal measure since its inception. Is L.A. the face of the apocalypse, or an ultimate paradise at continent’s edge--or both? With LA Day/LA Night, photographer Michael Light continues his aerial examination of the arid American West by bringing together two opposing views of the city in a double-volume set. LA Day stares directly into the sun, which blasts the metropolis in a relentless and specific light. LA Night drifts over the city as it grows darker, and begins to resemble the starry sky vaulted above. Referencing Ed Ruscha, Peter Alexander, Julius Schulman and writers from Philip K. Dick to Raymond Chandler, LA Day/LA Night continues Los Angeles’s rich cultural legacy of examining its favorite schizophrenic subject--itself.

PUBLISHER
RADIUS BOOKS

BOOK FORMAT
Hardcover, 10.5 x 16 in. / 72 pgs / 39 duotone.

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CATALOG: FALL 2010 p. 72   

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ISBN 9781934435304 TRADE
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Art from Los Angeles: From the 60s-90sArt from Los Angeles: From the 60s-90s

Published by Walther König, Köln.
Text by Gregory Williams. Foreword by Karola Grässlin.

Since the 1960s, Los Angeles has been a hub for groundbreaking art. This slim volume features work by Bas Jan Ader, Michael Asher, John Baldessari, Chris Burden, Douglas Huebler, Larry Johnson, Mike Kelley, William Leavitt, Paul McCarthy, Bruce Nauman, Maria Nordman, Raymond Pettibon, Stephen Prina, Allen Ruppersberg, Ed Ruscha and Christopher Williams.

PUBLISHER
WALTHER KöNIG, KöLN

BOOK FORMAT
Paperback, 8.5 x 10.5 in. / 48 pgs / 50 color.

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CATALOG: SPRING 2008 p. 189   

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ISBN 9783865603241 TRADE
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STATUS: Out of stock

Temporarily out of stock pending additional inventory.

L.A. Object & David Hammons Body PrintsL.A. Object & David Hammons Body Prints

Published by Tilton Gallery.
Edited by Connie Rogers Tilton, Lindsay Charlwood. Text by Steve Cannon, Dale Davis, Josine Ianco-Starrels, Kellie Jones, Yael Lipschutz, John Outterbridge, Greg Pitts, Betye Saar, Tobias Wofford.

L.A. Object offers a historical overview of the Los Angeles assemblage movement of the 1960s and 70s. It focuses on works by primarily African-American artists often omitted from mainstream gallery and museum historical exhibitions who were working during the civil rights movement, the 1965 Watts riots and the era's general social and cultural upheaval: Ed Bereal, Wallace Berman, Nathaniel Bustion, Alonzo Davis, Dale Brockman Davis, Charles Dickson, Mel Edwards, David Hammons, Daniel La Rue Johnson, Ed Kienholz, Ron Miyashiro, Senga Nengudi, John Outterbridge, Noah Purifoy, Joe Ray, Betye Saar, Kenzi Shiokava and Timothy Washington. Central to this book are the unique body prints of David Hammons--ironic, often political commentaries relevant to the African-American experience that are presented for the first time within the context from which they arose. Also included are photographic contributions by Bruce Talamon and Harry Drinkwater.

PUBLISHER
TILTON GALLERY

BOOK FORMAT
Hardcover, 10.5 x 10 in. / 424 pgs / 249 color / 252 bw.

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CATALOG: FALL 2011 p. 44   

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ISBN 9781427613745 TRADE
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