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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 automobile - gas stations,
billboards, building facades, parking lots, and long stretches of
roadway - are 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 images -
declaring Adios, Rodeo, Wheels over Indian Trails, and
Honey...Twisted through More Damn Traffic to Get Here - further
underscore a contemporary Western sensibility. Ruscha's interest in
what the real West has become - and Hollywood's version of it -
plays 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, and 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 painter's 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 16-October 9, 2016.
California Romantica features the most important, yet rarely seen,
residential exemplars of the California Mission and Spanish
Colonial styles, by such noted architects as George Washington
Smith, Wallace Neff, Richard Requa, Lilian Rice, and Paul R.
Williams, among others. From whitewashed stucco walls and
cloistered patios to tile roofs and sumptuous gardens, each house
shown is a rare masterpiece, splendidly appointed with authentic
Monterey furniture, California tile, and Navajo rugs. Among the
magnificent seaside estates, canyon villas, and courtyard bungalows
shown is Diane Keaton s former home in Beverly Hills, which she
thoughtfully restored with noted designer Stephen Shadley, and for
which she has been recognized as a committed preservationist. She
brings her cinematic eye, a keen sense of natural drama, and a
profound appreciation for the nuances of shadow and light to the
elucidation of these buildings, through the selection of specially
commissioned photography. Authoritative text by D. J. Waldie
lucidly explicates the architecture and provides an intimate tour
of a historic and distinctly Californian lifestyle.
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L.A. River (Hardcover)
Michael Kolster; Contributions by D.J. Waldie, Frank Gohlke
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R1,077
R690
Discovery Miles 6 900
Save R387 (36%)
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Ships in 12 - 17 working days
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Three centuries ago, the Los Angeles River meandered through
marshes and forests of willow and sycamore. Trout spawned in its
waters, and grizzly bears roamed its shores in search of food. The
river and its adjacent woodlands helped support one of the largest
concentrations of indigenous peoples in North America, and it also
largely determined the location of the first Spanish Pueblo and
ultimately the city of Los Angeles. The river was also the city’s
sole source of water for more than a century before flood-control
projects made the L.A. River what it is today. Michael Kolster, in
L.A. River, relies on a nineteenth-century photographic technology
to render the Los Angeles River today, from its headwaters in
Canoga Park and the suburbs of the San Fernando Valley to its mouth
at the Pacific Ocean in Long Beach. Coincidentally, the founding of
the city of Los Angeles and California’s achievement of statehood
in 1850 coincide historically with the invention of the wet-plate
photographic process, forever linking the city and state with the
centrality of photography. The moving images that define L.A. River
show a feature of the city’s landscape that initially attracted
native peoples to its banks and gave rise to the formation of our
nation’s second-largest city. Channeled in concrete during the
last century to control flooding, the river was all but removed
from the life of the city until the turn of the twenty-first
century, when concerted efforts were made by some to peel back some
of the concrete and to let nature live once again. In his
photographic journey, Kolster considers both the past and present
and how the accumulation of life along the river suggests a larger
a role for the L.A. River in the lives of the city’s inhabitants.
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