New Title Information Joe Goode / Ed Ruscha

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New title information Joe Goode / Ed Ruscha Product Details Yesterday's Treasures £40.00 Artist(s) Joe Goode, Ed Ruscha Author(s) Stefan Gronert, Jeff Rian American artists, Joe Goode and Ed Ruscha attended the same high Editor(s) Thomas Zander school in Oklahoma City and went on to study at Chouinard Art Institute in Los Angeles. Publisher Walther Koenig ISBN 9783960989448 This catalogue features their artworks from six decades including Format softback photographs, paintings, works on paper and artist’s books. With their Pages 104 unconventional approaches to these media, both artists are seminal Illustrations 60 colour figures in the development of the Californian art scene. Dimensions 300mm x 230mm Along with Andy Warhol and Roy Lichtenstein, their work was shown in Weight 707 the 1962 groundbreaking exhibition, New Painting of Common Objects. It was considered the first museum Pop Art exhibition in the USA. Publication Date: Feb 2021 In reaction to abstract expressionism, the young artists turned to the visual experience of their environment: light and haze, reflecting surfaces, synthetic materials, mundane objects and commercial culture. Joe Goode is associated with the Light and Space movement and innovatively explores the experience of seeing in his works. Breaking the convention of the two-dimensional image space, they question the authenticity of experience between representation and abstraction. Published on the occasion of the exhibition, Yesterday’s Treasures at Galerie Thomas Zander, Cologne in 2021. Distributed by Enquiries Website Cornerhouse Publications +44 (0)161 212 3466 / 3468 www.cornerhousepublications.org HOME [email protected] 2 Tony Wilson Place Twitter Manchester Orders @CornerhousePubs M15 4FN +44 (0) 1752 202301 England [email protected].

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Los Angeles Times (PDF) "After the Fire, Joe Goode
Sunday, May 4, 2008 Calendar Section After the fire, Joe Goode finds a new passion The artist was devastated when a fire destroyed his art studio. But then he found a digital camera in the damage and got some ideas. By Anne-Marie O'Connor, Los Angeles Times Staff Writer It was any artist's nightmare. Painter Joe Goode and his wife, Hiromi Katayama, were sleeping in their Mar Vista home when their wolf-sized dog, Pollock, appeared at the foot of the bed, barking loudly. Pollock wouldn't stop until they stumbled out of bed, and followed him, half- asleep, into the small yard leading to Goode's painting studio. What Goode recalls seeing that morning seemed unimaginable, unthinkable, impossible. Smoke poured from his studio. Flames licked through the skylights. Inside were more than 100 valuable artworks, representing 40 years of Goode's painting, as well as works by painters Ed Ruscha, Kenneth Price, Larry Bell and Ed Moses. "At first, I was kind of in shock," said Goode, a gray-haired, soft-spoken man with bright blue eyes and a thoughtful demeanor. "I didn't know what to do." A Los Angeles Fire Department report called the blaze a "spontaneous combustion from oily rags." Goode called it a personal disaster. He stumbled around the charred studio for a couple of days, shaken. On the third day, he found his digital camera, deep in a drawer of a metal cabinet. He figured the camera was ruined. But he idly aimed it at the wreckage, and to his surprise, the shutter clicked, capturing the blackened studio walls, the ravaged paintings that hung like ghosts in their frames.
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Joe Goode Bibliography Articles, Interviews, Audio and Video 2017 Haefele, Marc, “Joe Goode: the Milk Bottle and the Infinite
Joe Goode Bibliography Articles, Interviews, Audio and Video 2017 Haefele, Marc, “Joe Goode: The Milk Bottle and The Infinite”, www.scpr.org, April 13, 2017 Schwartzman, Allan, “20 postwar artists who deserve greater recognition”, www.artagencypartners.com, February 14, 2017 2016 Olivar, Amanda Quinn, “A Few Questions for Ed”, www.curator.site, August 9th, 2016 Goldner, Liz, “Joe Goode”, Art Scene California, July 2016 Haefele, Marc, “How a Nasty Winter Brought Revolutionary Art to So Cal”, www.scpr.org, April 27, 2016 Gleeson, Bridget, “A Tribute to Kiyo Higashi: a Formidable Art Dealer with Minimalist Tastes and a Curatorial Mind”, www.artsy.net, April 25, 2016 Michalarou, Efi, "Art-Presentation: Made in California", www.dreamideamachine.com, February 27, 2016 Stromberg, Matt, "ArtRx LA", www.hyperallergic.com, March 1, 2016 Riefe, Jordan, “Ed Ruscha on Marcel Duchamp: He Was a Guiding Light”, The Guardian, March 16, 2016 Mills, Michelle, “‘Duchamp to Pop’ Explores Artists’ Influences”, The San Gabriel Valley Tribune, March 3, 2016 Cheng, Scarlet, “Pop’s Pop”, Pasadena Weekly, February 25, 2016 Vankin, Deborah, "Exploring Marcel Duchamp's influence on Pop art at the Norton Simon", Los Angeles Times, February 6, 2016 "Made in California / Mana Contemporary", Art Matter Magazine, February 18, 2016 "Peter's Auction Pick of the Day: The Art of Collaboration", www.lamodern.com, February 18, 2016 2015 Newlove Schroeder, Amy, "Everything You Need to Know About L.A.'s New and Future Museums", Los Angeles Magazine, May 20, 2015 Bowen, Jared,
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Duchamp to Pop March 4–Aug
January 2016 Media Contacts: Leslie C. Denk | [email protected] | (626) 844-6941 Emma Jacobson-Sive | [email protected]| (323) 842-2064 Duchamp to Pop March 4–Aug. 29, 2016 Pasadena, CA—The Norton Simon Museum presents Duchamp to Pop, an exhibition that examines Marcel Duchamp’s potent influence on Pop Art and its leading artists, among them Andy Warhol, Jim Dine and Ed Ruscha. Approximately 40 artworks from the Museum’s exceptional collection of 20th-century art, along with a handful of loans, are brought together to pay tribute to the creative genius of Duchamp and demonstrate his resounding impact on a select group of artists born half a century later. The exhibition also presents materials from the archives of the Pasadena Art Museum (which later became the Norton Simon Museum) that pertain to two seminal exhibitions there—New Painting of Common Objects from 1962 and Marcel Duchamp Retrospective from 1963. L.H.O.O.Q. or La Joconde, 1964 (replica of 1919 original) by Marcel Duchamp © Succession Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York 2016 Marcel Duchamp In 1916, Duchamp (1887–1968) wrote to his sister, “I purchased this as a sculpture already made.” The artist was referring to his Bottlerack, and with this description he redefined what constituted a work of art—the readymade was born. The original Bottlerack was an unassisted readymade, meaning that it was not altered physically by the artist. The bottle rack was a functional object manufactured for the drying of glass bottles. Duchamp purchased it from a department store in Paris and brought the bottle rack into the art world to alter its meaning.
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Vija Celmins in California 1962-1981
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Winter 1-3-2020 Somewhere between Distance and Intimacy: Vija Celmins in California 1962-1981 Jessie Lebowitz CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/546 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Somewhere between Distance and Intimacy: Vija Celmins in California 1962-1981 by Jessie Lebowitz Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2019 December 19, 2019 Howard Singerman Date Thesis Sponsor December 19, 2019 Harper Montgomery Date Signature of Second Reader Table of Contents List of Illustrations ii Introduction 1 Chapter 1: The Southern California Renaissance 8 Chapter 2: 1970s Pluralism on the West Coast 29 Chapter 3: The Modern Landscape - Distant Voids, Intimate Details 47 Conclusion 61 Bibliography 64 Illustrations 68 i List of Illustrations All works are by Vija Celmins unless otherwise indicated Figure 1: Time Magazine Cover, 1965. Oil on canvas, Private collection, Switzerland. Figure 2: Ed Ruscha, Large Trademark with Eight Spotlights, 1962. Oil, house paint, ink, and graphite pencil on canvas, Whitney Museum of American Art, New York. Figure 3: Heater, 1964. Oil on canvas, Whitney Museum of American Art, New York. Figure 4: Giorgio Morandi, Still Life, 1949. Oil on canvas, Museum of Modern Art, New York.
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Ed Ruscha 1937 Born in Omaha, Nebraska 1956–1960 Chouinard
Ed Ruscha 1937 Born in Omaha, Nebraska 1956–1960 Chouinard Art Institute, Los Angeles, CA Selected Solo Exhibitions 2021 Ed Ruscha Dedication Stones, Gagosian, Saanen, Switzerland Ed Ruscha Paintings, Gagosian, New York, NY 2020 Ed Ruscha: Drum Skins. Blanton Museum of Art, Austin, TX. 2019 Ed Ruscha: Eilshemius & Me. Gagosian, Davies Street, London, England. 2018 Ed Ruscha: Ace Radio Honk Boss. Craig F. Starr Gallery, New York, NY. Ed Ruscha: Double Americanisms. Secession, Vienna, Austria. Ed Ruscha: Gumbo of Gravel. Lora Reynolds Gallery, Austin, TX. Ed Ruscha: Archaeology and Romance. Harry Ransom Center, The University of Texas at Austin, Austin, TX. Ed Ruscha – VERY. KODE Art Museums and Composer Homes, Bergen, Norway; traveling to the Louisiana Museum of Modern Art, Humlebæk, Denmark. Word/Play: Prints, Photographs, and Paintings by Ed Ruscha. Joslyn Art Museum, Omaha, NE. Ed Ruscha: Course of Empire. The National Gallery of Art, London, England. 2017 Ed Ruscha: Custom-Built Intrigue: Drawings 1974-1984, Gagosian Gallery, 980 Madison Avenue, New York Music From the Balconies: Ed Ruscha and Los Angeles. Scottish National Gallery of Modern Art, Edinburgh, Scotland. 2016 Gagosian Gallery, Grosvenor Hill, London, England: Ed Ruscha: Extremes and In- Betweens. Gagosian, Beverly Hills, Ed Ruscha: Books & Co. Gagosian, Beverly Hills, Ed Ruscha: Prints and Photographs de Young Museum, San Francisco, Ed Ruscha and the Great American West Crown Point Press, San Francisco, MADE IN SAN FRANCISCO, Ed Ruscha Etchings: 1982-2014 Gagosian, Geneva,
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Joe Goode @ Contemporary Art Museum St Louis
Joe Goode @ Contemporary Art Museum St Louis Joe Goode January 16 - April 11, 2015 Joe Goode traces half a century of selected works by one of America’s most innova- tive yet under-recognized painters. Often identified with Southern California pop art, Goode ultimately transcends this classifica- tion, creating bodies of work with influences ranging from Midwestern iconography and environmental destruction to pop culture and the sublime. Goode first gained international recognition following his inclusion in Walter Hopps’s seminal exhibition New Painting of Com- mon Objects, organized at the Pasadena Art Museum in 1962. That same year, a key ex- ample of Goode’s milk bottle painting series appeared on the cover of Artforum; another commences CAM’s exhibition. In Purple (1961), Goode positions a milk bottle in front of a domineering mono- chrome canvas, both of which have been applied with layers of purple oil paint. The usually transparent—but now paint-encrusted—bottle foregrounds Goode’s concept of seeing through the picture plane, allowing the viewer to contemplate their own personal and cultural associations within, and through, Goode’s pictorial spac- es. In addition, the exhibition features representative works from several of the artist’s other series, including bodies of work created in large part through acts of destruction. In his Torn Cloud series (1967–76), Goode often uses razor blades to slash through compositions of illusionistic skies, forming jagged clouds. He then layers excised canvases on top of each other to allow viewers to peer through their torn surfaces. Goode’s performative surface violations increase in intensity with his introduction of firearms in the Environmental Impact series (1978–83).
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JOE GOODE Biography
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JOE GOODE Old Ideas with New Solutions
FOR IMMEDIATE RELEASE JOE GOODE Old Ideas with New Solutions Opening Reception: Thursday, March 23, 2017 from 6pm to 8pm Exhibition will continue through May 13, 2017 Los Angeles, California – “Old Ideas with New Solutions,” features significant new paintings by prominent California Light/Space and Conceptual artist, Joe Goode, opening on his 80th Birthday, Thursday, March 23rd at Kohn Gallery. The works on view from four major series titled Milk Bottle, Ocean Blue, California Summer and TV Blues, will occupy the main and adjacent galleries. Goode’s paintings of the sea’s blue depths are profoundly alluring, while human impact on the ocean threatens catastrophe. The heat of California Summer is vivid and ravishing until the notion of global warming surfaces. Pulchritude and decay; semblance and structure; beauty and the beast. Employing this strategy throughout his career Goode molded his work into a poignantly inextricable mix of stunning attraction and jarring realism. Celebrating Goode’s prolific, sixty year long career and this latest exhibition, Kohn Gallery is thrilled to release a major monographic publication, Joe Goode: Paintings 1960-2016, with an introduction by Ed Ruscha and text by Kristine McKenna. The 220 page tome shows numerous examples of painting and sculpture from 1960 to the present. 1227 North Highland Ave, Los Angeles, CA 90038 www.kohngallery.com Goode is a seminal figure in the development of the Los Angeles art scene in the early 1960s. His work was included in the 1962 groundbreaking exhibit, “New Painting of Common Objects,” curated by Walter Hopps at the Pasadena Art Museum (now Norton Simon Museum).
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Joe Goode Modern Objects: Painting, Drawing, and Sculpture 1962-1971
Joe Goode Modern Objects: Painting, Drawing, and Sculpture 1962-1971 Frieze New York | Spotlight Stand D31 May 5—8, 2016 Franklin Parrasch Gallery is pleased to announce our participation in the Spotlight Section of Frieze New York with a solo exhibition of early works by Los Angeles based artist Joe Goode (b. 1937, Oklahoma City). The material presented, produced between 1962–1971, includes examples from several bodies of work in which the artist consistently depicts quotidian imagery drawn from his own environment, including hand tools, stairs, unmade beds, clouds, and Polaroid snapshots. In 1962, Pasadena Museum curator Walter Hopps included two works by Goode in his landmark exhibition "New Painting of Common Objects," and in November of that same year Goode’s work Happy Birthday from the Milk Bottle Series was depicted on the cover of Artforum. John Coplans, Artforum’s editor, wrote, “They represent a totally new and radically different approach to a quest for identity… [Goode] sets a standard in the use of objects not to be surpassed, creating a whole new sense of logic of structure in our time.” Goode’s interpretation of the milk bottle, for example, was a gesture designed in opposition to Abstract Expressionism, which he admired but felt had “hit a dead end in the road.” Goode’s Stair, House, and Photo Cloud series instead explored relationships between the familiarity of these images and the ways in which viewers perceive them in space. Goode tackled the perceptual issue head on, employing this new “logic of structure” as he tapped into the conceptual possibilities situated between composition and timely iconography.
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International-Pop.Pdf
INTERNATIONAL POP INTERNATIONAL 4 BILLY APPLE 42 WALLY HEDRICK 8 ARMAN 44 JAN HENDERIKSE POP 10 EVELYNE AXELL 46 KEY HIRAGA 12 IMRE BAK 48 ALLEN JONES 14 RAFAEL CANOGAR 52 LUO BROTHERS 16 SISTER MARY CORITA KENT 54 ROBERT MALLARY 15 JUNE ‒ 29 JULY 2020 18 GERARD DESCHAMPS 56 DÉCIO NOVIELLO 20 ANTONY DONALDSON 58 MARIO SCHIFANO ONLINE AND BY APPOINTMENT ONLY 22 ERRÓ 60 COLIN SELF BOOK A VIEWING: [email protected] 26 FERDI 62 BOB STANLEY 28 STANO FILKO 64 EMILIO TADINI 30 CLAUDE GILLI 66 SHINKICHI TAJIRI 34 JOE GOODE 68 JOHN TWEDDLE 38 RICHARD HAMILTION 70 ANDY WARHOL THE 40 JANN HAWORTH 72 LIST OF WORKS MAYOR GALLERY BILLY APPLE® b. 1935 Auckland, New Zealand Born in New Zealand in 1935, Apple (then known as Barrie Bates) studied at the Royal College of Art between 1959 and 1962 exhibiting alongside fellow artists such as David Hockney, Derek Boshier and Pauline Boty in the annual Provenance: Young Contemporaries exhibitions. Acquired directly from the artist In 1962 after graduating he notoriously changed his name Exhibited: and altered his appearance becoming ‘Billy Apple®’ in a London, Hilton Hotel, British D&AD Professional self-conscious art action that doubled as a canny exercise Awards, 1963 in re-branding. In 1964 he moved to New York working London, RBA Galleries, 2 April – 24 April 1962 with Andy Warhol in the pivotal exhibition The American London, Victoria and Albert Museum, Rewind: 40 Supermarket including Oldenburg, Wesselmann and years of Design and Advertising from the D&AD Johns. In 1969, the artist opened Apple at 161 West 23rd Awards, 7 November 2002 – 2 February 2003, ill.
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Chi-Chuan Chen* Abstract Jim Dine: the Pinter As Thinker and Poet
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L.A. Snap / Chicago Crackle / New York
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