Every Building On The Sunset Strip
© President and Fellows of Harvard College
Identification and Creation
Object Number
2.1993
People
Edward Ruscha, American (Omaha, NE born 1937)
Title
Every Building on the Sunset Strip
Classification
Prints
Work Type
artist's book
Date
1966
Places
Creation Place: North America, United States
Culture
American
Physical Descriptions
Medium
Artist's book with offset printing
Technique
Photolithograph
Dimensions
book closed: 18.2 x 14.4 x 1 cm (7 3/16 x 5 11/16 x 3/8 in.)
slip case: 18.5 x 15 x 1.5 cm (7 5/16 x 5 7/8 x 9/16 in.)
open (height/depth/length): 20.3 x 38.1 x 152.4 cm (8 x 15 x 60 in.)
State, Edition, Standard Reference Number
Standard Reference Number
Engberg B4
Acquisition and Rights
Credit Line
Harvard Art Museums/Fogg Museum, Anonymous Loan in honor of Branden W. Joseph
Copyright
© Edward J. Ruscha IV/Gagosian Gallery
Object Number
2.1993
Division
Modern and Contemporary Art
Contact
am_moderncontemporary@harvard.edu
Descriptions
Commentary
On a Sunday morning, Ruscha loaded an automatic camera, looped around every building on the Sunset Strip to expose one mile of night-life fame in broad daylight, and accordion-folded it in book. Now unfold the vice versa panorama and a flnerie-on-wheels immediately begins to stretch out left and right, upon and down the boulevard, but so smooth and silent and straight is the sliding ride over the luster of the printed page that the caressing eye irons out any possible photographic depth in the scenography of Los Angeles. To sweep the Strip further would only wear its legend even thinner. Ruscha's photo-books were a complete anomaly in the art scene of sixties. They later became a brand name once they have been situated by critics and historians in relation to Marcel Duchamp's ready-made and Andy Warhol's serial reproduction techniques (both artists had their first American exhibit, in Los Angeles, in 1962 when Ruscha published his initial Twenty-Six Gasoline Stations) as well as the aestheticizing of everyday architecture with Robert Venturi's 1972 Learning from Las Vegas. They also troubled the conventions of artist's books by using offset printing to develop "a mass-production of a higher order," and more importantly, freed the double-bind between book and photograph in which one was either the commentary, or the illustration of the other.
Exhibition History

Landmark Pictures: Ed Ruscha/Andreas Gursky, Harvard University Art Museums, Busch-Reisinger Museum, 01/08/2000 - 03/19/2000

Related Works
Verification Level

2 - Adequate. Object is adequately described but information may not be vetted