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<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1968, printed 1997 | CLEARED | 4 | unconfirmed, image: 394 × 394 mm
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] | <p><span>Tits </span>is a bronze sculpture with a black, polished patina. The sculpture is curved and kidney-shaped, ending in two rounded points where the bronze shows through the patina. Bourgeois completed <span>Tits</span> in 1967 during a period in which she produced sculptural works that could be seen as abstract forms or depictions of body parts, often genitalia.</p> | false | 1 | 2351 | sculpture bronze black patina | [
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<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1967 | CLEARED | 8 | object: 121 × 267 × 152 mm, 5kg. 7kg on bin. | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | [
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"content": "<div class=\"text\">\n<p>\n<i>Tits </i>is a bronze sculpture with a black, polished patina. The sculpture is curved and kidney-shaped, ending in two rounded points where the bronze shows through the patina. Bourgeois completed <i>Tits</i> in 1967 during a period in which she produced sculptural works that could be seen as abstract forms or depictions of body parts, often genitalia.</p>\n<p>The title of the work, <i>Tits</i>, references female breasts and the sculpture could be read as two breasts fused together, with the non-patinated bronze at the tips representing the areolae. Yet the singularity of the object is also suggestive of a phallic form. This ambiguity is characteristic of Bourgeois’s work at this time. Indeed, she commented that she was keen to produce sculptures which could be read as indicative of either sex: ‘There has always been sexual suggestiveness in my work. Sometimes I am totally concerned with female shapes – clusters of breasts like clouds – but often I merge the imagery – phallic breasts, male and female, active and passive.’ (Quoted in Morris 2007, p.268.) Her interest in combining male and female body parts is more obvious in the sculpture <i>Le Trani Episode</i> 1971 (Hauser and Wirth, London), in which an object resembling <i>Tits</i> is overlaid by another more flaccid form. Again it is not clear that either object is gendered male or female as both parts have breast-like and phallic attributes. This anatomical ambiguity plays out, perhaps most famously, in Bourgeois’s <i>Janus </i>series, which consists of one porcelain and five bronze works that are displayed hanging in space. <i>Janus Fleuri </i>1968 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-janus-fleuri-al00347\" title=\"View the details of this artwork\"><span>AL00347</span></a>) has a similar basic form to <i>Tits</i>, with a more exaggerated arc and extended extremities that resemble the foreskin or glans. At the centre of the object, the smooth surface appears to have ruptured, revealing a bumpy terrain with a central crevasse suggestive of a vulva. The reference in the title to Janus, the Roman two-faced god, alludes to androgyny as much as opposition between the sexes.</p>\n<p>\n<i>Tits</i>, like <i>Janus Fleuri</i>, may be seen to exemplify a ‘part-object’, a term used by psychoanalysts to refer to parts of the body that attest to physical and emotional relationships between infants and adults. The art historian Mignon Nixon has written about the part-object and its influence on Bourgeois’s work. Nixon has argued that by fragmenting parts of the body, creating ‘part-objects’, Bourgeois represented their physiological and sexual characteristics, gesturing to the complex and conflicting attachments we have to our own bodies and the bodies of others. The critic Rosalind Krauss has also written on this theme, looking specifically at the breast in relation to Bourgeois:</p>\n<p class=\"cttext\">\n</p><blockquote>For the newborn, suckling divides the mother’s breast from its bodily support, separating the organ from her as the target to satisfy the infant’s needs. The world of the infant splinters into such part-objects: its own desiring organs as well as their reciprocal targets: so many breasts, mouths, bellies, penises, anuses.<br/>(Quoted in Morris 2007, p.200.)</blockquote>\n<p>When speaking of similar works produced around the same time as <i>Tits</i>, Bourgeois appeared to justify Krauss’s interpretation: ‘I made a drawing of breasts pressed against each other; there was a double attitude to be like a mother, and to be liked by a mother … the lips like sucking. The whole person becomes a breast that stretches in order to give.’ (Quoted in Duncan Macmillan, ‘Blood Ties’, <i>Modern Painters</i>, May 2008, p.75.)</p>\n<p>\n<b>Further reading</b>\n<br/>Mignon Nixon, <i>Fantastic Reality: Louise Bourgeois and a Story of Modern Art</i>, Cambridge, Massachusetts, and London 2005.<br/>Frances Morris (ed.), <i>Louise Bourgeois</i>, exhibition catalogue, Tate Modern, London 2007.<br/>Lucy Askew and Anthony d’Offay, <i>Louise Bourgeois: A Woman Without Secrets</i>, exhibition catalogue, National Galleries of Scotland, Edinburgh 2013, p.92, reproduced p.35.</p>\n<p>Allan Madden<br/>The University of Edinburgh<br/>February 2015</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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] | Nature Study | 1,986 | ARTIST ROOMS
<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1986 | CLEARED | 8 | object: 152 × 254 × 178 mm | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | [
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"content": "<div class=\"text\">\n<p>This free-standing bronze sculpture consists of a tightly knotted coil of tubular forms, from the centre of which emerges a slender human hand cradling a recumbent female figure. The elongated shape of the curved fingers and thumb echo the sinuous tubular forms, which, along with the sculpture’s all-over silver patina, accentuates the flesh-like quality of the spiralling coil. The figure is positioned on her back in the palm of the hand with her head tilted upwards towards the tips of the fingers while her legs point back into the spiral. Her head, torso and legs are fully formed, but she has no arms. Her hair extends behind the fingers of the hand and rejoins the spiral, creating a cohesive, cyclical entity.</p>\n<p>To create the hand, Bourgeois worked from a combination of casts and mouldings of hands and elongated the fingers. The sculpture is one of a number of works created between 1984 and 1986 that share the title <i>Nature Study</i>.<i> </i>Most of these works were cast in bronze with a black or silver patina, but some were made in rubber, plaster and wax and one of the works, which is compositionally identical to the bronze <i>Nature Study</i> was sculpted from pink marble.</p>\n<p>The slender fingers suggest that the hand is that of a woman, while the gentle way in which the smaller undeveloped figure is cradled conveys a sense of maternal nurture. Indeed the way in which the hand appears to emerge from inside the coil, as though presenting the figure to the outside world, is evocative of birth, or perhaps re-birth, given the post-pubescent body of the figure. In this respect the work may represent the cyclical nature of motherhood and childbirth: the mother, represented by the hand, produces a daughter who will in turn become a mother herself. The title, <i>Nature Study</i>, also lends itself to this idea of a natural order or cycle of things, while the tight, spiral form, coiling from its source in the figure’s hair, is suggestive of the knotted and intertwined nature of familial relationships.</p>\n<p>The spiral form is one that appears frequently in Bourgeois’s work, as in <i>Spirals</i> 2005 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-spirals-al00346\" title=\"View the details of this artwork\"><span>AL00346</span></a>) and <i>A l’infini</i> 2008–9 (Museum of Modern Art, New York) where, again, the idea of an endless natural cycle is explored. In 1994 Bourgeois explained why spirals were personally significant for her:</p>\n<p class=\"cttext\">\n</p><blockquote>The spiral is important to me. It is a twist. As a child, after washing tapestries in the river, I would turn and twist and ring them [...] Later I would dream of my father’s mistress. I would do it in my dreams by ringing her neck. The spiral – I love the spiral – represents control and freedom.<br/>(Quoted in Gardner 1994, p.68.)</blockquote>\n<p>Another of Bourgeois’s works with the title <i>Nature Study</i>, also made in 1986, (Robert Miller Gallery) is a bronze sculpture with a black patina and features a coiled spiral wrapped tightly around a phallic object. Unlike the silver-patinated <i>Nature Study</i>, where the spiral brings forth a female figure in a productive, maternal gesture, the spiral here appears to constrict and squeeze the phallus, skewing its shape in an aggressive manner.</p>\n<p>Hands and hand gestures also have symbolic significance in Bourgeois’s work. In her sculpture <i>Give or Take </i>2002 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-give-or-take-al00343\" title=\"View the details of this artwork\"><span>AL00343</span></a>),<i> </i>the hand is depicted as being either open or closed, and thus symbolic of either comfort and closeness, or coldness and rejection. In <i>10AM is When You Come to Me </i>2006 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-10-am-is-when-you-come-to-me-al00345\" title=\"View the details of this artwork\"><span>AL00345</span></a>) the hand again appears as a symbol for human relationships, this time offering the consoling, nurturing grasp mirrored in <i>Nature Study </i>1986.</p>\n<p>\n<b>Further reading</b>\n<br/>Paul Gardner, <i>Louise Bourgeois</i>, New York 1994.<br/>Mignon Nixon, <i>Fantastic Reality: Louise Bourgeois and a Story of Modern Art</i>, Cambridge, Massachusetts 2005.<br/>Lucy Askew and Anthony d’Offay, <i>Louise Bourgeois: A Woman Without Secrets</i>, exhibition catalogue, National Galleries of Scotland, Edinburgh 2013, p.38, reproduced pp.30, 39.</p>\n<p>Allan Madden<br/>The University of Edinburgh<br/>November 2014</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | AL00229 | {
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<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1996 | CLEARED | 8 | unconfirmed: 2032 × 1066 × 762 mm, 15kg | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | [
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"content": "<div class=\"text\">\n<p>\n<i>Single II</i> is a hanging fabric sculpture, which depicts a headless figure. The sculpture is made from various pieces of black cotton and synthetic material, which has been sewn together and stuffed. The piece is suspended at the navel from a steel cable, causing the figure to arch backwards toward the floor. The figure’s extremities are not realised in detail, with only the suggestion of hands and feet.<i> Single II </i>formed part of an installation displayed in the bell tower of St Pancras Church in London for the exhibition ‘The Visible and the Invisible’ in 1996. Bourgeois made four figurative stuffed fabric sculptures for this piece: <i>Single I</i> 1996, <i>Single II </i>1996, <i>Couple I </i>1996 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-couple-i-al00344\" title=\"View the details of this artwork\"><span>AL00344</span></a>) and <i>Couple II </i>1996. All of the sculptures were hung from the bell tower except <i>Couple II</i>, which was displayed nearby on the floor.</p>\n<p>Curator Lucy Askew highlights the importance of the <i>Single </i>and <i>Couple </i>works being shown together: ‘the sculptures were either hung from the ceiling or laid horizontally, the idea of erotic dependency [was] shown … with its opposite state of isolation.’ (Askew and d’Offay 2013, p.83.) Whether in a pair or alone, all the figures in the composition suggested vulnerability, particularly those left hanging in mid-air. Bourgeois has commented on the melancholic and violent undertones of the corpse-like figures in this piece in relation to the colour black: ‘Black is sad. The colour of mourning. The headless figures are wishful thinking on my part. Black is the colour of resented authority’ (quoted in Askew and d’Offay 2013, p.83).</p>\n<p>Askew also notes the similarity between the arching pose of the hanging figure in <i>Single II </i>and the figures in other Bourgeois works such as <i>Arch of Hysteria </i>1993 (reproduced in Morris 2007, p.43) and <i>Triptych for the Red Rooms</i> 1994 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/bourgeois-triptych-for-the-red-room-al00349\" title=\"View the details of this artwork\"><span>AL00349</span></a>). Bourgeois often uses the arch as visual shorthand for the figure of the hysteric, given that the condition was associated with dramatic bodily contortion. Historically hysteria was thought to affect only women and to derive from the uterus, but the curator Marie-Laure Bernadac has argued that, countering traditional psychoanalytic theory, Bourgeois did not see hysteria as exclusively feminine. This may explain the gender ambivalence of the figure in <i>Single II </i>and why male figures appear in both <i>Arch of Hysteria </i>and <i>Triptych for the Red Rooms</i>. Bernadac also argues that the artist did not see hysteria as an entirely negative or painful experience, she writes:</p>\n<p class=\"cttext\">\n</p><blockquote>Her arch – the mounting of tension and the release of tension – is sexual. It is a substitute for orgasm, with no access to sex. She creates her own world and is very happy. Nowhere is it written that a person in these states is suffering. She functions in a self-made cell, where the rules of unhappiness or stress are unknown to us.<br/>(Quoted in Morris 2007, p.158.)</blockquote>\n<p>The ambiguous gender of the hanging figure, then, could be seen as Bourgeois’s attempt to divorce the association of hysteria from the gendered body. Likewise the suspension of the figure above ground, neither fully of the air nor of the earth, suggests another in-between state. On the notion of the hanging figure, a recurring conceit in Bourgeois’s work, the artist has said: ‘Horizontality is a desire to give up, to sleep. Verticality is an attempt to escape. Hanging and floating are states of ambivalence.’ (Quoted in Askew and d’Offay 2013, p.48.)</p>\n<p>\n<b>Further reading</b>\n<br/>Mignon Nixon, <i>Fantastic Reality: Louise Bourgeois and a Story of Modern Art</i>, Cambridge, Massachusetts, and London 2005.<br/>Frances Morris (ed.), <i>Louise Bourgeois</i>, exhibition catalogue, Tate Modern, London 2007, p.90.<br/>Lucy Askew and Anthony d’Offay, <i>Louise Bourgeois: A Woman Without Secrets</i>, exhibition catalogue, National Galleries of Scotland, Edinburgh 2013, p.83, reproduced p.49.</p>\n<p>Allan Madden<br/>The University of Edinburgh<br/>January 2015</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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"content": "<div class=\"text\">\n<p>\n<i>Residential (Rooftop Series #1)</i> 1961, printed 2004 is a black and white photograph taken by the American artist Ed Ruscha. Shot in his home city of Los Angeles, the image presents an urban road lined with bungalows, apartment buildings, palm trees and parked cars. The road runs diagonally from the lower left corner of the photograph and reaches its vanishing point in the middle of the frame. Ruscha captured this image from the top of a building, with the rooftop taking up the foreground of the image. Beverly Hills can be seen in the far distance, with the clear sky above it occupying the top third of the frame. Ruscha took this photograph at a slightly skewed angle, with the entire composition leaning slightly to the right.</p>\n<p>In 1961 Ruscha began working as a layout artist for Carson-Roberts Advertising Agency in West Hollywood, which was situated between Beverly Boulevard and North Flores Street. <i>Residential (Rooftop Series #1)</i> is one of four photographs that the artist captured from the roof of this building, where he took his daily lunch break. Together the photographs provide an overview of the different areas visible to Ruscha from this spot. He shot these scenes using a lightweight 2¼-inch format Yashica camera, which he would continue to use throughout his time working in photography. Despite taking these images in the early 1960s the series remained unpublished until 2004, at which point Ruscha and art dealer Patrick Painter released <i>Rooftop Series </i>as a collection of limited edition prints. All four of the photographs from this series are in the ARTIST ROOMS collection (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-residential-rooftops-series-1-al00235\" title=\"View the details of this artwork\"><span>AL00235</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hancock-rooftops-series-4-al00238\" title=\"View the details of this artwork\"><span>AL00238</span></a>).</p>\n<p>The images in <i>Rooftop Series</i> were taken two years prior to the publication of Ruscha’s first photobook <i>Twentysix Gasoline Stations</i> 1963 (Tate Library and Archive, <a href=\"http://www.tate.org.uk/about/projects/transforming-artist-books/summaries/edward-ruscha-twentysix-gasoline-stations-1963\">http://www.tate.org.uk/about/projects/transforming-artist-books/summaries/edward-ruscha-twentysix-gasoline-stations-1963</a>, accessed 26 February 2016) yet they were not originally conceived to be published in any physical format. In the artist’s own words this series was ‘not a cohesive book idea’ (quoted in Schwartz 2010, p.125). Nonetheless the images foreground interests that characterise Ruscha’s photography of the 1960s and 1970s, such as seriality, deadpan aesthetics, and architectural subjects. Ruscha’s high vantage point gives the image an overhead view, and so highlights his interest in ‘tabletop photography’ during this period. This term is often used to describe Ruscha’s preoccupation with photographing subjects from above, as can be seen in his later aerial shots of Californian parking lots (see for example <i>State Board of Equalization, 14601 Sherman Way, Van Nuys </i>1967, printed 1999,<i> </i>Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-state-board-of-equalization-14601-sherman-way-van-nuys-al00262\" title=\"View the details of this artwork\"><span>AL00262</span></a>).</p>\n<p>1961 was an important year for Ruscha. As well as securing his first professional post in an advertising firm, he graduated from the Chouniard Art Institute as a painter. Ruscha also spent seven months travelling around Europe with his mother and brother, where he photographed the urban environments of cities such as Amsterdam, Paris and Zurich. Describing the role of photography in his early career, Ruscha has stated: ‘I began to shoot pictures while I was in school, but not on a serious basis. I liked the idea that it could capture the here and now, an immediate reality that could then be appraised and put back into painting’ (quoted in Rowell 2006, p.12). <i>Rooftop Series</i>, which he captured after completing his education in the commercial arts but before the publication of his photobooks, might be understood as a transitionary project within the context of his professional career. Ruscha may well have viewed the series as supplementary to his advertising work, given the strong role that posters and signage play in the series as a whole. However, the photographs themselves mark the emergence of aesthetic and thematic tropes that Ruscha developed throughout his productive career as a photographer.</p>\n<p>\n<b>Further reading</b>\n<br/>Margrit Rowell, <i>Ed Ruscha: Photographer</i>, exhibition catalogue, Whitney Museum of American Art, New York 2006.<br/>Mary Richards, <i>Ed Ruscha</i>, London 2008.<br/>Alexandra Schwartz, <i>Ed Ruscha’s Los Angeles</i>, Cambridge, Massachusetts 2010, p.130, reproduced p.126.</p>\n<p>Aaron Shaw<br/>University of Edinburgh<br/>February 2016</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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] | <p><span>Rooftop (Rooftop Series #2)</span> 1961, printed 2004 is a black and white photograph taken by the American artist Ed Ruscha. The image was shot from the top of a building in the artist’s home city of Los Angeles. Rather than providing elevation for a better view of the surroundings, the lead-coated rooftop takes up much of the frame. This area is empty except for a rectangular sign that advertises ‘Glacé Fruits, Candies’. The pale lettering on this advert is worn, leaving the name of its original owner obscured, although it could read ‘Gerards’. A white concrete wall can be seen in the upper right corner of the frame, perhaps a section of a neighbouring rooftop. Adjacent to the building is a traffic intersection, which runs diagonally across the upper left corner of the photograph.</p> | false | 1 | 1882 | paper print silver gelatin | [
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<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1961, printed 2004 | CLEARED | 4 | Support: 778 × 778 mm
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Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | [
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"content": "<div class=\"text\">\n<p>\n<i>Rooftop (Rooftop Series #2)</i> 1961, printed 2004 is a black and white photograph taken by the American artist Ed Ruscha. The image was shot from the top of a building in the artist’s home city of Los Angeles. Rather than providing elevation for a better view of the surroundings, the lead-coated rooftop takes up much of the frame. This area is empty except for a rectangular sign that advertises ‘Glacé Fruits, Candies’. The pale lettering on this advert is worn, leaving the name of its original owner obscured, although it could read ‘Gerards’. A white concrete wall can be seen in the upper right corner of the frame, perhaps a section of a neighbouring rooftop. Adjacent to the building is a traffic intersection, which runs diagonally across the upper left corner of the photograph.</p>\n<p>In 1961 Ruscha began working as a layout artist for Carson-Roberts Advertising Agency in West Hollywood, which was situated between Beverly Boulevard and North Flores Street. <i>Rooftop (Rooftop Series #2)</i> is one of four photographs that the artist captured from the roof of this building, where he took his daily lunch break. Together the photographs provide an overview of the different areas visible to Ruscha from this spot. He shot these scenes using a lightweight 2¼-inch format Yashica camera, which he would continue to use throughout his time working in photography. Despite taking these images in the early 1960s the series remained unpublished until 2004, at which point Ruscha and art dealer Patrick Painter released <i>Rooftop Series </i>as a collection of limited edition prints. All four of the photographs from this series are in the ARTIST ROOMS collection (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-residential-rooftops-series-1-al00235\" title=\"View the details of this artwork\"><span>AL00235</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hancock-rooftops-series-4-al00238\" title=\"View the details of this artwork\"><span>AL00238</span></a>).</p>\n<p>The images in <i>Rooftop Series</i> were taken two years prior to the publication of Ruscha’s first photobook <i>Twentysix Gasoline Stations</i> 1963 (Tate Library and Archive, <a href=\"http://www.tate.org.uk/about/projects/transforming-artist-books/summaries/edward-ruscha-twentysix-gasoline-stations-1963\">http://www.tate.org.uk/about/projects/transforming-artist-books/summaries/edward-ruscha-twentysix-gasoline-stations-1963</a>, accessed 26 February 2016) yet they were not originally conceived to be published in any physical format. In the artist’s own words this series was ‘not a cohesive book idea’ (quoted in Schwartz 2010, p.125). Nonetheless the images foreground interests that characterise Ruscha’s photography of the 1960s and 1970s, such as seriality, deadpan aesthetics and architectural subjects. Ruscha’s high vantage point gives the image an overhead view, and so highlights his interest in ‘tabletop photography’ during this period. This term is often used to describe Ruscha’s preoccupation with photographing subjects from above, as can be seen in his later aerial shots of Californian parking lots (see for example <i>State Board of Equalization, 14601 Sherman Way, Van Nuys </i>1967, printed 1999,<i> </i>Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-state-board-of-equalization-14601-sherman-way-van-nuys-al00262\" title=\"View the details of this artwork\"><span>AL00262</span></a>).</p>\n<p>1961 was an important year for Ruscha. As well as securing his first professional post in an advertising firm, he graduated from the Chouniard Art Institute as a painter. Ruscha also spent seven months travelling around Europe with his mother and brother, where he photographed the urban environments of cities such as Amsterdam, Paris and Zurich. Describing the role of photography in his early career, Ruscha has stated: ‘I began to shoot pictures while I was in school, but not on a serious basis. I liked the idea that it could capture the here and now, an immediate reality that could then be appraised and put back into painting’ (quoted in Rowell 2006, p.12). <i>Rooftop Series</i>, which he captured after completing his education in the commercial arts but before the publication of his photobooks, might be understood as a transitionary project within the context of his professional career. Ruscha may well have viewed the series as supplementary to his advertising work, given the strong role that posters and signage play in the series as a whole. 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Trees and residential homes recede into the distance behind these buildings, while a clear sky takes up the top half of the photograph.</p>\n<p>In 1961 Ruscha began working as a layout artist for Carson-Roberts Advertising Agency in West Hollywood, for which the central billboard is a self-promoting advertisement. <i>Leggett’s (Rooftop Series #3)</i> is one of four photographs that the artist captured from the roof of this building, where he took his daily lunch break. Together the photographs provide an overview of the different areas visible to Ruscha from this spot. He shot these scenes using a lightweight 2¼-inch format Yashica camera, which he would continue to use throughout his time working in photography. Despite taking these images in the early 1960s the series remained unpublished until 2004, at which point Ruscha and art dealer Patrick Painter released <i>Rooftop Series </i>as a collection of limited edition prints. All four of the photographs from this series can be found in the ARTIST ROOMS collection (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-residential-rooftops-series-1-al00235\" title=\"View the details of this artwork\"><span>AL00235</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hancock-rooftops-series-4-al00238\" title=\"View the details of this artwork\"><span>AL00238</span></a>).</p>\n<p>The images in <i>Rooftop Series</i> were taken two years prior to the publication of Ruscha’s first photobook <i>Twentysix Gasoline Stations</i> 1963 (Tate Library and Archive, <a href=\"http://www.tate.org.uk/about/projects/transforming-artist-books/summaries/edward-ruscha-twentysix-gasoline-stations-1963\">http://www.tate.org.uk/about/projects/transforming-artist-books/summaries/edward-ruscha-twentysix-gasoline-stations-1963</a>, accessed 26 February 2016) yet they were not originally conceived to be published in any physical format. In the artist’s own words this series was ‘not a cohesive book idea’ (quoted in Schwartz 2010, p.125). Nonetheless the images foreground interests that characterise Ruscha’s photography of the 1960s and 1970s, such as seriality, deadpan aesthetics and architectural subjects. Ruscha’s high vantage point gives the image an overhead view, and so highlights his interest in ‘tabletop photography’ during this period. This term is often used to describe Ruscha’s preoccupation with photographing subjects from above, as can be seen in his later aerial shots of Californian parking lots (see for example <i>State Board of Equalization, 14601 Sherman Way, Van Nuys </i>1967, printed 1999,<i> </i>Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-state-board-of-equalization-14601-sherman-way-van-nuys-al00262\" title=\"View the details of this artwork\"><span>AL00262</span></a>).</p>\n<p>1961 was an important year for Ruscha. As well as securing his first professional post in an advertising firm, he graduated from the Chouniard Art Institute as a painter. Ruscha also spent seven months travelling around Europe with his mother and brother, where he photographed the urban environments of cities such as Amsterdam, Paris and Zurich. Describing the role of photography in his early career, Ruscha has stated: ‘I began to shoot pictures while I was in school, but not on a serious basis. I liked the idea that it could capture the here and now, an immediate reality that could then be appraised and put back into painting’ (quoted in Rowell 2006, p.12). <i>Rooftop Series</i>, which he captured after completing his education in the commercial arts but before the publication of his photobooks, might be understood as a transitionary project within the context of his professional career. Ruscha may well have viewed the series as supplementary to his advertising work, given the strong role that posters and signage play in the series as a whole. However, the photographs themselves mark the emergence of aesthetic and thematic tropes that Ruscha developed throughout his productive career as a photographer.</p>\n<p>\n<b>Further reading</b>\n<br/>Margrit Rowell, <i>Ed Ruscha: Photographer</i>, exhibition catalogue, Whitney Museum of American Art, New York 2006.<br/>Mary Richards, <i>Ed Ruscha</i>, London 2008.<br/>Alexandra Schwartz, <i>Ed Ruscha’s Los Angeles</i>, Cambridge, Massachusetts 2010, p.130, reproduced p.128.</p>\n<p>Aaron Shaw<br/>University of Edinburgh<br/>February 2016</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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Roadsides lined with parked cars, streetlights and palm trees are visible from the high vantage point, along with an array of commercial buildings and billboard advertisements.</p>\n<p>In 1961 Ruscha began working as a layout artist for Carson-Roberts Advertising Agency in West Hollywood, which was situated between Beverly Boulevard and North Flores Street. <i>Hancock (Rooftop Series #4)</i> is one of four photographs that the artist captured from the roof of this building, where he took his daily lunch break. Together the photographs provide an overview of the different areas visible to Ruscha from this spot. He shot these scenes using a lightweight 2¼-inch format Yashica camera, which he would continue to use throughout his time working in photography. Despite taking these images in the early 1960s the series remained unpublished until 2004, at which point Ruscha and art dealer Patrick Painter released <i>Rooftop Series </i>as a collection of limited edition prints. All four of the photographs from this series are in the ARTIST ROOMS collection (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-residential-rooftops-series-1-al00235\" title=\"View the details of this artwork\"><span>AL00235</span></a>–<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hancock-rooftops-series-4-al00238\" title=\"View the details of this artwork\"><span>AL00238</span></a>).</p>\n<p>The images in <i>Rooftop Series</i> were taken two years prior to the publication of Ruscha’s first photobook <i>Twentysix Gasoline Stations</i> 1963 (Tate Library and Archive, <a href=\"http://www.tate.org.uk/about/projects/transforming-artist-books/summaries/edward-ruscha-twentysix-gasoline-stations-1963\">http://www.tate.org.uk/about/projects/transforming-artist-books/summaries/edward-ruscha-twentysix-gasoline-stations-1963</a>, accessed 26 February 2016) yet they were not originally conceived to be published in any physical format. In the artist’s own words this series was ‘not a cohesive book idea’ (quoted in Schwartz 2010, p.125). Nonetheless the images foreground interests that characterise Ruscha’s photography of the 1960s and 1970s, such as seriality, deadpan aesthetics and architectural subjects. Ruscha’s high vantage point gives the image an overhead view, and so highlights his interest in ‘tabletop photography’ during this period. This term is often used to describe Ruscha’s preoccupation with photographing subjects from above, as can be seen in his later aerial shots of Californian parking lots (see for example <i>State Board of Equalization, 14601 Sherman Way, Van Nuys </i>1967, printed 1999,<i> </i>Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-state-board-of-equalization-14601-sherman-way-van-nuys-al00262\" title=\"View the details of this artwork\"><span>AL00262</span></a>).</p>\n<p>1961 was an important year for Ruscha. As well as securing his first professional post in an advertising firm, he graduated from the Chouniard Art Institute as a painter. Ruscha also spent seven months travelling around Europe with his mother and brother, where he photographed the urban environments of cities such as Amsterdam, Paris and Zurich. Describing the role of photography in his early career, Ruscha has stated: ‘I began to shoot pictures while I was in school, but not on a serious basis. I liked the idea that it could capture the here and now, an immediate reality that could then be appraised and put back into painting’ (quoted in Rowell 2006, p.12). <i>Rooftop Series</i>, which he captured after completing his education in the commercial arts but before the publication of his photobooks, might be understood as a transitionary project within the context of his professional career. Ruscha may well have viewed the series as supplementary to his advertising work, given the strong role that posters and signage play in the series as a whole. However, the photographs themselves mark the emergence of aesthetic and thematic tropes that Ruscha developed throughout his productive career as a photographer.</p>\n<p>\n<b>Further reading</b>\n<br/>Margrit Rowell, <i>Ed Ruscha: Photographer</i>, exhibition catalogue, Whitney Museum of American Art, New York 2006, reproduced p.150.<br/>Mary Richards, <i>Ed Ruscha</i>, London 2008, reproduced p.98.<br/>Alexandra Schwartz, <i>Ed Ruscha’s Los Angeles</i>, Cambridge, Massachusetts 2010, p.130, reproduced p.129.</p>\n<p>Aaron Shaw<br/>University of Edinburgh<br/>February 2016</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1962, printed 2007 | CLEARED | 4 | unconfirmed: 250 × 203 mm
Frame: 380 × 380 × 45mm | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
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] | <p><span>Enco – Conway, Texas (from Five Views from the Panhandle Series)</span> 1962, printed 2007 is a black and white photograph taken by American artist Ed Ruscha. The image presents a gasoline station seen from across a road. Two cars, one pale and one black, are parked in front of the station and partially block the view of the building. A utility pole and a large circular sign stand next to the automobiles; the latter displays the station’s company name: Enco. Smaller signs and advertisements can also be seen on the façade of the building. A blurred form protrudes into the frame from the photograph’s upper edge, perhaps a visor or wind-deflector on the window of a car that Ruscha sat in. The position of this blurred form, the building, the cars and the road all serve to stress the horizontality of the image.</p> | false | 1 | 1882 | paper print silver gelatin | [] | Enco - Conway, Texas (from Five Views from the Panhandle Series) | 1,962 | ARTIST ROOMS
<br />Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011<br /><span class="credit-tag-line">On long term loan</span> | 1962, printed 2007 | CLEARED | 4 | unconfirmed: 250 × 203 mm
Frame: 380 × 380 × 45mm | long loan | ARTIST ROOMS
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | <a href="/search?gid=999999788" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">ARTIST ROOMS</a>
Tate and National Galleries of Scotland. Lent by Artist Rooms Foundation 2011 | [
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"content": "<div class=\"text\">\n<p>\n<i>Enco – Conway, Texas (from Five Views from the Panhandle Series)</i> 1962, printed 2007 is a black and white photograph taken by American artist Ed Ruscha. The image presents a gasoline station seen from across a road. Two cars, one pale and one black, are parked in front of the station and partially block the view of the building. A utility pole and a large circular sign stand next to the automobiles; the latter displays the station’s company name: Enco. Smaller signs and advertisements can also be seen on the façade of the building. A blurred form protrudes into the frame from the photograph’s upper edge, perhaps a visor or wind-deflector on the window of a car that Ruscha sat in. The position of this blurred form, the building, the cars and the road all serve to stress the horizontality of the image.</p>\n<p>This image is part of a series made while Ruscha travelled on Route 66 from his childhood town, Oklahoma, to his home in Southern California in 1962. Most of the negatives produced – of gas stations he passed during the journey – were printed in his self-published book <i>Twentysix Gasoline Stations</i> in 1963. Additionally, five of these negatives were reproduced as large-scale prints in a small series titled <i>Five Views from the Panhandle </i>2007, all of which can be found in the ARTIST ROOMS collection. <i>Enco – Conway, Texas</i> appears in both the book and the series, and of the other four photographs in the <i>Panhandle</i> series, <i>Mobil – Shamrock, Texas </i>1962, printed 2007 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-mobil-shamrock-texas-from-five-views-from-the-panhandle-series-al00240\" title=\"View the details of this artwork\"><span>AL00240</span></a>), <i>Fina</i> <i>– Groom, Texas</i> 1962, printed 2007 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-fina-groom-texas-from-five-views-from-the-panhandle-series-al00241\" title=\"View the details of this artwork\"><span>AL00241</span></a>) and <i>Hudson – Amarillo, Texas </i>1962, printed 2007 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-hudson-amarillo-texas-from-five-views-from-the-panhandle-series-al00243\" title=\"View the details of this artwork\"><span>AL00243</span></a>)<i> </i>can also be found in the pages of <i>Twentysix Gasoline Stations</i> in smaller, slightly cropped formats.</p>\n<p>In <i>Five Views from the Panhandle </i>and<i> Twentysix Gasoline Stations</i> Ruscha made the open road a site of artistic production, using his own car as a frame for his photographs. The gasoline station itself appears to reference the car culture that was emerging in California during the 1960s, with which Ruscha was personally involved as an active motorist. His interest in the functional spaces used by cars can also be seen in the later photobook <i>Thirtyfour Parking Lots</i> 1967 (see, for example, Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-5000-w-carling-way-al00248\" title=\"View the details of this artwork\"><span>AL00248</span></a>, <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-5600-5700-blocks-of-wilshire-blvd-al00271\" title=\"View the details of this artwork\"><span>AL00271</span></a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-7101-sepulveda-blvd-van-nuys-al00263\" title=\"View the details of this artwork\"><span>AL00263</span></a>). Ruscha’s interest in representing Los Angeles’s automobile culture, as well as his use of vehicles, led the art critic Rosalind Krauss to describe the artist’s practice as one that makes the car a medium in itself (Rosalind Krauss, ‘“Specific” Objects’, <i>RES: Anthropology and Aesthetics</i>, no.46, Autumn 2004, p.222).</p>\n<p>Through Ruscha’s practical reliance on the car and his focus on architectural subjects, both <i>Twentysix Gasoline Stations </i>and <i>Five Views from Panhandle </i>relate<i> </i>to the changing urban landscape of Los Angeles after the Second World War. The city’s geographic expansion and seclusion on the American West Coast necessitated the growth of new car-friendly infrastructures such as freeways, parking lots and gasoline stations. This led architectural historian Reyner Banham to describe Los Angeles as an ‘autopia’ – a city that privileges being experienced by car (Banham 1973, p.213). Of specific concern to Ruscha was the repetitive and stylistically unique forms that the city’s new infrastructures took. Speaking of this interest Ruscha has stated:</p>\n<p class=\"cttext\">\n</p><blockquote>I would look at a building and disregard the purpose of that building (in this case, a commercial outlet to sell gasoline). I was really more interested in this crazy little design that was repeated by all the gas companies to make stations with an overhang to create shade for their customers. It seemed to me a very beautiful statement. <br/>(Quoted in Rowell 2006, p.18.)</blockquote>\n<p>Ruscha’s preoccupation with the aesthetic form of these subjects also underscores his interest in the vernacular visual language of Los Angeles’s built environment, which he has also examined in the photobook <i>Some Los Angeles Apartments</i> 1965 and paintings such as <i>Standard Study #3</i> 1963 (Tate <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/ruscha-standard-study-3-ar00050\" title=\"View the details of this artwork\"><span>AR00050</span></a>). </p>\n<p>\n<b>Further reading</b>\n<br/>Reyner Banham, <i>Los Angeles: The Architecture of Four Ecologies</i>, Middlesex 1973.<br/>Margit Rowell, <i>Ed Ruscha: Photographer</i>, exhibition catalogue, Whitney Museum of American Art, New York 2006, reproduced p.116.<br/>Mary Richards, <i>Ed Ruscha</i>, London 2008, photobook version reproduced p.32.</p>\n<p>Aaron Shaw<br/>University of Edinburgh<br/>February 2016</p>\n<p>\n<i>The University of Edinburgh is a research partner of ARTIST ROOMS.</i>\n</p>\n</div>\n",
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