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Description: Art & Graphic Design: George Maciunas, Ed Ruscha, Sheila Levrant de Bretteville
Index
PublisherYale University Press
PublisherTerra Foundation for American Art
View chapters with similar subject tags
Index
Abstract Expressionism, 84, 119, 135
Acht Lernschwestern (Eight Student Nurses) (Richter), 142 fig. 107, 144
Advertisement for CBS-TV, 4 fig. 2, 5
AG Gallery, 27–33, 33 fig. 24
AIGA, 3–8, 163, 164 fig. 119
Alfandary, Isabelle, 42, 85
Alm (Roth), Helen, 11 fig. 6, 177, 177 fig. 129, 193
American context, 2, 197n6
American flag, 24, 24 fig. 14, 25 figs. 2526
American Institute of Graphic Arts. See AIGA
American Tool Supply (Ruscha), 1, 2 fig. 1
ampersand, 2
Annie (Ruscha), 73–75, 73 fig. 53, 119
Annie, Poured from Maple Syrup (Ruscha), 73, 127
Anthology of Chance Operations, An (Maciunas), 27, 30, 30 fig. 23
“anti-art,” 35, 193
Antin, Eleanor, 144
ants, 137–41, 140 fig. 105
Appendix . . . ad Armanentarium Chirugicum (Scultet), 54 fig. 41, 55
Artforum: Benglis, 146, 147 fig. 111
Fried, 92
“literalist,” 92
Moore, 48
Muller, 107
Ruscha, 87–92, 90 fig. 67, 91 fig. 68, 95, 100–101, 100 fig. 73
Artist in the Character of Design Listening to the Inspiration of Poetry (Kauffmann), 167–69, 167 fig. 121
artist’s book: feminist project, 180
Karras, 174 fig. 127, 175
King, 180
Mœglin-Delcroix, 91, 96
Nauman, 92
Wittenborn, 101. See also Ruscha, Ed
Art News, 134–35, 134 fig. 100
Arts in Society, 154–57, 156 fig. 115, 195
As Is When (Paolozzi / Prater), 132
Associated Women’s Press, 161
At Home (Raven), 187
“atopia,” 118
Ault, Julie, 83
“autopia,” 123
Aztecs, 48, 57–60
Babycakes with Weights (Ruscha), 114 fig. 85
Baez, Joan, 24, 26 fig. 17
Bande dessinée et figuration narrative, 75
Barnum & Bailey, 49, 51 fig. 35, 51 fig. 36
Barthes, Roland, 78, 116, 193
Bataille, Georges, 128, 141
Bauhaus, 4, 14, 75, 85, 154
Ben, 58, 61
Benglis, Lynda, 144, 146, 147 fig. 111
Bengston, Billy Al, 70 fig. 50, 71, 113–14, 113 fig. 84
Beuys, Joseph, 22, 22 fig. 13, 35, 50
Biddy Mason: Time and Place (Levrant de Bretteville), 187, 188 fig. 139
Big Little Books, 72 fig. 52, 73
Billy Al Bengston, (Ruscha), 113–14, 113 fig. 84
Blum, Irving, 10, 73, 125, 144
Bois, Yve-Alain, 128
Books, Posters, Postcards (Marsh), 179, 179 fig. 131
boxing poster, 89, 89 fig. 66
Brecht, George: Cage, 27
cards, 60–65, 62 fig. 46
Chance- Imagery, 65
Direction, 67 fig. 49
“Eternal Network,” 17
Exit, 65, 65 fig. 48
Fluxus, 13
institute for experimental art, 21
Land Mass Translocation, 17
reading, 40
signs, 65
V TRE, 63
Water Yam, 17–18, 17 fig. 9
word event, 67
Bretteville, Peter de, 107
Bride Stripped Bare by Her Bachelors, Even, The (Duchamp), 138
Bride Stripped Bare by Her Bachelors Even: A Typographic Version by Richard Hamilton of Marcel Duchamp’s Green Box, The (Hamilton), 135, 136 fig. 101
Bright, Betty, 91
Broadsheet for the formation of the Women’s Graphic Center (Levrant de Bretteville), 11
Brown, Jean, 14, 17
Bryant, Anita, 171
Bubar, Janet, 177–79, 178 fig. 130
Burning Small Fires (Nauman), 92, 92 fig. 69, 95
Burns, Aaron, 38, 40
“Business and Professional Problems of Women Artists” (Wayne), 153
business cards: Bengston, 70 fig. 50, 71
Maciunas, 10, 10 fig. 5, 37
Ruscha, 70 fig. 50, 71, 113
Cage, John, 27, 42, 42 fig. 29
California Institute for the Arts (CalArts), 153–57, 156 fig. 115
cards, 60–64, 62 fig. 46, 64 fig. 47
Carnase, Tom, 38 fig. 26, 40, 40 fig. 27, 41 fig. 28
Carp with Fly (Ruscha), 119, 128
Carrington, Leonora, 169
“carscape,” 123
Cassandre, 34
Cassatt, Mary, 169, 173
CBS eye, 4 fig. 2, 5
cc V TRE, 49, 49 fig. 33, 57, 57 fig. 44, 58 fig. 44, 63–65
Chance-Imagery (Brecht), 65
Cheese Mold Standard with Olive (Ruscha), 122, 122 fig. 88
Chernyshevsky, Nikolai, 35
Chicago, Judy: boxing, 144
California Institute for the Arts, 153
Dinner Party, 173
educational program, 153
Feminist Studio Workshop, 161 fig. 118
Fresno State College, 153
L.A. Look, 150
Levrant de Bretteville, 157
Womanhouse, 159
The Woman’s Building—Chicago 1893 & The Woman’s Building—Los Angeles 1973, 174 fig. 127
Woman’s Building in Los Angeles, 10, 150
Woman’s Building of Chicago, 173
Womanspace, 160
Women’s Design Program at CalArts, 157, 159
Chocolate Grinder (Duchamp), 138, 138 fig. 103
Chocolate Room (Ruscha), 137–41, 137 fig. 102
Chouinard Art Institute, 154, 159. See also Orb
Christin, Anne-Marie, 128, 193
Chrysalis: A Magazine of Women’s Culture, 184–86, 184 fig. 136, 185 fig. 137, 186 fig. 138
Lesbian Art Project, 171 fig. 125
Nugent, 165
Of Woman Born, 169
Rich, 169
Church (Ruscha), 132
Chwast, Seymour, 24, 26 figs. 1719, 37
City of Quartz (Davis), 123
clysters, 55
“codex form,” 73, 99, 101–3
Cold War, 5, 87
Colored People (Ruscha), 99, 116
Conceptual Art, 55, 96, 143
concretism, 17, 27, 34–35
Crackers (Ruscha), 144
“Creative Act, The” (Duchamp), 135
“culture circles,” 157
Cummings, Edward Estlin, 84–87
Cunningham, Merce, 42
Dada, 10, 18, 35, 37, 53
Daly, Mary, 185–86, 185 fig. 137
Damn Everything but the Circus (Kent), 83, 83 fig. 61
Danziger, Louis, 83, 94, 151 fig. 112
Dark & Bloody Ground (King), 182, 182 fig. 134
Davis, Mike, 123, 151
Debord, Guy, 113
Deck (Brecht), 61–63, 62 fig. 46, 64 fig. 47
Deck of Cards, 61
Decoll/age, no. 1 (Vostell), 20 fig. 11, 21, 34
“degree zero,” 78, 116
Demetrakas, Johanna, 153
Derrida, Jacques, 48, 60, 118
diazo process, 167, 182
Dinner Party (Chicago), 173
Direction (Brecht), 65–67, 67 fig. 49
documenta 5 (Ruscha), 139–44, 140 fig. 105, 141 fig. 106, 142 fig. 107
Domestic Tranquility series (Ruscha), 95
Dorfsman, Lou, 21, 37, 40, 40 fig. 27, 41 fig. 28, 193
“drifting habitation,” 118
Duchamp, Marcel, 61, 121, 135, 138, 138 fig. 103
Dylan, Bob, 24, 26 fig. 17
Eleven Color Photographs (Nauman), 92, 94 fig. 70
Elliot, Marguerite, 175 fig. 128
Émigré, 116
English Drama (Ruscha), 132
Entrance to Exit, 65
Erscheinungsbild, 21
ETC. ETC. (Ruscha), 91–92, 91 fig. 68
“Eternal Network,” 17
Every Building on the Sunset Strip (Ruscha), 103–10, 103 fig. 75, 104 fig. 76
Everywoman (Levrant de Bretteville), 152–53, 152 fig. 113
EXCUSE ME, I DIDN’T MEAN TO INTERRUPT (Ruscha), 121, 121 fig. 87
Exit (Brecht), 65, 65 fig. 48
extra muros, 187
Eye (Ruscha), 119, 126 fig. 93, 127–28, 127 fig. 94
eyebolt, 165–69, 186, 186 fig. 138
Face Anatomy Mask (Maciunas), 60, 60 fig. 45
Feminine Mystique, The (Friedman), 150
feminism: and arts, 193–94
education, 153
“feminist culture,” 10
“feminist politics,” 151
“feminist wave,” 207n2
gender studies, 8
modernism, 150
second wave, 150, 163
separatist, 151
Feminist Studio Workshop, 161, 162 fig. 118, 169, 171, 187, 193
Ferus Gallery, 73–74, 87, 119, 123, 144
Filliou, Robert, 17, 45 fig. 32, 61, 63
Fillmore Auditorium concert, poster for (Wilson), 131, 131 fig. 98
Fine Print, 180, 180 fig. 133
Finish Fetish, 94–95, 150, 207n4
Fisher, Alfred Young, 195
Fitzgerald, F. Scott, 75–77
Five Girlfriends, 1955 (Ruscha), 141–44, 142 fig. 107, 143 fig. 108
Five 1965 Girlfriends (Ruscha), 143
Flexible History of Fluxus Facts & Fictions, A (Williams), 58
flies, 99, 119, 126–28, 141
Fluxus: Beats, 35
Cage, 27
cartography, 17
constants of, 39
correspondences of, 34–35
Dada, 37
dematerialized art, 55
ego, 35
excremental humor, 53
fantasy, 35
film, 65
first appearance, 29
Flux Shop & Mail Order House, 48
“Fluxus,” 18, 29
“Fluxus iconography,” 48
Formis, 58
graphic design, 22
historiography of, 60
King, 180
Letraset, 36
manicule, 53
“offshoring,” 21
pharmakon, 48
phenomenology of reading, 42
postal system, 17
structure of, 50
translocation, 59
utopian and communitarian project, 45
word event, 65–67
“Yam,” 18
Zen Buddhism, 18. See also Brecht, George and Maciunas, George
Flynt, Henry, 36, 59
Fondation du Doute, 58
Formis, Barbara, 58
Freire, Paulo, 157
French Fries (Lehrer), 116
Freud, Sigmund, 44
Friedman, Betty, 150
Friedman, Mildred, 7, 187
Fronzoni, Angiolo Giuseppe, 45
Funk, Joe, 119, 131
Futurists, 113
Gamble House, 137
Game Without Rules, 63
gap event, 63–66
Gastrotypographicalassemblage (Dorfsman, Lubalin, Carnase), 40, 40 fig. 27, 41 fig. 28
Gaulke, Cheri, 187
Gentileschi, Artemisia, 169
Georgia (King), 182–84, 182 fig. 135
German (Ruscha), 132
Ghost in the Underblows, The (Lustig), 195
Ginza Haccho (Suzuki), 105
Glaser, Milton, 27, 37
Godard, Keith, 107, 107 fig. 77
Golden, William, 4 fig. 2, 5
Goldsmith Press, 179
Good Design movement, 4, 37, 78
graphic design, 1, 3–11, 193, 198n23
Graphic Design in America: A Visual Language History, 7, 187
Graphics exhibition (Ruscha), 8–9, 9 fig. 4
Gray, Eileen, 169
Gray, Harold, 72 fig. 52, 73–75
Greenberg, Clement, 91, 128
grid, 139, 161, 163–67
Grimstad, Kirsten, 184
Grosman, Tatyana, 119
Grotesque Face Mask (Maciunas), 60
Growing Up (King), 180, 180 fig. 133
Guerrilla Girls, 151
“gunpowder drawings,” 125–26
Gutenberg, 40, 132
Gyn/Ecology: The Metaethics of Radical Feminism (Daly), 185–86, 185 fig. 137
Halverson, Janet, 87, 87 fig. 64
Hamilton, Richard, 135, 136 fig. 101
“haptic modernism,” 157
Hard Light (Ruscha / Weiner), 144–46, 145 fig. 109
Hayden, Dolores, 187
Hayden, Sophia, 173
Hepworth, Barbara, 160
“herstory,” 169–73
Higgins, Dick, 18, 21, 27, 34, 35, 45 fig. 32
History of Graphic Design, A (Meggs), 7
History of Technology, 50
Hockney, David, 132
Hollywood (Ruscha), 119, 121, 122, 123 fig. 89
Hopps, Walter, 89–91, 144
“How to Derive the Maximum Enjoyment from Crackers” (Williams), 144
Human Use of Human Beings, The (Wiener), 141
“hydrokinetic-osmotic” technique, 30
IBM, 13, 14 fig. 7, 36, 185
Ichiyanagi, Toshi, 27, 45 fig. 32
Icographic, 161, 163
I Just Can’t Bear to Look (Ruscha), 6 fig. 3
immagine coordinata, 21
Indiana, Robert, 193
“Information Man, The” (Ruscha), 96–101
Inspired Typography (Lubalin), 38 fig. 25
Instrumenta Antiqua, 27, 29, 29 fig. 21
International Typeface Corporation, 38
Irregular Bulletin of the Immaculate Heart College (Kent), 83, 85
Irving Blum Gallery, 10, 125
Iskin, Ruth, 169, 173, 184
Izenour, Steven, 105, 123
Jean Brown archives, 14, 17
“Joan of Art,” 153
John Lennon Mask (Maciunas), 60
Johnson, Ray, 45 fig. 32, 63–65
Kaprow, Allan, 21, 27, 40, 45 fig. 32, 50, 154
Kauffmann, Angelica, 167, 169
Kent, Corita, 83, 83 fig. 61
Kepes, Gyorgy, 4, 5
Kienholz, Ed, 144
King, Susan E., 175 fig. 128, 180–84, 180 figs. 13233, 182 figs. 13435
Kingston, Maxine Hong, 182
Knowles, Alison, 18, 27, 45 fig. 32
Konzeption-Conception, 141–43, 143 fig. 108
Krauss, Rosalind, 128
Kubler, George, 58–59
LAAIR (Nauman), 95
labrys, 186
Lacy, Suzanne, 175 fig. 128
“L.A. Look,” 150, 207n4
Land Mass Translocation (Brecht), 17
Laughlin, James, 110, 205n30
Learning from Las Vegas (Scott Brown / Venturi), 105–7
Lennon, John, 24, 25 fig. 16, 60
Lesbian Art Project, 171, 171 fig. 125
“lesbian continuum,” 169–73
Letraset, 13, 36–37, 42
Letter Portfolio (King), 180
Letter to Jean Brown (Maciunas), 14 fig. 7
Levrant de Bretteville, Sheila, 193
admissions bulletin, 159
background of, 154
CalArts, 154, 157, 158 fig. 116
“central core,” 160
Communication Design Program, 187
diazo, 167
eyebolt, 165–67, 166 fig. 120, 186, 186 fig. 138
feminism, 10–11
feminist design, 160–63, 167
Feminist Studio Workshop, 161–63, 162 fig. 118
grid, 163–65
Icographic, 163
Italy, 154
“lesbian continuum,” 169–73
Marsh, 179
Olivetti, 154
Otis Art Institute, 187
pink, 163
The Power of Place, 187
Programma 101, 154, 155 fig. 114
quilt, 163
Rand, 187
Supersurface, 167
Womanhouse, 153
woman-identification, 169
Woman’s Building, 10–11, 150, 168 fig. 123
Women’s Design Program, 157
Writing a Story, Becoming Part of History, 173–76
Levrant de Bretteville, Sheila, works by: Arts in Society, 154–57, 156 fig. 115, 195
Biddy Mason: Time and Place, 187, 188 fig. 139
Broadsheet for the formation of the Women’s Graphic Center, 11
“California Institute of the Arts: Prologue to a Community,” 154–57, 156 fig. 115
Chrysalis: A Magazine of Women’s Culture, 184–86, 184 fig. 136
Everywoman, 152 fig. 113, 153
Programma 101 ad, 155 fig. 114
“A Reexamination of Some Aspects of the Design Arts from the Perspective of a Woman Designer,” 163–65
“Some Aspects of Design Arts from the Perspective of a Woman Designer,” 163
“Taste and Style Just Aren’t Enough” posters, 157, 158 fig. 116
“What Is Feminist Art?” 169, 170 fig. 124
Woman’s Building, poster for, 160–61, 161 fig. 117, 168 fig. 122, 169
Women and the Printing Arts exhibition, 177, 177 fig. 129
Women and the Printing Arts: A Catalog, 177–79, 178 fig. 130
Women in Design: The Next Decade, 165–67, 166 fig. 120
libro imbullonato, 113
Lifson, Ben, 154
Lil’ Orphan Annie (Bell), 74
Lincoln, Mary Todd, 182
Lippard, Lucy, 91, 92, 163, 169, 180
LIQUIDS (Ruscha), 128–32, 129 fig. 96
“literalist,” 92
lithography, 95, 118–24, 131, 153
Little Annie Fanny (Kurtzman / Elder), 75
Little Orphan Annie (Gray), 73–75
Little Orphan Annie in the Movies (Gray), 72 fig. 52, 73
Logos (Lubalin), 38 fig. 26
L’optique modern, 18
Lorde, Audre, 160, 185
Los Angeles Council of Women Artists, 151
Los Angeles County Museum on Fire, The (Ruscha), 125, 125 fig. 92, 206n17
Los Angeles Institute of Contemporary Art Journal, 99
Lowe, Bia, 171–73, 171 fig. 125, 173 fig. 126
Lubalin, Herb, 25 fig. 15, 36–42, 38 fig. 25, 38 fig. 26, 40 fig. 27, 41 fig. 28
Lunacharsky, Anatoly, 34, 35
Lustig, Alvin, 3–5, 37, 110, 111 figs. 8081, 83, 112 figs. 8283, 205n30
Maberry, Sue, 187
Maciunas, George, 192–93
AG Gallery, 27, 30, 33, 33 fig. 24
“anti-artistic” project, 193
Aztec logo, 55–60
Beuys, 22
“branding,” 21–26
Cage, 42–44
cards, 60–65
community, 45
“concretism,” 27
“concretist realism,” 34, 35
de- Europeanization, 59
Erscheinungsbild, 21–26
excremental humor, 53
fantasy, 35
fecal matter, 201n11
floating signifier, 60
functionalism, 14–17
games, 61
Higgins, 34
History of Technology, 50
“hydrokinetic-osmotic” technique, 30
IBM typewriter, 36
“intermedia,” 35
Jean Brown Archive Shaker Seed House, 14, 14 fig. 7
Latin, 29
Leokadija, 44
Letraset, 36
Lubalin, 34, 37–40
Lunacharsky, 35
manifesto, 53
Mann, 193
Marxism, 34–36
masks, 59–60
neo-avant-garde, 10
paidia, 61
pharmakon, 48
Photostat, 37
Picture Collection of the New York Public Library, 48
PMT, 37
postage stamp, 17
posters, 49–55
proper names, 42–47
quack, 48–55
Salcius, 27
Soviet culture, 34
stationery, 17
technology, 36–37
training, 27–30
typogram, 42
typography, 34, 36–38
US Air Force, 33
Victorian, 48–55
Vietnam War, 24, 24 fig. 14
Vostell, 34
Maciunas, George, works by: An Anthology of Chance Operations, 27, 30, 30 fig. 23
Brecht’s Deck, 61–63, 62 fig. 46, 64 fig. 47
Business card, 10 fig. 5
cc V TRE, 49, 49 fig. 33, 57 fig. 44, 63
Communists Must Give Revolutionary Leadership in Culture, 36
Die Flux-Messe von George Maciunas, 58
Face Anatomy Mask, 60, 60 fig. 45
Festum Fluxorum, 22, 22 fig. 12
flag poster, 24, 199n12 (Chap. 1)
“flux,” 22, 53
Fluxfest Presents: 12! Big Names!, 50, 51 fig. 37
Flux-Harpsichord, poster for, 54 fig. 40, 55
Flux-Mass, Flux-Sports, Flux-Show, 53–55, 53 fig. 39
FluxOrchestra at Carnegie Recital Hall, poster for, 56 fig. 42
Fluxus Editions, 1 6 fig. 8
Fluxus Internationale Festspiele Neuester Musik, 18, 18 fig. 10
Fluxus Manifesto, 22
Fluxus Name Cards, 43 fig. 30, 44–45, 45 fig. 32
Fluxus 1, 43
Fluxus Vaudeville TouRnamEnt, 57 fig. 44
Game Without Rules, 63
Grotesque Face Mask, 60
Instrumenta Antiqua, 27, 29, 29 fig. 21
John Lennon Mask, 60
Musica Antiqua et Nova, 27–30, 28 fig. 20
Perpetual Fluxfest, 49, 49 fig. 33
Perpetual Fluxus Festival, 52 fig. 38, 53
Same Card Flux Deck, 61
Ubi Fluxus ibi motus, 58
Untitled (For Leokadija Maciunas), 44 fig. 31
USA Surpasses All the Genocide Records!, 24, 24 fig. 14, 25 fig. 16
Water Yam, 17–21
Yoko Ono Mask, 60. See also Fluxus
Mac Low, Jackson, 27, 42, 45 fig. 32
manicule, 50–53
Manifesto (Beuys), 22, 22 fig. 13
Mann, Thomas, 193
Marsh, Cynthia (Cindy), 11 fig. 6, 177, 179–80, 179 fig. 131
Mason, Biddy, 187, 188 fig. 139
Mayan Revival, 195
McCracken, John, 94–95, 94 fig. 71
McLuhan, Marshall, 107
Mead, Taylor, 67
Meggs’ History of Graphic Design (Meggs), 7
Mekas, Jonas, 45 fig. 32, 50
Mémoires (Jorn), 113
mesostic, 42
Metallized Knots (Benglis), 146, 146 fig. 111
Metzger, Deena, 169, 170 fig. 124
MICR E 13–B font, 124, 124 fig. 91
Milant, Jean, 119, 121
“mimesis of amateurism,” 91
Miracle (Ruscha), 144
Mitchell, Juliet, 157
Mitchell, W. J. T., 5
Mocha Standard (Ruscha), 122
Modern Woman (Cassatt), 173
Mœglin-Delcroix, Anne, 91, 92, 96, 117
Mogul, Susan, 146, 146 fig. 110
Mogul Is Mobil (Mogul), 146, 146 fig. 110
Moholy-Nagy, Laszlo, 4, 89
MoMA, 5, 77, 77 figs. 5657, 85, 101, 167
Monk, Jonathan, 92, 101, 204n11
Monotype Imaging, 107
Moonlight on the Bay at Basswood (Duchamp), 138
Moore, Barbara, 45 fig. 32, 48, 55
Morisot, Berthe, 169
“motorized photos,” 105–10
Mr. Fluxus, 27
Museum of Drawers (Distel), 141
Museum of Modern Art. See MoMA
Musica Antiqua et Nova (Maciunas), 27–30, 28 fig. 20
My Lai massacre, 137
Mylar, 105, 107, 107 fig. 77
“Natalie Barney Collective,” 171
Nauman, Bruce, 92–95, 92 fig. 69, 94 fig. 70, 101, 143
“Neo-Dada,” 18, 35
“neuter,” 116, 146
“neutral,” 116–17
New Directions, 100, 110
New Painting of Common Objects, poster for (Ruscha), 89–91, 89 fig. 65
News, Mews, Pews, Brews, Stews & Dues (Ruscha), 132, 132 fig. 99, 135
New Woman’s Survival Catalog, The (Grimstad / Rennie), 184
New Woman’s Survival Sourcebook, The (Grimstad / Rennie), 184
Nihilism, 35
Nin, Anaïs, 176, 184
Nine Swimming Pools (Ruscha), 114, 114 fig. 85, 116, 143
1984 (Ruscha), 123–26, 124 fig. 90
95 Poems (Cummings), 84, 87 fig. 64
No More War! (Lubalin), 25 fig. 15
Nugent, Barbara, 165
O’Keeffe, Georgia, 160, 169, 182
Oblomovery, 35, 199n5
Obvious Deck, The (Filliou), 61
Of Woman Born (Rich), 169
Ollin, 59
On Its Way (Ruscha), 95
Ono, Yoko: Cox, 37
“events,” 18
Fluxus Name Cards, 45, 45 fig. 32
Maciunas, 34, 36, 60
USA Surpasses All the Genocide Records!, 24, 25 fig. 16
OOF (Ruscha), 76 fig. 55, 77, 77 figs. 5657
OOO (Ruscha), 77–78, 79 fig. 58, 119
Oral Herstory of Lesbianism, An, 171–73, 173 fig. 126
Orb (Ruscha), 77–87, 81 fig. 59, 82 fig. 60, 84 fig. 62, 86 fig. 63
Orwell, George, 125–27
Pacific Coast Highway (Ruscha), 108 fig. 78, 109
paidia, 61
Palmer, Bertha Honoré, 173
palm trees, 109, 167, 194
Paradise Press, 180–82
Pasadena Art Museum, 89, 135
Passport (King), 180
Pedagogy of the Oppressed (Freire), 157
Peel, J. W., 50 fig. 34
Perspecta: The Yale Architectural Journal, 107, 107 fig. 77
Pet Sounds (Beach Boys), 73
pharmakon, 48, 200n4
Phillpot, Clive, 36, 91, 96
Photo Mask of George Maciunas (Moore), 60
photomechanical transfer (PMT), 37
Photostat, 13, 30, 36, 37
Phranc, 168 fig. 122, 169
Picabia, Francis, 138, 139 fig. 104
“pictorial turn,” 5
Piedra de los soles, 57–59, 57 fig. 43
Piedra de sol (Paz), 59
pink, 163–65, 175
Pink (Levrant de Bretteville), 163, 164 fig. 119
Plagens, Peter, 123, 146
Plantin Press, 80–83
Playing Cards (Watts), 61
“Plug It In, Rameses, and See If It Lights Up, Because We Aren’t Going to Keep It Unless It Works” (Moore), 107
PMT, 37
Pop Art, 1
Annie, 73
artist’s book, 96
Davis, 123
first exhibition, 89
graphic design, 193
Kent, 83
Konzeption-Conception, 143
Lippard, 92
Marsh, 179
Mead, 67
Tamarind, 119
Warhol, 67
Poster for A Grand Gala at the Vauxhall Gardens (Peel), 50 fig. 34
postmodernism, 8, 101, 107
Power of Place, The, 187
Poynor, Rick, 8
Praetorius, Michael, 29, 30 fig. 22
pragmatism, 4, 55
Premium (Ruscha), 144
“printing fist,” 50–53
Programma 101, 154
Project Argus (Moore), 107
Proposition 6, 171
Protest Against the Rising Tide of Conformity (Chwast), 24, 26 figs. 1718
Push Pin Studio, 37
quilt, 163
Rake’s Progress, A (Hockney), 132
Rand, Paul: AIGA, 3–5, 37, 110, 154, 187
Rare Type Collection, 179
Raven, Arlene, 168 fig. 123
At Home, 187
Chrysalis, 184
Feminist Studio Workshop, 161
Karras, 175
Kauffman, 169
Lesbian Art Project (LAP), 171
“What Is Feminist Art?” 169
Woman’s Building, 10, 150
Woman’s Building of 1893 exhibition, 173
Real Estate Opportunities (Ruscha), 114, 114 fig. 85
Rebis Press, 180
Red Plank (McCracken), 94, 94 fig. 71
“Reexamination of Some Aspects of the Design Arts from the Perspective of a Woman Designer, A” (Levrant de Bretteville), 163–65
ReFlux Editions, 48
“reformists,” 4
Rennie, Susan, 184
Report on the Art and Technology Program of the Los Angeles County Museum of Art, A, 151, 151 fig. 112
Requiem (Stevenson), 80
ribbon words, 119, 123
Rich, Adrienne, 169, 171, 185
Richter, Gerhard, 142 fig. 107, 144
Riddle, James, 45 fig. 32, 61
Rodeo (Ruscha), 119, 127–28, 127 fig. 94
Rotaprint press, 179
Roth, Dieter, 44, 45 fig. 32
Ruscha, Ed, 193
activism, 123–27
Alecto Editions, 132
ants, 139
Artforum, 87–92
artist’s books, 101–17
“atopia,” 118
Bauhaus, 75, 85
Bright, 91
Blackletter, 132
Boy Scout Utility Modern, 130
cannabis, 141
“cartooning,” 77
childhood, 77
Chouinard, 78
city users, 70
codex form, 101–3
comic strips, 73–75, 77
communication between worlds, 127
Cooper Black, 74, 74 fig. 54
Cummings, 84–87
Daumier exhibition, 80
Debord, 113
Degas exhibition, 80
Depero, 113
documenta, 139–44, 140 fig. 105, 141 fig. 106, 142 fig. 107
“drifting habitation,” 118
Duchamp, 61, 89, 121, 135, 137, 138 fig. 103, 138
feminist movement, 144–46
Ferus Gallery, 144
film, 144
first exhibition, 71
flies, 119, 126–28
floating objects, 119
Futura typeface, 130
Futurists, 113
graphic design, relationship to, 70–71
Graphics exhibition, 8–9
Gunpowder Drawings exhibition, 125
Haywood, 132
historicity, 122
Hollywood signs, 119
Hossler, 116
“The Information Man,” 96–101
Iolas Gallery, 125
Irving Blum Gallery, 125
Jorn, 113
liquid words, 8, 119, 127–32
lithography, 118–21
Los Angeles artist, 122–23
Lustig, 110, 111 figs. 8081, 112 figs. 8283
Marks, 75
“motorized photos,” 105
name, 87–89
Nauman, 92–95
Neue Galerie, 141
oeuvre, 70
Plantin Press, 80–83
ribbon words, 119
as Eddie Russia, 87–91
semiophors, 96–101
silkscreen, 121–22, 132–39
Stymie, 128
“supercontextual writing,” 123
Tamarind Lithographic Workshop, 119–21
Textura, 132
“transcendent Pop,” 123
VanderLans, 116
Venice Biennale, 135
Vietnam War, 137
violence, 123–27
wedding announcement, 87
West, 130–31, 130 fig. 97
Williams, 144
Wittenborn, 101
words, 70, 77, 122, 123, 127, 130
Ruscha, Ed, work by: Adios, 119
Air, 119
American Tool Supply, 2 fig. 1
Anchovy, 119
Annie, 73–75, 73 fig. 53, 119
Annie, Poured from Maple Syrup, 73, 127
Art News, 134–35, 134 fig. 100
Babycakes with Weights, 114 fig. 85
Billy Al Bengston, catalog for, 113–14, 113 fig. 84
Boiling Blood, Fly, 119
Business Cards (Ruscha / Bengston), 113
Carp, 119
Carp with Fly, 119
Cheese Mold Standard with Olive, 122, 122 fig. 88
Chocolate Room, 137–41, 137 fig. 102
Church, 132
City, 119
Colored People, 99, 116
Crackers, 144
Domestic Tranquility series, 95
Edward Ruscha (Ed-werd Rew-shay) Young Artist, 71, 71 fig. 51
English Drama, 132
ETC. ETC., cover of Artforum, 91–92, 91 fig. 68
Every Building on the Sunset Strip, 103–5, 103 fig. 75, 104 fig. 76, 107, 109
EXCUSE ME, I DIDN’T MEAN TO INTERRUPT, 121, 121 fig. 87
Eye, 119, 126 fig. 93, 127–28, 127 fig. 94
Five Girlfriends, 1955, 14144, 142 fig. 107, 143 fig. 108
Five 1965 Girlfriends, 143
German, 132
Hard Light, 144–46, 145 fig. 109
Hey, 119
Hollywood, 119, 121, 122, 123 fig. 89
Hollywood in the Rain, 119
Hollywood with Observatory, 119
I Just Can’t Bear to Look, 6 fig. 3
LIQUIDS, 128–30, 129 fig. 96
Long Hollywood, 119
The Los Angeles County Museum of Fire, 125, 125 fig. 92, 206n17
Marble, Olive, 119
Mint, 119
Miracle, 144
Mocha Standard, 122
New Painting of Common Objects, poster for, 89–91, 89 fig. 65
News, Mews, Pews, Brews, Stews & Dues, 132, 132 fig. 99, 135
Nine Swimming Pools, 114, 114 fig. 85
1984, 123–26, 124 fig. 90
Olive, Screw, 119
On Its Way, 95
OOO, 77–78, 79 fig. 58, 119
Pacific Coast Highway, 108 fig. 78, 109
Perspecta, 107
Pop Art, 10, 92
Premium, 144
Real Estate Opportunities, 114, 114 fig. 85
Rodeo, 119, 127–28, 127 fig. 94
Some Los Angeles Apartments, 101, 114, 114 fig. 85
SPREAD, 141, 141 fig. 106
Stains, 132
A Standard Station: At Various Times of Day, 103, 121–22
Studio International, 135
Surrealism Soaped and Scrubbed, 90 fig. 67, 91, 95, 135
Sweet and Sour, cover of Art News, 134 fig. 100, 135
THEN & NOW, 109–10, 109 fig. 79
Thirtyfour Parking Lots, 105, 114, 114 fig. 85
Various Small Books, 117
Various Small Fires and Milk, 87, 101–3, 102 fig. 74, 114, 114 fig. 85
West, 130–31, 130 fig. 97
Zoo, 119. See also Twentysix Gasoline Stations
Russia, Eddie, 87–91
Salcius, Almus, AG Gallery, 27, 30
Same Card Flux Deck (Maciunas), 61
satori, 18
Schapiro, Miriam, 150–60
Schmit, Tomas, 35, 45 fig. 32
Schrank, Sarah, 78
Schwartz, Alexandra, 144
Scotford, Martha, 7–8
Scott Brown, Denise, 105, 107, 123
Scultet, Jean, 54 fig. 41, 55
semiophor, 100–103, 204n6
separatism, 171
“sex wars,” 186
Shape of Time, The (Kubler), 59
Sin (Ruscha), 119, 120 fig. 86
Single Wing Turquoise Bird, 131
Sisterhood (bookstore), 161
Situationists, 113
62 Mesostics Re Merce Cunningham (Cage), 42, 42 fig. 29
Small Fires Burning (After Ed Ruscha After Bruce Nauman After) (Monk), 92
snakeskin, 63
“Some Aspects of Design Arts from the Perspective of a Woman Designer” (Levrant de Bretteville), 163
Some Los Angeles Apartments (Ruscha), 101, 114, 114 fig. 85
Something Else Press, 21
“split fount,” 122
SPREAD (Ruscha), 141, 141 fig. 106
Stains (Ruscha), 132, 139
Standard Station: At Various Times of Day, A (Ruscha), 103, 121–22
Stevenson, Robert Louis, 80
Store, The, 45
Story of Moondog, The (Warhol), 81
Studio International, 135
Suess, Penelope, 177–79, 178 fig. 130
Sunshine Muse (Plagens), 146
“supercontextual writing,” 123
Superstudio, 167 Supersurface, 167
Surrealism, 91
Surrealism Soaped and Scrubbed (Ruscha), 90 fig. 67, 91, 95, 135
Suzuki, Yoshikazu, 105
Sweet and Sour (Ruscha), 134 fig. 100, 135
Syntagma Musicum (Praetorius), 29, 30 fig. 22
Tamarind, 95, 119, 121, 127
“Taste and Style Just Aren’t Enough” posters (Levrant de Bretteville), 157–59, 158 fig. 116
telephone, 89
THEN & NOW (Ruscha), 109–10, 109 fig. 79
Thirtyfour Parking Lots (Ruscha), 105, 114, 114 fig. 85, 143
Thoughts on Design (Rand), 4
Tot, Endre, 45, 45 fig. 32
“transcendent Pop,” 123
Tschichold, Jan, 2
Twentysix Gasoline Stations (Ruscha), 96, 97 fig. 72
advertisement for, 100–101
Barthes, 116
Betty Bright, 91
cover, 114, 114 fig. 85
Leider’s review of, 89
price of, 101
typesetting, 114
Wittenborn, 101
typefaces: Arrighi, 180
Blackletter, 134
Boy Scout Utility Modern, 130
Cooper Black (“Black Menace”), 74–75, 74 fig. 54
“Fraktur,” 132
Frutiger, 107, 128
Futura, 91, 121, 130
Goudy, 3
Kabel, 175, 175 fig. 128
Litho Antique, 114
“Old English,” 132, 134
Palatino, 182
Rockwell, 114
Stymie, 114, 128
Textura, 132
Twentieth Century, 180
Univers, 128
typogram, 37, 42, 44
typography: AIGA, 3
An Anthology, 30
Biddy Mason: Time and Place, 187
Bayer, 85
Brecht, 18, 21
Cage 42
Dada, 37
cc V TRE, 49
Fluxus, 35
Fluxus Name Cards, 44–45
Gastrotypographicalassemblage, 40, 40 fig. 27, 41 fig. 28
Ghost in the Underblows, The (Fisher), 195
Goldsmith Press and Rare Type Collection, 179
graphic design, 1
Hamilton, 135
IBM Executive, 36
Irving Blum Gallery, 10
ITC, 38
Letraset, 36
Levrant de Bretteville, 187
liquid words, 119, 128–32
Lubalin, 38, 40
Lustig, 195
Maciunas, 30, 35–37, 44, 45, 49
Marsh, 179
Musica Antiqua et Nova, 30
Perpetual Fluxfest (ad in cc V TRE), 49, 49 fig. 33
Plantin Press, 80
Ruscha, 80, 91, 114, 119, 128–32
Simon, 85
typogram, 37
“Victorian style,” 49
Water Yam, 18
Womanhouse, 153
Typomundus competition, 37
Tzara, Tristan, 18
U&lc (Upper & lower case) (Lubalin), 38
Ubi Fluxus ibi motus (Maciunas), 58
Untitled (For Leokadija Maciunas) (Maciunas), 44 fig. 31
USA Surpasses All the Genocide Records! (Maciunas), 24, 24 fig. 14, 25 fig. 16
Various Small Books, 117
Various Small Fires and Milk (Ruscha), 87, 101–3, 102 fig. 74, 114, 114 fig. 85
Vautier, Ben, 45 fig. 32, 58
Venice Biennale, 135, 137
Venturi, Robert, 105, 107, 123
Venus symbol, 167
Very Rare Picture on the Earth (Picabia), 138, 139 fig. 104
Vietnam War, 24, 137, 139
Visible Language, 8
“vitality,” 4–5
Vostell, Wolf, 20 fig. 11, 21, 34, 35
V TRE, 63
Ward, Beatrice, 80, 85
Warhol, Andy, 50, 67, 81, 92, 144
War Is Good Business: Invest Your Son (Chwast), 24, 26 fig. 19
Water Yam (Brecht), 17–21
Watts, Robert, 17, 18, 21, 40, 45 fig. 32, 61
Watts riots, 61, 113, 126, 150
Waxing Hot (Nauman), 92–94, 94 fig. 70
Wayne, June, 118–19, 153
Weiner, Lawrence, Hard Light, 144–46, 145 fig. 109
West (Ruscha), 130–31, 130 fig. 97
“What Is Feminist Art?” (Raven, Lippard, Iskin), 169, 170 fig. 124
“white writing,” 78
Whole Earth Catalog, 179, 184
Wilding, Faith, 153
Williams, Mason, 78, 144
Wilson, Wes, 131, 131 fig. 98
Wittenborn, George, 91, 101
Wittgenstein, Ludwig, 132
Wolverton, Terry, 169, 171, 187
Womanhouse, 146, 153, 159, 160
Woman’s Building, 10–11, 150, 160–63
closure, 187
deconstruction, 186–87
diazo, 167
eyebolt necklaces, 169
Feminist Studio Workshop, 161
fifth anniversary, poster for, 168 fig. 122, 169
French theory, 186–87
historical foundation, 173–76
lesbian continuum, 169–73
“matrimonialization,” 187
An Oral Herstory of Lesbianism, 171–73
pink, 163
poster for, 160–61, 161 fig. 117
separatist feminism, 186
Supersurface, 167
Woman’s Building—Chicago 1893 & The Woman’s Building— Los Angeles 1973, 174 fig. 127, 175
Woman’s Building of Chicago, 173–76
Womanspace, 161
Woman’s Building of 1893, 173
“woman’s experience,” 171
Woman’s Liberation Union, 161
Womanspace, 160–61
Woman Warrior, The (Kingston), 182
Women and the Printing Arts, 177
Women and the Printing Arts: A Catalog, 177, 178 fig. 130
Women in Design: The Next Decade, 165–67, 166 fig. 120, 169
Women’s Design Program, 157, 173
Women’s Graphic Center, 11, 176–80, 182, 184, 187, 193
Women’s Pavilion, 173
“word event,” 60, 63, 65, 67, 70, 85
World Power in the Balance, 110, 112 fig. 83
Writing Degree Zero (Barthes), 116
“Yam,” 18
Yi Jing, 42, 61
Yoko Ono Mask (Maciunas), 60
Young, La Monte, 18, 27, 30 fig. 23, 45 fig. 32
Zen Buddhism, 18, 27
“ZOOM DOOM” (Cummings), 85