They Called Her Styrene, Etc.

They Called Her Styrene, Etc. by Ed Ruscha is a first edition published by Phaidon Press on January 10, 2000. This 580-page book showcases nearly 600 ‘word’ artworks created by the Los Angeles-based artist, who is recognized for his innovative use of language within the visual arts. The collection features a variety of words and phrases, each presented against atmospheric backgrounds, reflecting Ruscha’s unique artistic identity and approach.
Readers will find that the artworks in this volume form a narrative of their own, devoid of a traditional plot yet rich in visual and emotional resonance. The pieces range from single words to short phrases, each serving as a visual icon that invites contemplation and interpretation. The book’s design enhances its artistic value, presenting the images in a bold and colorful format that transforms it into an art object in its own right. This compilation not only highlights Ruscha’s exploration of words in art but also offers insights into the interplay of language and visual expression.
Official synopsis Publisher
Los Angeles-based artist Ed Ruscha, one of the seminal American artists of the past 30 years, is known for taking elements from the visual language of advertising and commercial art: he has made hundreds of ‘word’ prints, drawings and paintings that exhibit an interplay between bold letters and softly shaded, atmospheric backgrounds.
This book reproduces close to 600 ‘word’ artworks by Ruscha, all of which characterize his artistic scope and identity. Assembled together in the form of a thick block, making the book and art ‘object’ in itself, these images become a sort of novel without an obvious plot: a series of words with no narrative but, rather, with a life of their own. Some of the works consist of only one word – great, mud, trust – and others of short combinations or phrases, such as Indeed I do, She Sure Knew Her Devotionals, Your Polyester People, That Housing Tract is Only Texture, and, of course, They Called Her Styrene.
In these works Ruscha’s words transcend their apparent randomness to become visual icons of universal emotions and places known and imagined, exposing a dimension of multi-layered irony and threads of subtle and inventive social commentary. This volume embodies an aesthetically appealing compilation presented, in the manner of its content, with bold flair and bright colours: a book that simply cannot be left alone.
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