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Index
Jennifer Quick
Description: Back to the Drawing Board: Ed Ruscha, Art, and Design in the 1960s
Back to the Drawing Board: Ed Ruscha, Art, and Design in the 1960s
Index
Author
Jennifer Quick
PublisherYale University Press
Copyright© 2022 by Jennifer Quick
Stable URL: https://aaeportal.com/?id=-23172
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Index
A
Abstract Expressionism: Actual Size and, 59, 68
Chouinard and, 63
Orb and, 37, 40
Ruscha’s books and, 90
Ruscha’s response to, 48
Ruscha’s techniques and, 65
Sweetwater and, 41
Andy Warhol and, 48
“Action Agency,” Orb, 37–38, 39 fig. 21
Actual Size (Ruscha), 59–68, 53 fig. 33, 175n19
Abstract Expressionism, 68
hyperscalability, 68
inflation and, 56
LACMA Culture Day photo with, 160, 180n40
New Painting of Common Objects, 51
painting process of, 72
tracing, 62, 72
type’s scalar dimensions, 66
and words, 67
Adamson, Glenn, 6, 19
Adtype Workbook, 43
advertising, and images, 28
advertising design: Advertising Designers Company, 22, 37
Advertising Layout and Art Direction (Baker), 28, 28 fig. 12
Chouinard, 2, 21, 87
Emerson’s Bromo-Seltzer, 24, 24 fig. 7
established field of, 25
image-producing complex, 37
International Design Conference (Aspen), 9, 32–33
Layout: The Practical Application of the Principles of Design to Advertising and Printing (Felten), 26 fig. 10, 27–28
Orb, 39
Ruscha’s training in, 7
scaling tools of, 55
taskscape of, 25
Advertising Designers Company, 22, 37
Advertising Layout and Art Direction (Baker), 28, 28 fig. 12, 115
AEG (Allgemeine Elektricitäts—Gesellschaft), 30
After “Landscape Manual” (Wall), 106 fig. 74, 107
Ahmanson, Howard, 160
Alanis, Art, 110, 157
Albers, Josef, 22, 26
Allan, Ken, 6
Alloway, Lawrence, 55
Altoon, John, 51
Amazon Studios, 165, 169
Americans, The (Frank), 105, 124
Andersen, Ritchie, & Simon, 101
Annual of Advertising Editorial Art and Design, 27 fig. 11
applied arts, 2, 3, 13
Archipenko, Alexander, 22
Arensberg, Louise, 154
Arensberg, Walter, 154
Ark, 15
Arno, Peter, 4–5, 4 fig. 2
Art Center College (Pasadena), 8
artistic production and patronage, new model of, 8
catalogue of, 25–26
design scene, 35
formality of, 21
students of, 19–20
Art Direction, 46
Artforum: Richard Brown, 155
John Coplan, 154–55
LACMA, 155, 155 fig. 111
Jules Langsner, 154
Philip Leider, 154
“Paragraphs on Conceptual Art” (LeWitt), 108 fig. 76, 109, 112
Ruscha work at, 10
Ruscha’s work procedures, 98–99
“Surrealism Soaped and Scrubbed” (Ruscha), 152, 177n29
Art News, Jackson Pollock, 38
art object, “dematerialization of,” 116
Arts and Architecture (Entenza), 23, 35, 36
Arts Magazine, 151
Asher, Betty, 115, 180n38
“Aspen Balloons” (Danziger), 32 fig. 16, 33
Aspen International Design Conference. See International Design Conference (Aspen)
Atget, Eugene, 105
B
Baker, Stephen, 28, 28 fig. 12, 115
Baldessari, John, 116
Banham, Reyner, 150
Barney’s Beanery, 51
Barthes, Roland, 55–56, 68
Barton, Jack, 21
Baskin-Robbins, 3, 51, 133
Bass, Saul: Chouinard, 9, 23
independent studio, 3
International Design Conference (Aspen), 33
L.A. design scene, 23
The Man with the Golden Arm, poster for, 29 fig. 13, 30
Society of Graphic Designers meeting, 33
strategies of, 29–30
Bauhaus, 12–13, 172n29
Josef Albers, 26
Chouinard, 21, 22
Charles Felten, 118
Elaine Cohen Lustig, 35
Lázsló Moholy-Nagy, 30, 35
Andy Warhol, 47
Bayer, Herbert, 12–13, 22, 31
BBDO, 37
Beck, Chris, 157–59, 158 fig. 114
Behren, Peter, 30
Bell, Larry, 160
Bembo typeface, 43
Ben-Day dots, 56
Bengston, Billy Al: Business Cards, 92, 116
illustration and, 55
LACMA Culture Day, 160
Ruscha, collaboration with, 81, 92, 116
Ruscha, influence on, 41
Venice, 51
Bereal, Ed, 51
Berman, Wallace, 116
Beton typeface, 101
Blackwell, Patrick, 25
International Design Conference (Aspen), 32
Nekoosa News, 46–47, 46 fig. 28
Royal Road Test, 92
Ruscha, darkroom printing, 105, 178n38
Students 5, 46–47, 178n38
Blue Collar Tool & Die (Ruscha), 166–67, 166 fig. 117
Blue Collar Trade School (Ruscha), 166–68, 167 fig. 117
Blum, Irving, 51, 154, 159–60, 180n38
Bodoni typeface, 31
Bois, Yve-Alain, 67
Book Layouts (Ruscha), 121, 121 fig. 83
book measurements, notes on (Ruscha), 113 fig. 79
“Books by Edward Ruscha” sales flyer (Ruscha), 92, 92 fig. 64
Boston Pops record album design (Ruscha), 24, 25 fig. 9
Bourdon, David, 115
Box Smashed Flat (Ruscha), 52 fig. 32, 66
New Painting of Common Objects show, 51
studies for, 62
tracing, 62
Boy Scout Utility Modern typeface, 167
Brodovitch, Alesey, 23
Brody, David, 1, 12
Bronson Tropics, 150
Brooklyn Dodgers, 3
Brown, Denise Scott, 111–12, 178n45
Brown, Richard, 155, 160
Buchloh, Benjamin: Conceptual art, 64, 175n25
“culture industry,” 48
Ruscha’s books, 90, 128
Ruscha’s Course of Empire, 169
Burning Gas Station (Ruscha), 144–46, 144 fig. 103
Burning Small Fires (Nauman), 86
Business Cards (Ruscha/Bengston), 92, 116
C
California Institute for the Arts (Cal Arts), 21, 35
California Polytechnic Pomona Communication Arts students, 87, 87 fig. 61
Campany, David, 106
Campbell’s Soup Can (Tomato) (Warhol), 57 fig. 37
capitalism: Hal Foster, 7
International Design Conference (Aspen), 33
Pop art, 7, 13, 47, 55
Ruscha, 7, 58, 111, 169
scale, 58
Venturi/Brown/Izenour, 111
Warhol, 47–48
Carson, Ralph, logo, 3
Carson/Roberts advertising agency, 3
Baskin-Robbins, 133
Chouinard, 21
Tony Haller, 90
Andy Warhol, 48
Case Study House program, 23, 35, 123
CBS Radio advertisement, 27, 27 fig. 11
Celmins, Vija, 107, 146
Central Typesetting, 16, 17, 17 fig. 5, 30, 49
Chandler, John, 116
Cheap Western (Ruscha), 69–72, 72 fig. 48, 75, 81, 131, 142
Cheap Western Study (Ruscha), 71–72, 71 fig. 47
Cheese Mold Standard with Olive (Ruscha), 142, 143 fig. 102
Chevron, 128, 134
Chicago, Judy, 160
Chouinard Art Institute, 1, 20–23
advertising and images, 28
Basic Year, 22
Bauhaus, 21, 22
business world, 33–34
California Institute for the Arts (Cal Arts), 21
Nelbert (Nelly) Chouinard, 20, 21
courses, 22, 26, 31–34, 63, 66, 173n18, 175n30
design scene, 35–36
drawing board, 26–27
GI Bill, 20
NASAD, 21
Edward Northridge, 21
philosophy of, 22
students, 19–20
writing utensils, 26 fig. 10, 27
cigarette smoking, 37
Cirrus, 143
Clark, Hazel, 1, 12
Cole, Thomas, 165–66
Coleman, A. D., 105
commercial art, 2, 3, 25, 48, 66, 87, 177n24
communication arts, 34
Conceptual art, 64, 86, 87, 89, 175n25
Constructivism, 13, 116, 172n30
Container Corporation of America, 30–31, 49
Container Corporation of America advertisement (Danziger), 30 fig. 14, 31
conventions, 3, 8, 19, 25
Coplan, John, 112, 154–55
Cornell, Joseph, 24
Course of Empire (Cole), 165–66
Course of Empire (Ruscha), 165–69, 166–67 fig. 117
Cowles, Charles, LACMA, 155
Cranbrook Academy of Art, 21
Crow, Thomas, 6
cultural-products industry: advertising design and, 25
Hollywood, 123, 137
Los Angeles schools, 9, 36
print design and, 34
Ruscha and, 10–11, 17, 117, 123, 154
Allen J. Scott, 9, 117, 123, 178n60
cyclical working process, 4
D
Dada: collage, 23
manicule, 39
Orb, 15, 23, 39
Ruscha, Goode, and McMillan, 24
splash of ink, 40
Three Standard Envelopes, 42
Danziger, Louis, 3
“Aspen Balloons,” 32 fig. 16, 33
Cal Arts, 35
Chouinard, 9, 23
Container Corporation of America advertisement, 30 fig. 14, 31
design scene, 34–35
Orb, 34
Darwent, Charles, 66
de Kooning, Willem, 63
parody of, 37–38, 38 fig. 20
design, 1–4, 23–32, 171n4, 173n26
capitalism, 33
corporate culture and, 8, 23–32, 173n26
global economy and, 165–70
history of, 12, 171n28
linear perspective, 140–46
public sphere and, 154–63
“Design without Clients” (Lionni), 19–20
De Stijl, 131
Diamond, S. J., 160
Dine, Jim, 10, 51, 55
dingbats, 123, 150, 153
Disney, Walt, 21, 23, 143
Dow, Arthur Wesley, Chouinard, 20
Dowd, Robert, New Painting of Common Objects show, 51
drawing board, 8, 26–27, 27 fig. 11
Drawingboard Drawing (Ruscha), 5–6, 5 fig. 3
Duchamp, Marcel, 11–12, 24, 42, 89, 90
Dutch Details (Ruscha), 107, 107 fig. 75
E
Eames, Charles, 23, 35
Eames, Ray, 23, 35
Echo Park, 6, 51
Ellwood, Craig, 3
Emerson’s Bromo-Seltzer advertising design (Ruscha), 24, 24 fig. 7
enriched bread (Kent), 77, 78 fig. 56
Ensor, James, 24
Entenza, John, 35
Evans, Ralph, An Introduction to Color, 29
Evans, Walker, 105
Every Building on the Sunset Strip (Ruscha), 10, 88, 89 fig. 62
in Artforum, 108 fig. 76, 109
distribution of, 115
film, 93, 177n21
flattening effect, 107–9
and Ginza Kaiwai/Ginza Haccho, 106
instructions for display of, 119–20, 120 fig. 81, 179n65
Krauss on, 105
layout, 88, 92, 112–13, 113 fig. 79, 119, 179n62
and Learning from Las Vegas, 111
montage, 95, 177n22
name change, 109
Nazi propaganda, 177n22
paste-up, 95–97, 95 fig. 67, 96 fig. 68, 100, 101 fig. 71, 104 fig. 72, 177n32
perceptual registers of, 119
photography for, 93–95, 94 figs. 65 & 66, 105, 178n36
print run of, 115
printing the picture, 100–104, 104 fig. 73
research mentality of, 112
Sunset Boulevard contact sheet (Ruscha/McMillan), 85, 86 fig. 59
total system, 93–100
viewpoint of, 106–7, 110
wall, use of, 120–21, 121 fig. 82
white space, 117–18
F
Falling but Frozen (Ruscha), 51, 52 fig. 31, 62
Farber, Hy, 34 fig. 17, 35
Fellig, Arthur, 105, 178n36
Felten, Charles J.: design rules, 117–18
Layout: The Practical Application of the Principles of Design to Advertising and Printing, 26 fig. 10, 99 fig. 70, 100, 140, 140 fig. 99
layout equipment, 28
skill, 65
white space, 117–18
Ferus Gallery, 51
Artforum, 98, 154
Walter Hopps, 154
1963 Ruscha exhibition, poster for (Ruscha), 74 fig. 51, 75
1964 Ruscha exhibition, poster for (Ruscha), 75, 75 fig. 52
Noise, Pencil, Broken Pencil, Cheap Western, 69
Standard Station photograph, 142
Andy Warhol, 54
Fiedler, Arthur, 24, 25 fig. 9
Flash, L.A. Times (Ruscha), 72, 79, 80 fig. 57
“flat colors” (Krebs), 16, 16 fig. 4, 39, 143
Fluxus, manicule, 39
Flying A, Kingman, Arizona (Ruscha), 128–29, 129 fig. 86
F-111 (Rosenquist), 56, 56 fig. 35, 81
Fortune, 3, 19
Foster, Hal, 6, 7, 59, 111, 136
Francis, Sam, 37
Frank, Robert, 105, 124
Frankfurt School, 48
Freeway series (Celmins), 107
“French Look, The” (Warhol), 49 fig. 29
Frimkess, Lou, 22
Frye, Marquette, 145
Futurists, 19
G
Gas Pump Nozzle and Hose Study (Ruscha), 131, 132 fig. 90
Gehry, Frank, 160
Gemini G.E.L., 143
General Printing Company, 16–17, 17 fig. 5
gestalt psychology, 21, 28–29
get-well card (Ruscha), 43–44
GI Bill, 8, 20
Gibson, James J., The Perception of the Visual World, 29
Ginza Kaiwai/Ginza Haccho (Suzuki/Shohachi), 106
Glassell Park, 51
Godard, Keith, Cal Arts, 35
Goode, Joe: art communities, Ruscha, 51
Chouinard, 31, 37
Dada spirit, 24
International Design Conference (Aspen), 32
LACMA, 155
Nekoosa News, 46–47, 46 fig. 28
New Painting of Common Objects show, 51
poster design, 24
Ruscha’s studio, 98 fig. 69, 99–100
Students 5, 46–47
Googie architecture, 144–46
Google Street View, 110
Gould and Associates, 37
Graham, Dan, 116, 151
graphic design, 2–3, 34, 171n6
“Great Ideas of Western Man, Coleridge” (Danziger), 30 fig. 14, 31
grids, 5, 42, 58, 67, 107
Groninger Museum, 107
Gropius, Walter, 12, 22
Guide to Contemporary Architecture in Southern California, A cover (Lustig), 35–36, 36 fig. 19
gunpowder, 10, 161, 162 figs. 115 & 116
H
Haller, Susan, 85, 90, 92, 93, 115
Haller, Tony, 3, 90
Hayward Gallery, Ruscha’s 2009 exhibition, 66
Heath, Brian, 93, 94 fig. 65
Heavy Industry Productions, 92, 116, 168
Hefferton, Phillip, New Painting of Common Objects show, 51
Heiner Friedrich Gallery, 116
Heller, Steven, 143
Herman Miller Research Corporation, 23
Hess, Allen, 160
Hess, Thomas, 145
Hofmann, Hans, 22, 38
Hollywood, art activity in, 51
Hollywood sign, 137
“Homes for America” (Graham), 151
Honk (Ruscha), 153
Hopkins, Henry, 41–42, 51, 58, 180n38
Hopper, Dennis, 75, 176n44
Hopps, Walter, 10, 51, 154
Horkheimer, Max, 48
Howard Krebs Silk Screen Studio, 16, 38
Huysman Gallery, 41, 51
Hy Farber, Advertising Designer (brochure) (Farber), 34 fig. 17
hyperscalability, 10, 67–68, 79, 176n40
I
IBM, 31
illustration, 55
imagist art, 51
Immaculate Heart Convent, 15, 77
industrial arts, 2, 3
Ingold, Tim, 8, 19, 65
Institute of Design in Chicago, 19–20
International Design Conference (Aspen), 9, 15, 173n46
Bass, 33
capitalism and, 33
Danziger, 32 fig. 16, 33
design and corporate world, 32–33
Rand, 40, 41 fig. 23
yearly themes of, 33
Introduction to Color, An (Evans), 29
Introduction to Typography (Simon), 43, 74
Irregular Bulletin, 15
Irwin, Robert, 22, 37, 51
isometric projection, 26, 140
Izenour, Steve, 111
J
Jakle, John A., 129
Jepson, Herb, 22
Johns, Jasper, 41, 63, 67, 176n37
Julius, Leslie, 33
K
Kent, Corita, enriched bread, 77, 78 fig. 56
Kienholz, Ed, 51, 160
Kline, Franz, 37, 38, 63
Koffka, Kurt, Principals of Gestalt Psychology, 29
Kosa, Emil, Jr., 134
Krauss, Rosalind, 105, 106
Krebs, Howard: “flat colors,” 16, 16 fig. 4
Howard Krebs Silk Screen Studio, 16, 38
image-producing complex, 49
Orb, 16, 38, 143
Andy Warhol, 39
Kwan, Danny, 93, 94 fig. 65
L
La Cienega Boulevard, 41, 51, 85, 144
L.A. Conservatory of Music, 21
Langsner, Jules, 154
Large Trademark with Eight Spotlights (Ruscha), 79, 80 fig. 57, 134–37, 135 fig. 93, 137 fig. 96, 138 fig. 97
layout, 87–88, 177n23
Layout: The Practical Application of the Principles of Design to Advertising and Printing (Felten): 26 fig. 10, 99 fig. 70, 100, 140, 140 fig. 99
Learning from Las Vegas (Venturi/Brown/Izenour), 111
Leider, Philip, 90, 98, 154
Leo Castelli Gallery, 119, 176n47
leporello, 106
LeWitt, Sol, 86, 108 fig. 76, 109, 112
Lichtenstein, Roy, 10, 51, 55–56, 57 fig. 36
Life: Bengston collaboration and, 81
LACMA, 155
Standard print, 143, 180n27
Tabletop Study with Life Magazine, 83 fig. 58
Lionni, Leo, 3, 19
Lippard, Lucy, 116
Lissitzky, El, 116, 178n55
Lobel, Michael, 12, 66
Los Angeles: The Architecture of the Four Ecologies (Banham), 150
Los Angeles County Museum of Art (LACMA), 11, 96 fig. 68, 97, 154–55, 155 fig. 111
Los Angeles County Museum on Fire (Ruscha), 155–63, 158 fig. 113, 180n38
fire as design element, 161
perspectival analysis of, 157–59, 158 fig. 114
Ruscha’s ambivalence to, 124
studies for, 155, 156 fig. 112, 162 figs. 115 & 116
Los Angeles Magazine, 160
Los Angeles Overhead Transit System logo presentation (Ruscha), 31, 31 fig. 15
Los Feliz, 77
Lustig, Alvin, 3, 23, 35
Arts and Architecture, 36
A Guide to Contemporary Architecture in Southern California cover, 35–36, 36 fig. 19
Lustig, Elaine Cohen, 35, 36 fig. 18
M
magazine design, 35
Magnifying Glass (Lichtenstein), 56, 57 fig. 36
Main Stream of Music, The cover (Lustig), 35, 36 fig. 18
Man with the Golden Arm, The (Bass), 29 fig. 13, 30
manicule, 39, 40 fig. 22
Marks, Saul, 37
Marmer, Nancy, 6
Mattel, 3, 21
Max Factor, 3
McMillan, Jerry, 17, 24
Every Building, making of, 93, 95, 101, 115
Nekoosa News, 46–47, 46 fig. 28
Ruscha’s studio, photo of, 98 fig. 69, 99–100
Students 5, 46–47
Sunset Boulevard photographs, 85, 86 fig. 59
Metro-Goldwyn Mayer (MGM), 165
Mies van der Rohe, Ludwig, 160
Miller, Herman, 23
Miyashiro, Ronnie, 51
mock-ups, 4
modernism: Googie architecture, 144
high art and mass culture, 47
Elaine Cohen and Alvin Lustig, 35
Ruscha’s buildings and, 123
Ruscha’s fire and, 146
Louise Sandhaus, 34
“sunbaked modernism,” 34
Moholy-Nagy, Lázsló, 30–31
Molesworth, Helen, 89
Moore, Bill, 22–23, 26, 28
Moore, Don, 25, 46–47, 46 fig. 28
Müller, Christian, 138
N
Namuth, Hans, 38
National Association of Schools of Art and Design (NASAD), 21–22
National Excelsior, 115–16
Nauman, Bruce, 86, 115, 176n5
Nekoosa News, 46–48, 46 fig. 28
Nelson, George, 23
“Neo-Dada,” 42
Neutra, Richard, 123, 150
New Painting of Common Objects (Hopps), 10, 51–55, 58, 154
New Yorker, Arno, 4–5, 4 fig. 2
Nine Swimming Pools and a Broken Glass (Ruscha), 110, 111 fig. 78, 118, 121
Noise Study (Ruscha), 72, 73 fig. 49
Noise, Pencil, Broken Pencil, Cheap Western (Ruscha), 69–79, 69 fig. 45, 142
Normandie (Ruscha), 153, 153 fig. 110
Norm’s, La Cienega, on Fire (Ruscha), 144–46, 145 fig. 104
Northridge, Edward, 21
Noyes, Eliot, 31
O
Oklahoma City poster design contest entry (Ruscha), 24, 24 fig. 8
Old Tool & Die Building, The (Ruscha, 168–69, 166 fig. 117
Old Trade School Building, The (Ruscha), 168–69, 167 fig. 117
Orb, 15–18, 20, 43, 74, 116
Abstract Expressionism, 37–38, 63
“Action Agency,” 37–38, 39 fig. 21
art world, 39–40, 45
Bauhaus, 21–22
Central Typesetting Co., 17, 17 fig. 5, 30
Dada, 23
Danziger criticism of, 34
designers, credit to, 37
General Printing Company, 16–17, 17 fig. 5
International Design Conference (Aspen), 32–33
Howard Krebs, 16, 16 fig. 4, 38–39, 143
manicule, 39–40, 40 fig. 22
“poemcollage” (Ruscha), 45, 45 fig. 27
Society of Graphic Designers, 40 fig. 22
student-designed advertisement, 18, 18 fig. 6
Willem de Kooning, parody of, 37–38, 38 fig. 20
orthograph projection, 26, 140
Owens, Bill, 151
Oxydol (Ruscha), 60 fig. 40, 61, 175n18
P
Pacific Coast Highway, 85
Paepcke, Walter, 30, 32, 48
paperscapes, 10–11
Blue Collar paintings, 167, 168
Burning Gas Station, 144, 146
as critique, 163
drawing-board products and, 147
Large Trademark with Eight Spotlights, 137–38, 138 fig. 97
Los Angeles County Museum on Fire, 157, 159
Ruscha’s buildings in, 123, 130–39, 152, 153
Ruscha’s disruption of, 142, 144
Ruscha’s own works into, 141
Ruscha’s scaling, 141
Some Los Angeles Apartments, 152
Standard station, 134
“Paragraphs on Conceptual Art” (LeWitt), 108 fig. 76, 109, 112
Parking Lines (Ruscha), 137 fig. 96
Parsons School of Design, 21
Pasadena Museum of Art: contemporary art, support of, 154
Marcel Duchamp, 12, 90
Walter Hopps, 51
New Painting of Common Objects, 10, 51–54
Pop art exhibition, 51–54
Ruscha retrospective, 42
pasteup, 87, 88, 95–96, 112, 87, 165, 169
Every Building on the Sunset Strip, 88, 95–97, 101, 109–11, 121
Nine Swimming Pools and a Broken Glass, 110
Orb, 15–16
Ruscha’s studio and, 98, 100
Thirtyfour Parking Lots, 110
Pencil Studies (Ruscha), 70, 70 fig. 46
pencils, 5–6, 69–79, 70 fig. 46, 71 fig. 47, 81
Perception of the Visual World, The (Gibson), 29
Pereira, William, 155, 160
Photo, Riot, 400 Books (Ruscha), 141, 141 fig. 100
planograph projection, 26, 140
Plantin Press, 37, 49
Polanyi, Michael, 65, 117, 175n26
Pollock, Jackson, 37, 38, 63
“poemcollage” (Ruscha), 45, 45 fig. 27
Pop art, 47, 55, 64, 66, 68
Lawrence Alloway, 55
Ark, 15
Thomas Crow, 6
Hal Foster, 7
Philip Leider, 90
Michael Lobel, 66
New Painting of Common Objects, 10, 51
Six Painters and the Object, 55
Twentysix Gasoline Stations, 90
Emerson Woelffer on Ruscha, 55
Powers, Paula, 33
Pratt Institute, 19–20
Price, Kenny, 51
Principals of Gestalt Psychology (Koffka), 29
print design, 34
Print magazine, 41
print publications, 35
Productivism, 116
product viability testing, 4
Professional Practice, 9, 33
prototyping, 4, 171n10
R
Radio with Frames (Ruscha), 81, 83 fig. 58
Rand, Paul, 9, 31, 40, 41 fig. 23, 173n26
Rauschenberg, Robert, 41, 42, 56, 58, 63
readymade: Duchamp, 11–12, 89
Ruscha, on his photographs, 112
Ruscha’s books, 90
Regester, Gary, 85
replication, 3
Actual Size, 68, 72
Gas Pump Nozzle and Hose Study, 131
Michael Lobel, 66
Michael Polanyi, 65
Pop art, 55
Ruscha and, 5, 55, 63–64, 68, 72
tracing paper and, 62–63
Emerson Woelffer on Ruscha, 55
Rhode Island School of Design, 21
Roberts, John, 11, 89
Rockefeller, John, 129
Rolled Cylinder (Ruscha), 153
Roof Top View #3 (Ruscha), 2 fig. 1, 124
Roof Top View #5 (Ruscha), 124, 125 fig. 84
Rosenquist, James: F-111, 56, 56 fig. 35, 81
“giantism,” 55
scalar shifts, 81
Rowell, Margit, 152
Royal College of Design, 15
Royal Road Test (Ruscha/Williams/Blackwell), 92
Rubin, Marvin, 22, 31
Ruscha, Ed, 94 fig. 65, 98 fig. 69, 121 fig. 82
ads, 92, 98, 177n26
architecture, 10, 123–24, 147–54
Artforum, 10, 98, 99, 152, 177n26, 177n29
on Atget, 105
Baskin-Robbins, 51, 133
Blue Collar paintings, 166
books, and other artists, 86, 176n6, 176n7
books, commercial publishing, 110–11, 178n44
books, conceptual art, 86, 90
books, image-producing complex, 116–17
books, layout, 119, 121, 179n62, 179n63
books, LeWitt on, 86
canvas size, 79–81
capitalism, 7, 13, 58, 169
Chouinard Art Institute, 15–16, 37
collaboration, 89
commercial and applied arts and, 55
commodity paintings, 10
Conceptual art, 89
Culver City studio, 165
design firms, 37
documentation layout manuals, 118
and Duchamp, 42, 90
film, 93, 177n21
fire, as design element, 161
gas stations, 132–33
grids, 5, 55
gunpowder, 161
Heavy Industry, 116
Hollywood sign, 137
image-making cycle, 82
image-producing complex, 9, 100
International Design Conference (Aspen), 32
LACMA, doubts about, 160
and Learning from Las Vegas, 111–12, 178n45
letters, inflation of, 56
and Lichtenstein, 174n3
Los Angeles, 123–24
marriage announcement, 177n26
measured dimensions, 67
method of, 4–5
moving pictures, 79
networks, 17–18
New Painting of Common Objects show, 51
opaque projector, 55
painting, 41–45
paperscape, 152–54
Pasadena Museum of Art retrospective, 42
pasteup, 10, 93, 87–88
pencils, 5, 81
photographs, ambivalence to, 109
photographs, decision-making and, 112
photographs, history of photography, 124
photographs, mode of, 119, 179n62
photographs, “salted away,” 85, 176n1
as publisher, 90–93
replication, 5, 55, 63–64
Eddie Russia, 98, 177n26
scaling, 10, 55, 58–68
60s politics, position within, 7
Seven Products series, 61
Society of Graphic Designers, 15
Spam, 56, 59
step-by-step approach, 72
Students 5, 46–47
studio of, 79, 80 fig. 57, 96 fig. 68, 97, 98, 98 fig. 69, 99–100
“summer paintings,” 142
taskscape of layout, 112
text, 66
tracing, 63–66
transferring, 58
tripartite perspectival structure, 138
type, 66
and Warhol, 47, 54
Watts incident, 146
Western Avenue studio, 51
white space, 118
words, 67
Woelffer on, 55
work, humor in, 20
work, unfinished quality of, 5
work, utopian flavor of, 20
“working without thinking,” 64
Yashica camera, 55. See also specific works under title
Ruscha, Paul, 85, 93, 95, 100, 105, 115, 119
Ruskin, John, 13
Russia, Eddie, 10, 98, 99
Russian Constructivism, 13, 116, 172n30, 178n55
S
Sabol, Audrey, 90, 142, 180n23
Sandhaus, Louise, 34
Santa Monica Boulevard, 85
Saul Bass and Associates, 30
scaling, 58, 65, 175n11, 176n40
Actual Size, 61
architecture, 76
bodily interactions and, 66, 68, 79–83
design, 3, 4, 10, 58, 62, 67
Every Building on the Sunset Strip, 100
Noise, Pencil, Broken Pencil, Cheap Western, 70, 75
paperscapes, 141
pencils, 70, 75
and Rosenquist, 56, 81
Ruscha, art career and, 4, 10, 55, 58, 63, 67–68, 81
Ruscha, paintings and, 79, 81
Ruscha, type and, 66–67, 72
Some Los Angeles Apartments, 150
Standard Station, Amarillo, Texas, 130
Schindler, Rudolf, 150
Scott, Allen J., 9, 17–18, 36, 117, 123
screen printing, 142–43
Sculle, Keith A., 129
708 S. Barrington Ave. (Ruscha), 147 fig. 106, 152–53, 152 fig. 109
Seven Products series (Ruscha), 61
Shannon, Joshua, 109, 128
Shohachi, Kimura, 106
“Should We Set Fire to the Art Museum?” (Diamond), 160
Simon, Herbert, 1–2
Simon, Norton, 160
Simon, Oliver, 43, 74
Siqueiros, David Alfaro, 22
Six Painters and the Object show, 55
Smith, Edd, 22
Smith, Hassel, 37
Smithson, Robert, 116
smoking, 37
Society of Contemporary Designers, 34 fig. 17, 35
Society of Graphic Designers, 15, 23, 33, 40 fig. 22
Some Los Angeles Apartments (Ruscha), 101, 121, 147–54, 147 fig. 107
Sonsbeek ’71, 107
“Sources and Resources of 20th Century Design” (Rand), 40, 41 fig. 23
Space Grid (Ruscha), 72–74, 73 fig. 50
Spam, 56, 59, 59 fig. 38, 78, 82, 147. See also Actual Size
Spam (Ruscha), 60 fig. 39, 61
Spam Cut in Two (Ruscha), 61, 61 fig. 41, 175n18
Spam Grid (Ruscha), 62, 63 fig. 43
Spam Study (Ruscha), 62, 62 fig. 42
Standard, Amarillo, Texas (Ruscha), 126–28, 127 fig. 85
Standard/Ballpoint Outline (Ruscha), 133, 133 fig. 91
Standard/Shadow Study (Ruscha), 130, 130 fig. 87
Standard Oil, 129, 134
Standard Station (Ruscha), screen prints, 142–44, 180n23, 180n27
Standard Station, Amarillo, Texas (Ruscha), 133–39, 134 fig. 92
Cheese Mold Standard with Olive, 142
painting in progress, 79, 80 fig. 57, 136 fig. 95, 137
screen prints, 142–44
Standard, Amarillo, Texas, reworking of, 130–39, 130 fig. 87, 131 fig. 88, 131 fig. 89, 133 fig. 91, 134 fig. 92, 136 fig. 95
Standard/Ballpoint Outline, 133, 133 fig. 91
Standard/Shadow Study, 130, 130 fig. 87
Standard Station, Ten-Cent Western Being Torn in Half, 142, 142 fig. 101
Standard Study [#1], 131, 131 fig. 88
Standard Study [#2], 131, 131 fig. 89
as template, 142
Wonder Bread, 140–41
Standard Station, Ten-Cent Western Being Torn in Half (Ruscha), 142, 142 fig. 101
Standard Study [#1] (Ruscha), 131, 131 fig. 88
Standard Study [#2] (Ruscha), 131, 131 fig. 89
Steinberg, Leo, 54
Steinberg, Monica, 99
Stone, Edward Durell, 160
street photography, 105
Students 5, 46–47, 46 fig. 28, 105
Study for Barrington Avenue Apartment Building (Ruscha), 152–53, 152 fig. 109
Study for Box Smashed Flat (Ruscha), 64 fig. 44
Study for Lemon Drops (Ruscha), 114, 114 fig. 80
Study #1 for Los Angeles County Museum on Fire (Ruscha), 161, 162 fig. 115
Study #3 for Los Angeles County Museum on Fire (Ruscha), 161, 162 fig. 116
Sun-Maid raisins, 1
Sunset Boulevard. See Every Building on the Sunset Strip (Ruscha)
Sunset House, 1, 37, 49
Super Suds (Ruscha), 76, 76 fig. 53
“Surrealism Soaped and Scrubbed” (Ruscha), 99, 152, 177n29
Suzuki, Yoshikazu, 106
Sweetwater (Ruscha), 41–42, 42 fig. 24, 44, 44 fig. 26, 58
T
Tabletop Study with Life Magazine (Ruscha), 81, 83 fig. 58
Talk about Space (Ruscha), 72
Tamarind, 143
taskscape, 8, 19, 168
advertising design and, 25, 65, 140
Tim Ingold, 8
Ruscha and design, 19–20, 49, 82, 118, 123
Ruscha’s books and, 112
Ruscha’s buildings, 123
telephone, 32
Temple, Shirley, 45
Thiebaud, Wayne, New Painting of Common Objects show, 51
1323 Bronson (Ruscha), 150, 151 fig. 108
Thirtyfour Parking Lots (Ruscha), 110, 110 fig. 77, 121
Thirtyfour Parking Lots, Forty Years Later (Porteous), 86
three-point perspective, 26, 140
Three Standard Envelopes (Ruscha), 42, 43 fig. 25, 44
Three Standard Stoppages (Duchamp), 42
thumbnail sketch, 32, 44, 44 fig. 26
Time Magazine Cover, 1965 (Celmins), 146 fig. 105
tracing, 58, 62, 65
Actual Size, 62, 72
Cheap Western Study, 71–72
Michael Lobel, 66
Some Los Angeles Apartments, 150
Spam, 62
Standard/Shadow Study, 130
Warhol, 56, 64
Trademark Grid (Ruscha), 134–35, 135 fig. 94
T square, 32
Turvey, Lisa, 59
20th Century Fox image, 134–39, 135 fig. 94, 137 fig. 96, 138 fig. 97, 139 fig. 98
Twentysix Gasoline Stations (Ruscha), 90, 91 fig. 63, 92, 126–39, 127 fig. 85, 129 fig. 86
ad for, 115
architecture, 126–28, 127 fig. 85
layout of, 129
Library of Congress, 115
number of, 28
perspectives, 128–29
“protoconceptual,” 128, 179n7
studio, 101. See also Standard, Amarillo, Texas (Ruscha)
two-point perspective, 26, 140
U
user experience design (UX), 4
UX design, 4
V
Various Small Fires and Milk (Ruscha), 86, 87 fig. 60, 90, 101, 161
Various Unbaked Cookies (Hackbardt), 86
Venturi, Robert, 111–12
Vernon Simpson typographers, 101
View of the Big Picture (Ruscha), 137–39, 139 fig. 98
visual imagery, 28
visualization, 31, 114
W
Wall, Jeff, 106 fig. 74, 107, 150
Warhol, Andy: art and capitalism, 47–48
Bauhaus, 47
blotted line technique, 11, 48, 49 fig. 29
Campbell’s Soup Can paintings, 54, 59
Campbell’s Soup Can (Tomato), 57 fig. 37
Carnegie Institute of Technology, 11, 47
commercial illustration and, 11, 39, 47–48, 55
Ferus Gallery, 54
“The French Look,” 49 fig. 29
and Lionni, 19
New Painting of Common Objects show, 10, 51
Ruscha’s books, 86
tracing, 56, 64
Watts neighborhood, 145
Weegee, 105, 178n36
“Well, back to the old drawing board” (Arno), 4–5, 4 fig. 2
white space, 117–18
Whiting, Cécile, 87, 98
Whyte, William H., 33
Williams, Mason, 92
Wittenborn Art Books, 115, 116
Woelffer, Emerson, 22, 23, 55, 56
Woman (de Kooning), parody of, 37, 38 fig. 20
Wonder Bread (Ruscha), 76, 77 fig. 54, 140
Wonder Bread, advertisements, 77, 78 fig. 55, 140–41
Wood, James, 22
Y
Yale University, 19–20
Yashica camera, 1, 55, 61, 105, 124, 147, 152
Yeager, Chuck, 59
Index
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