This is the first major publication on the art and lives of twentieth-century Fort Worth artists Scott (1942-2011) and Stuart (1942-2006) Gentling. Prolific modern-day Renaissance men, the brothers created an extensive body of landscapes; portraits of regional and national luminaries; historical studies ranging from a visual reconstruction of the Aztec capital of Tenochtitlan to subjects drawn from the French and American Revolutions; and natural history illustrations of the flora and fauna of Texas. Realist painters, they drew inspiration from past masters such as Jacques-Louis David and John James Audubon, and they corresponded and collaborated with contemporaries such as Andrew Wyeth and Ed Ruscha. The Gentling brothers' place within the canon of twentieth-century American art is established here. Along with 290 images, including 120 plates, the book includes five essays, two by scholars Erika Doss of the University of Notre Dame and Barbara Mundy of Fordham University; a trio of Carter museum curators provide deep analyses of the Gentlings' artistic process, the output of their fifty-year career, and a chronology of their lives; plus several brief and incisive takes on specific aspects of the brothers' multifaceted art and lives are featured throughout.

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.

Commemorating an exhibition at Gagosian, London, this catalog is the first publication to examine the connections between these two artists work. Two booklets in a softcover portfolio feature full-color plates and installation views. An interview with Ruscha and an essay by Margaret Iversen explain how Ruscha first encountered Eilshemius s enigmatic paintings, which of the artist s aesthetic innovations captured Ruscha s imagination, and how his own work relates to and differs from that of the Neglected Marvel Eilshemius.

This sixth volume of Edward Ruscha: Catalogue Raisonne of the Paintings documents the 227 paintings, and studies for paintings, made between 1998 and 2003. Though a number of these works refer in some degree to Ruscha's output of the past two decades, the period inaugurates two major series--the "Metro Plots," which diagram streets in Los Angeles and American cities, and the celebrated "Mountain" paintings. A third series, loosely grouped, takes books as its subject. This period is also notable for the appearance of the first of the "Course of Empire" paintings, with which the artist would represent the United States at the 51st Venice Biennale in 2005. As in previous volumes, included are numerous documentary photographs, a selection of Ruscha's sketchbook pages, and complete bibliographic references and exhibition histories."

A comprehensive look at works made by Baldessari between the years 1987 and 1993 This handsome volume, the third of the John Baldessari (b. 1931) catalogue raisonne project, compiles 400-plus unique works of art made by the influential conceptual artist from 1987 through 1993. Here we see the artist's large-scale photo-based works, many of which employed his signature colored discs painted over the faces of people in the photos, accompanied by entries that trace the shifts and developments in Baldessari's work as his collaged photo narratives achieved maturity and mastery. A critical essay by Briony Fer provides a close reading of selected works, giving historical context for Baldessari's art from this period. In addition to a detailed chronology, complete exhibition history, and bibliography, this volume notably features a previously unpublished conversation between Baldessari and the artist Ed Ruscha, which was undertaken specifically for this publication. In the conversation, the artists discuss their early careers in Southern California and the shared thematic concerns in their work. The artworks in this volume demonstrate Baldessari's ability to express-and, in many cases, combine-the narrative potential of images and the associative power of language within the boundaries of a single piece. Published in association with Marian Goodman Gallery

An anthology of writings, interviews, and images by artist Ed Ruscha.Ed Ruscha is among the most innovative artists of the last forty years. He is also one of the first Americans to introduce a critique of popular culture and an examination of language into the visual arts. Although he first made his reputation as a painter, Ruscha is also celebrated for his drawings (made both with conventional materials and with food, blood, gunpowder, and shellac), prints, films, photographs, and books. He is often associated with Los Angeles as a Pop and Conceptualist hub, but tends to regard such labels with a satirical, if not jaundiced, eye. Indeed, his work is characterized by the tensions between high and low, solemn and irreverent, and serious and nonsensical, and it draws on popular culture as well as Western art traditions. Leave Any Information at the Signal not only documents the work of this influential artist as he rose to prominence but also contains his writings and commentaries on other artistic developments of the period. The book is divided into three parts, each of which is arranged chronologically. Part one contains statements, letters, and other writings. Part two consists of more than fifty interviews, some of which have never before been published or translated into English. Part three contains sketchbook pages, word groupings, and other notes that chart how Ruscha develops ideas and solves artistic problems. They are published here for the first time. The book also contains more than eighty illustrations, selected and arranged by the artist.