124 - Landron Franck / Camilo Rui Twentysix Ceramic Fountains

Landron Franck / Camilo Rui Twentysix Ceramic Fountains Same format, same typeface, same glassine sleeve. Everything leads us to believe that we're looking at a re-edition of Ed Rusha's famous Twentysix Gasoline Stations. Published in 1963, it is often considered the first contemporary artist's book. Fifty-eight years on, Twentysix Ceramic Fountains takes up the visual aesthetics and operation of Ed Rusha's work. The main difference lies in the subjects photographed, since it's not gas stations that reveal themselves to us as we turn the pages, but toilet bowls from all over the world. Franck Landron, French director, screenwriter, producer and photographer, offers us here an in-depth re-reading of one of the most influential photo books in the history of art. Signed and numbered /400. Paperback with tracing dust jacket in perfect condition. Thirty-Three Pastis Jugs Between 1963 and 1972, the American painter, photographer and filmmaker Edward Ruscha (b. 1937) published 16 artist's books, whose impact on the evolution of the artist's book was decisive. Whether it's Thirtyfour Parking Lots (1967), Nine Swimming Pools and a Broken Glass (1968), Real Estate Opportunities (1970) or A Few Palm Trees (1971), fifty years later these works are appearing on the artist's book market at exorbitant prices. As for their conception and creation, it is striking to note that these books, gathering mostly black-and-white photographs, lack care and, therefore, clarity. Edward Ruscha himself has described them as uncertain snapshots of sharpness, or even raw data. For artists who have been and still are influenced by this aspect of Edward Ruscha's work, his decision not to produce a work of art as a single piece, but instead to use an everyday consumer product such as a book as the vehicle for a multiple work, was a real liberation (or revolution). Certainly, Edward Ruscha could not have foreseen the decisive influence his publication of artist's books would have on future generations of artists, and on the artist's book genre itself. Yet the simple reproduction of photographs without commentary in books of simple design - small format, classic typography, affordable price - led to a multitude of forgeries and adaptations that far exceeded the production of Edward Ruscha's books. Thanks to the initiative of collector Michael Eckel, who has collected a considerable number of Pastis decanters, and the meticulous work of photographer Rui Camilo, we are participating in Edward Ruscha's genre with this new publication, Trente-trois pichets Pastis. Our project for an artist's book about Pastis decanters was carried out in the style created by Edward Ruscha, and in the reverence we have for him. May our book delight connoisseurs of Edward Ruscha's artist's books, as well as lovers of French art de vivre and Pastis!