(Omaha, Nebraska 1937)
Every Building on the Sunset Strip
Luogo: Los Angeles
Editore: Edward Ruscha
Stampatore: senza indicazione dello stampatore
Anno: 1966
Legatura: brossura, custodia in cartone e carta argentata lucida
Dimensioni: 18,5x14,5 cm.
Pagine: N. D.
Descrizione: copertina in cartoncino bianco con titolo al dorso e al piatto in argento. Leporello, ripiegato in 54 facciate interamente illustrate con due strisce parallele di immagini fotografiche b.n. per una lunghezza complessiva di m. 7,38. Tiratura di 5.000 esemplari. Prima edizione in seconda tiratura che si differenzia dalla prima solo per una differente misura di larghezza dell'ultima facciata: cm. 7,3 per la prima tiratura, cm. 13,8 per questa seconda.
Bibliografia: Engberg - Philippot 2001: volume II, pp. 84-89; Open Book 2004: pp. 198-199; Parr - Badger 2006: volume II, pp. 142-143; Roth - Aaron - Lehmann 2017: pp. 252-253
Prezzo: € 3500ORDINA / ORDER
"«The Every Building on the Sunset Strip» is the great exception within Ed Ruscha's photobook bibliography, and an important one. It was the fourth of artist's books that he published, and expanded on the standard format of the seminal «Twentysix Gasoline Stations» and its successors in two ways. Firstly, Ruscha took one specific location - the part of Sunset Boulevard that runs between Hollywood and Beverly Hills in California, The «Susnet Strip» - and photographed it in its entirety. He shot every building on both sides of the boulevard between Crescent Heights Boulevard to the east and Doheny Drive to the west, printed them and joined them together to make two long panorams, one for the northern side, the other for the southern. Each panorama was incorporated into the book in one long accordion fold, the factor that makes it not only the most phisically ambitous of Ruscha's books, but also the most flamboyant. Nevertheless, although the book draws attention to itself by virtue of its form, it retains the deadpan photographic style that distinguishes all Rusha's photobooks. Another important feature of «Every Building on the Sunset Strip» is the question ot its documentary value. It is a valuable record of the Strip at a particular point during the early 1960s, and while it would have been of great use to a realtor at the time, it now has a certain historical as well as artistic value. The book has also been subject of study by American architects, most notably Robert Venturi, who regards "strip" architecture as a quintessential American urban form" (Martin Parr - Gerry Badger).