Elaine Equi
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Ed Ruscha’s work allows me to combine two activities I love: reading and looking at art. The pleasure feels a bit illicit, as if neither thing would willingly give up the supremacy of my undivided attention. More simply put, I feel like I’m getting away with something — maybe doing my homework and watching TV at the same time. It feels good. I want to keep doing it. ly ly
Next to him, haiku seems almost belabored. Yet no matter how brief, the wordplay almost always triggers some kind of shift in perception — a definite movement occurs in my mind which is why I think of them as poems rather than signs. They evoke, they elicit more from me. In all fairness, Aram Saroyan’s intention is that we read his work in the context of other poems. He did after all publish them as a book of poetry. Ed Ruscha doesn’t ask the same of us. Nevertheless, his words are equally resonant and his work often employs similar strategies. sky with Ruscha’s ONE
NIGHT
STAND FOREVER or |
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The scale may vary, but the sensibility is similar. “ding” “pud” which hang side by side and give a pleasurable and comic aural concreteness — like banging a gong — to the word “pudding.” Saroyan does a similar remix of ney
This kind of linguistic atomization and insistence on the materiality of words was much in keeping with the structuralist spirit of the times, and similar verbal and visual experiments were in vogue among numerous concrete poets, conceptual, Oulipo, and Fluxus artists around the world. LE PLUME EST DANS LE JARDIN In another project, he artfully strews bits and phrases of Homer (“Veracious Amethyst”) across line drawings of lush foliage and dragonflies. With his wife, Sue, he eventually went on to create Little Sparta, a lavish, four-acre, postmodern garden which incorporates fragments of architecture, sculpture, and word texts carved in stone and wood. It allowed his love of language to merge with nature and in the words of writer Brian Kim Stefans, to “bring syntax to the physical landscape.” |
You can read four essays on Ian Hamilton Finlay in Jacket 15, including one by Brian Kim Stefans.
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Although Ruscha’s deadpan humor would seem to set him worlds apart from Finlay’s classical allusions and enchantments, there are qualities I think they share. For example, both often work with single words, creating a kind of dramatization of them through their choice of materials, script, lettering, or actual physical environment. They “set the stage” in a manner of speaking, so that we might come upon the word in all the glory of its simplicity, as well as the complexity of its implications. BLOND In many pieces, Ruscha displays this same ability to succinctly sum up certain of modern life’s lessons in catchy phrases and puns like HOLLYWOOD |
BRAVE MEN RUN IN MY FAMILY |
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Then too, both men often choose very mundane moments to take note of. So while Joe Brainard writes: “For once in my life, today, I dropped an open faced peanut butter sandwich that landed right side up,” Ruscha floats the sentence, “SHE BROILED A CHICKEN” at the top of a drab, khaki-colored background in letters so small and distant as if to make it seem a piece of sky writing. It seems funny to imagine this idea as something we need to look up to — a message from above. I DONT WANT — in this case, I’m glad there was one. |
References
New Work, Joe Brainard, Black Sparrow Press, Los Angeles, 1973.
Nothing to Write Home About, Joe Brainard, Little Caesar Press, Los Angeles, 1981.
Peterhead Fragments, Ian Hamilton Finlay, Wild Hawthorn Press, Scotland, 1980.
A Pretty Kettle of Fish, Ian Hamilton Finlay, Wild Hawthorn Press, Scotland, 1985.
Pages, Aram Saroyan, Random House, New York, 1964.
Aram Saroyan, Aram Saroyan, Random House, New York, 1966.
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