https://exhibits.library.utoronto.ca/files/original/4c651b105e39d4963a3a68379f3212cd.jpg c41a011b3ddf98e3f55e74235c7d47c0 https://exhibits.library.utoronto.ca/files/original/1ad1d1f108bd73d4ef28b1e73b5a3521.jpg 25abd3b853e4bff19080fd67170e3db3 https://exhibits.library.utoronto.ca/files/original/c075aa92d4bbcefacf03932ce46dda60.jpg 37569355a5e8b627e02f84b690c3c9fd https://exhibits.library.utoronto.ca/files/original/dfaf446b28c5346a6f6ff003c5bf740c.jpg a69e66cbd3b92a887a4e2ad90ea12be5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Aspen Magazine, No. 8: The Fluxus Issue Subject The topic of the resource Fluxus (art movement), conceptual art, Intermedia (Art), Artist's periodicals, 1970s avant-garde Description An account of the resource Issue No. 8 of Aspen Magazine, known as the Fluxus Issue, was guest edited by Dan Graham and George Maciunas. It embodies the intermedia aesthetic of Fluxus through conceptual instructions, scores, a vinyl record and printed works. The issue's contents blur the boundaries between magazine, art collection and exhibition, reflecting the Fluxus commitment to merging art and life through participatory and ephemeral forms. Creator An entity primarily responsible for making the resource Edited by Dan Graham and George Maciunas Source A related resource from which the described resource is derived Original issue form the collection of the University of Toronto's Art History Library Publisher An entity responsible for making the resource available Roaring Fork Pres (New York, N.Y.) Date A point or period of time associated with an event in the lifecycle of the resource Fall-Winter 1970-1971 Contributor An entity responsible for making contributions to the resource George Maciunas, David Antin, Terry Atkinson, Michael Baldwin, Phillip Glass, Jackson Mac Low, Richard Sara, Steve Reich, La Monte Yong, Yvonne Rainer, Jo Baer, Dennis Oppenheim, Robert Smithson, Edward, Ruscha Relation A related resource Part of: Aspen Magazine (1965-1971); Related to Fluxus works and works by George Maciunas. Format The file format, physical medium, or dimensions of the resource Multiple media in box format: printed cards, posters, flexi-disc, and other ephemera. Language A language of the resource English Type The nature or genre of the resource Text; Image; Sound; Physical Object Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Temporal: 1965-1971 Spatial: New York, N.Y. Aspen, CO. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Section13: Photo From ThirtyFour Parkinglots Creator An entity primarily responsible for making the resource Ruscha, Edward, 1937- ; Alanis, Art (Photographer) Format The file format, physical medium, or dimensions of the resource Single photographic print/poster; Black and white aerial photograph; Offset lithographic reproduction; Original book format: 25.4 x 20.1 cm (10 x 7 7/8 inches), 48 pages Subject The topic of the resource Artist's books; Conceptual art; Photography--United States--20th century; Pop art; Los Angeles (Calif.)--Pictorial works; Parking lots; Aerial photography; Urban landscape; Vernacular architecture; Seriality in art; Typological photography; Documentary photography; American West; Photographic books Description An account of the resource A single photographic image extracted from Edward Ruscha's seminal artist's book "Thirtyfour Parking Lots in Los Angeles" (1967), presented as Section 13 of this issue. The photograph is an aerial view of a parking lot, captured from above to reveal its geometric patterns, surface details, and abstract formal qualities. For the original book project, Ruscha hired professional aerial photographer Art Alanis to shoot bird's-eye views from a helicopter of thirty-four Los Angeles parking lots, including locations such as Dodger Stadium, Universal City, The May Company, Century City, and Gilmore Drive-In Theatre. All lots were photographed devoid of cars, emphasizing the structures' essential forms, patterns (particularly herringbone configurations), and unexpected visual features like oil droppings on asphalt surfaces revealed by the absence of vehicles. Ruscha's fifth artist's book (first published 1967, edition of 2,413 copies; second edition 1974, 2,000 copies), "Thirtyfour Parking Lots" represented the largest format among his self-published works of the 1960s. The book exemplifies Ruscha's pioneering approach to photography as a medium for communicating information and ideas rather than fine art, what he called "no-style" photography with deadpan documentation of banal suburban structures. His straightforward, conceptual approach influenced later typological photographers including Bernd and Hilla Becher, Stephen Shore, Lewis Baltz, and Taryn Simon. Ruscha's photographic books challenged traditional visions of urban landscape and the accepted dichotomy between documentary and artistic photography. This work is part of his broader practice documenting Los Angeles vernacular architecture and landscape, including gas stations, apartment buildings, swimming pools, and the entirety of Sunset Strip and Hollywood Boulevard. Date A point or period of time associated with an event in the lifecycle of the resource Fall-Winter 1970-1971 Contributor An entity responsible for making contributions to the resource Graham, Dan, 1942-2022 (Issue Editor); Maciunas, George, 1931-1978 (Issue Designer); Johnson, Phyllis, 1926-2001 (Magazine Publisher); Alanis, Art (Aerial photographer for original book project) Relation A related resource Is part of Aspen Magazine No. 8 (Fall-Winter 1970-1971); Excerpt from "Thirtyfour Parking Lots in Los Angeles" (1967); Ruscha born 1937 in Omaha, Nebraska, moved to Los Angeles 1956; Studied at Chouinard Art Institute (now CalArts) 1956-1960 under Robert Irwin and Emerson Woelffer; Associated with Ferus Gallery group and Pop art movement; Influenced Conceptual art and typological photography; Work in collections of MoMA, Whitney Museum, Tate, LACMA, Getty Museum, San Francisco Museum of Modern Art; Major retrospectives at San Francisco MOMA (1982-83), Whitney Museum, Moderna Museet Stockholm, Oxford Museum of Modern Art, Hayward Gallery London, others Language A language of the resource English Type The nature or genre of the resource Photograph; Aerial photography; Artist's book excerpt; Conceptual art documentation; Pop art; Offset lithographic reproduction Publisher An entity responsible for making the resource available Roaring Fork Pres (New York, N.Y.) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant ||||osm Temporal: 1965-1971 Spatial: New York, N.Y. Aspen, CO.