In Ed Ruscha’s Petro Plots (2001), the artist takes a selection of major Los Angeles intersections, and integrates the grid into the surface of what appears to be stone. Once again calling upon the distinct Mixografia® technique, the prints take on three-dimensional texture to deceive. The streets are named in a straightforward manner, but the texture of the handmade paper obscures the names from sight. Visually, these minimalist maps are cunning and candid.
“For them, the purpose of their art has been to simply give new perspective to familiar landscapes, to refresh and draw attention to these sites — even their overly familiar urban-scapes. Their art, which is so strong and majestic, rejects any meaning beyond itself. Perhaps, that’s where its power lies and builds upon itself. It’s pure.”