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The American artist Allen Ruppersberg is certainly underrated. He belongs to the group of artists that may never achieve stardom nor produced a masterwork, except maybe his groundbreaking participatory environments Al’s Cafe (1969) and Al’s Grand Hotel (1971). His work connects time and space by gestures comparable to ephemera.
The Hammer Museum writes on their website: “Ruppersberg moved to Los Angeles in the mid-1960s with the goal of becoming an illustrator, but soon became active in an emerging scene led by artists such as John Baldessari, Ed Ruscha, William Leavitt, and others exploring the interface of language and image filtered through the lens of mass culture. His early projects—including environments made with found objects; wry, narrative photo works; and a novel copied by hand—began a career-long practice of creating works that prompt both reading and looking, and that intertwine fact with fiction.”
User comment by Marina Prodo: “I choose these particular prints because with simple typography and really strong color it has impact, shows a phrase (probably said by the artist) which has humor and it is almost saying (with other words) ‘You have to come or I’ll be deluded’. Also because the sentence ‘Honey’ made me smile! Like the simple and beautiful graphic design as well!” Buy it here!
Invitation cards using books
Yesterday I was musing on the fact that so many invitation cards use books in their design – whether it be images of book covers, photographs of real books, paintings or drawings of books, stacks of books, self made books, images from performances using books…..and then Daniel came in and I was explaining my idea to him and he mentioned that Christoph Schifferli, from whose personal collection a lot of the invitation cards in this exhibition come from, had himself planned an entire wall in the exhibition based around the concept of cards using printed matter – a nice serendipity. I was a little stricter in my choice though and only photographed cards using books, not printed matter in general.
