Edward Ruscha
Edward Ruscha | |
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Born | Edward Joseph Ruscha IV December 16, 1937 Omaha, Nebraska,U.S. |
Education | Chouinard Art Institute |
Known for | Painting,photography,printmaking,film,book art |
Notable work |
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Movement | Pop art |
Spouses |
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Awards | Guggenheim Fellowship(1971) |
Edward Joseph Ruscha IV(/ruːˈʃeɪ/,roo-SHAY;born December 16, 1937) is an American artist associated with thepop artmovement. He has worked in the media ofpainting,printmaking,drawing,photography,andfilm.He is also noted for creating severalartist's books.Ruscha lives and works inCulver City, California.[1]
Early life and education
[edit]Ruscha was born into aRoman Catholicfamily inOmaha, Nebraska,with an older sister, Shelby, and a younger brother, Paul. Edward Ruscha, Sr. was an auditor forHartford Insurance Company.Ruscha's mother was supportive of her son's early signs of artistic skill and interests. Young Ruscha was attracted tocartooningand would sustain this interest throughout his adolescent years. Though born inNebraska,Ruscha lived some 15 years inOklahoma Citybefore moving toLos Angelesin 1956 where he studied at theChouinard Art Institute(now known as theCalifornia Institute of the Arts) underRobert IrwinandEmerson Woelfferfrom 1956 through 1960. While at Chouinard, Ruscha edited and produced the journalOrb(1959–60) together with Joe Goode, Emerson Woelffer, Stephan von Huene, Jerry McMillan, and others.[2]As a result,Orbbecame one of the U.S.' first recordedalternative newspapers.[3]
In 1961, Ruscha spent seven months traveling through Europe.[4]After graduation, Ruscha took a job as a layout artist for theCarson-Robertsadvertising agency in Los Angeles.
By the early 1960s he was well known for his paintings,collages,and photographs, and for his association with theFerus Gallerygroup, which also included artists Robert Irwin,John Altoon,John McCracken,Larry Bell,Ken Price,andEdward Kienholz.He worked as layout designer forArtforummagazine under the pseudonym “Eddie Russia” from 1965 to 1969 and taught atUCLAas a visiting professor for printing and drawing in 1969. He is also a lifelong friend of guitaristMason Williams.
Work
[edit]Ruscha achieved recognition for paintings incorporating words and phrases and for his many photographic books, all influenced by the deadpan irreverence of the Pop Art movement. His textual, flat paintings have been linked with both the Pop Art movement and thebeat generation.[5]
Early influences
[edit]While in school in 1957, Ruscha chanced upon then unknownJasper Johns’Target with Four Facesin the magazinePrintand was greatly moved. Ruscha has credited this artist's work as a source of inspiration for his change of interest fromgraphic artstopainting.[citation needed]He was also impacted byJohn McLaughlin's paintings, the work ofH.C. Westermann,Arthur Dove’s 1925 paintingGoin’ Fishin’,Alvin Lustig's cover illustrations forNew Directions Press,and much ofMarcel Duchamp’s work. In a 1961 tour of Europe, Ruscha came upon more works by Johns andRobert Rauschenberg,R. A. Bertelli’sHead ofMussolini,andOpheliabySir John Everett Millais.Some critics are quick to see the influence ofEdward Hopper'sGas(1940) in Ruscha's 1963 oil painting,Standard Station, Amarillo, Texas.[6]In any case, "Art has to be something that makes you scratch your head," Ruscha said.
Southern California
[edit]![](https://upload.wikimedia.org/wikipedia/commons/thumb/e/e7/RuschaGasolineStations.jpg/240px-RuschaGasolineStations.jpg)
Although Ruscha denies this in interviews, the vernacular ofLos AngelesandSouthern Californialandscapes contributes to the themes and styles central to much of Ruscha's paintings, drawings, and books. Examples of this include the publicationEvery Building on the Sunset Strip(1966), a book of continuous photographs of a two and one half mile stretch of the 24 mileboulevard.[7]In 1973, following the model ofEvery Building on the Sunset Strip,he photographed the entire length ofHollywood Boulevardwith a motorized camera.[8]Also, paintings likeStandard Station(1966),Large Trademark(1962), andHollywood(1982) exemplify Ruscha's kinship with the Southern California visual language. Two of these paintings,StandardandLarge Trademarkwere emulated out of car parts in 2008 by Brazilian photographerVik Munizas a commentary on Los Angeles and its car culture.
His work is also strongly influenced by the Hollywood film industry: the mountain in his Mountain Series is a play on theParamount Pictureslogo;[9]Large Trademark with Eight Spotlights(1962) depicts the20th Century Foxlogo,[10]while the dimensions of this work are reminiscent of a movie screen; in his paintingThe End(1991) these two words, which comprised the final shot in all black-and-white films, are surrounded by scratches and streaks reminiscent of damaged celluloid.[11]Also, the proportions of theHollywoodprint seems to mimic theCinemascopescreen (however, to make the word "Hollywood", Ruscha transposed the letters of the sign from their actual location on the slope of theSanta Monica Mountainsto the crest of the ridge).
Ruscha completedLarge Trademark with Eight Spotlightsin 1961, one year after graduating from college. Among his first paintings (SU(1958–1960),Sweetwater(1959)) this is the most widely known, and exemplifies Ruscha's interests in popular culture, word depictions, and commercial graphics that would continue to inform his work throughout his career.Large Trademarkwas quickly followed byStandard Station(1963) andWonder Bread(1962). InNorm’s, La Cienega, on Fire(1964),Burning Gas Station(1965–66), andLos Angeles County Museum of Art on Fire(1965–68), Ruscha brought flames into play.[12]In 1966, Ruscha reproducedStandard Stationin asilkscreenprint using a split-fountain printing technique, introducing a gradation of tone in the background of the print, with variations following in 1969 (Mocha Standard,Cheese Mold Standard with Olive,andDouble Standard).[13]
In 1985, Ruscha begins a series of "City Lights" paintings, where grids of bright spots on dark grounds suggest aerial views of the city at night.[14]More recently, his "Metro Plots" series chart the various routes that transverse the city of Los Angeles by rendering schematized street maps and blow-ups of its neighborhood sections, such as inAlvarado toDoheny(1998).[15]The paintings are grey and vary in their degrees of light and dark, therefore appearing as they were done by pencil in the stippling technique.[16]A 2003 portfolio of prints calledLos Francisco San Angelesshows street intersections from San Francisco and LA juxtaposed one over the other.[17]
Word paintings
[edit]As withAndy WarholandRoy Lichtenstein,his East Coast counterparts, Ruscha's artistic training was rooted in commercial art. His interest in words and typography ultimately provided the primary subject of his paintings, prints and photographs.[18]The very first of Ruscha's word paintings were created as oil paintings on paper in Paris in 1961.[19]He began to isolate monosyllables — ACE, BOSS, HONK, OOF — without additional imagery against solid backgrounds.[20]
Since 1964, Ruscha has been experimenting regularly with painting and drawing words and phrases, often oddly comic and satirical sayings alluding to popular culture and life in LA. When asked where he got his inspiration for his paintings, Ruscha responded, “Well, they just occur to me; sometimes people say them and I write down and then I paint them. Sometimes I use a dictionary.” From 1966 to 1969, Ruscha painted his “liquid word” paintings: Words such asAdios(1967),Steel(1967–9) andDesire(1969) were written as if with liquid spilled, dribbled or sprayed over a flat monochromatic surface. His gunpowder and graphite drawings (made during a period of self-imposed exile from painting from 1967 to 1970)[21]feature single words depicted in a trompe l’oeil technique, as if the words are formed from ribbons of curling paper. Experimenting with humorous sounds and rhyming word plays, Ruscha made a portfolio of seven mixed-media lithographs with the rhyming words,News, Mews, Pews, Brews, Stews, Dues, News(1970).[22]
In the 1970s, Ruscha, withBarbara KrugerandJenny Holzer,among others, began using entire phrases in their works, thereby making it a distinctive characteristic of the post-Pop Art generation.[23]During the mid-1970s, he made a series of drawings in pastel using pithy phrases against a field of color.[24]He also congreagated with artists includingGeorge Condo.[25]In the early 1980s he produced a series of paintings of words over sunsets, night skies and wheat fields. In the photo-realist paintingBrave Men Run In My Family(1988), part of the artist's "Dysfuntional Family" series, Ruscha runs the text over the silhouetted image of a great, listing tall ship; the piece was a collaboration with fellow Los Angeles artist Nancy Reese (she did the painting, he the lettering).[26]In a series of insidious small abstract paintings from 1994 to 1995, words forming threats are rendered as blank widths of contrasting color likeMorse code.[27]Later, words appeared on a photorealist mountain-range series which Ruscha started producing in 1998.[28]For these acrylic-on-canvas works, Ruscha pulled his mountain images either from photographs, commercial logos, or from his imagination.[29]
From 1980, Ruscha started using anall-capstypeface of his own invention named” Boy Scout Utility Modern” in which curved letter forms are squared-off (as in theHollywood Sign)[30]This simple font is radically different from the style he used in works such asHonk(1962).[31]Beginning in the mid-1980s, in many of his paintings black or white ‘blanks’ or ‘censor strips’ are included, to suggest where the ‘missing’ words would have been placed. The ‘blanks’ would also feature in his series of Silhouette, Cityscapes or ‘censored’ word works, often made in bleach on canvas, rayon or linen.[32]
Surrealism
[edit]Paintings likeAngry Because It’s Plaster, Not Milk(1965) andStrange Catch for a Fresh Water Fish(1965) are exemplary works from Ruscha's group of paintings from the mid-1960s that take the strict idea of literal representation into the realm of the absurd. This body of work is characterized by what the artist termed “bouncing objects, floating things,” such as a radically oversized red bird and glass hovering in front of a simple background in the work and have a strong affinity toSurrealism,a recurring theme in the artist's career.[33]The fish plays a prominent role throughout the series and appears in nearly half of the paintings.[34]Another frequent element is Ruscha's continuous depiction of a graphite pencil – broken, splintered, melted, transformed.
Odd media
[edit]In his drawings, prints, and paintings throughout the 1970s, Ruscha experimented with a range of materials includinggunpowder,vinyl,blood,red wine,fruitandvegetable juices,axle grease,chocolate syrup, tomato paste, bolognese sauce, cherry pie, coffee, caviar, daffodils, tulips, raw eggs andgrassstains.[35]Stains,an editioned portfolio of 75 stained sheets of paper produced and published by Ruscha in 1969, bears the traces of a variety of materials and fluids. In the portfolio of screenprintsNews, Mews, Pews, Brews, Stews, Dues(1970), produced at Editions Alecto, London, rhyming words appear in Gothic typeface, printed in edible substances such as pie fillings, bolognese sauce, caviar, and chocolate syrup.[36]Ruscha has also produced his word paintings with food products onmoiréandsilks,since they were more stain-absorbent; paintings likeA Blvd. Called Sunset(1975) were executed in blackberry juice on moiré. However, these most vibrant and varied organic colorings usually dried to a range of muted greys, mustards and browns.[37]His portfolioInsects(1972) consists of six screen prints – three on paper, three on paper-backed wood veneer, each showing a lifelike swarm of a different meticulously detailed species. For the April 1972 cover ofARTnews,he composed anArcimboldo-like photograph that spelled out the magazine's title in a salad of squashed foods. Ruscha'sFruit Metrecal Hollywood(1971) is an example of the artist's use of unusual materials, thissilkscreenof the"Hollywood" signis rendered in apricot and grape jam and the diet drinkMetrecalon paper.[38]
Motifs in light
[edit]Notably different from many of Ruscha's works of the same period, most obviously in its exclusion of text, his series ofMiraclepastel drawings from in the mid-1970s show bright beams of light burst forth from skies with dark clouds. An overall glow is created by the black pastel not being completely opaque, allowing the paper to shine through.[39]In the 1980s, a more subtle motif began to appear, again in a series of drawings, some incorporating dried vegetable pigments: a mysterious patch of light cast by an unseen window that serves as background for phrases such asWONDER SICKNESS(1984) and99% DEVIL, 1% ANGEL(1983). By the 1990s, Ruscha was creating larger paintings of light projected into empty rooms, some with ironic titles such asAn Exhibition of Gasoline Powered Engines(1993).
Commissioned works
[edit]Ruscha's first major public commissions include a monumental mural at theMuseum of Contemporary Art, San Diego(1966) and a seventy-panel, 360-degree work for the Great Hall ofDenver Public Libraryin Colorado (1995). Created as part of a public-art commission,The Back of Hollywood(1976–77) was made from a large sheet of sateen on a billboard and situated opposite theLos Angeles County Museum of Art,designed to be read in the rear-view mirror of a moving car.[40]In 1985 Ruscha was commissioned to design a series of fifty murals,WORDS WITHOUT THOUGHTS NEVER TO HEAVEN GO(a quotation fromHamlet), for the rotunda ofMiami–Dade Public Library(now the Miami Art Museum) in Florida, designed by architectsPhilip Johnsonand John Burgee.[41]
In 1989, Ruscha decorated a pool for his brother Paul at his house inStudio City,Los Angeles, with a supersized luggage label: on a black tiled background are the words Name, Address and Phone, complete with dotted lines.[42]
In 1998, Ruscha was commissioned to produce a nearly thirty-foot high vertical painting entitledPICTURE WITHOUT WORDS,for the lobby of the Harold M. Williams Auditorium of theGetty Center.[43]He produced another site-specific piece, three 13-by-23-foot panels proclaimingWords In Their Best Order,for the offices ofGannett Companypublishers in Tysons Corner, Virginia, in 2002. The artist was later asked by theM. H. de Young Memorial Museumto create two large-scale paintings that flank hisA Particular Kind of Heaven(1983), which is in the museum's collection, to form a spectacular, monumental triptych.[44]For his first public commission in New York in 2014, Ruscha created the hand-painted muralHoney, I Twisted Through More Damn Traffic Todayfor a temporary installation at theHigh Line.[45]
In 2008, Ruscha was among four text-based artists that were invited by theWhitechapel Galleryto write scripts to be performed by leading actors; Ruscha's contribution wasPublic Notice(2007). To celebrate theSan Francisco Museum of Modern Art(SFMOMA)'s 75th anniversary, Ruscha was one of the artists invited to collaborate with the museum on a limited-edition of artist-designed T-shirts.[46]Ruscha is regularly commissioned with works for private persons, among themJames Frey(Public Stoning,2007),[47]Lauren Hutton(Boy Meets Girl,1987),[48]andStella McCartney(Stella,2001).[49]In 1987, collectorFrederick Weismanhad Ruscha paint the exterior of his private plane, aLockheed JetStar.The summer 2012 campaign of L.A.-based fashion labelBand of OutsidersfeaturedPolaroidshots of Ruscha.[50]In 2020, Ruscha produced the cover art and typography ofPaul McCartney's albumMcCartney III.[51]In 2022, he teamed up with(RED)andGagosian Galleryto create a limited-edition silk twill scarf—featuring his drawingScience Is Truth Found(1986)—to help provide more equitable access toCOVID-19relief.[52]In 2023 he created the cover art forthe Beatlessingle "Now and Then."[53]
Books
[edit]![](https://upload.wikimedia.org/wikipedia/commons/thumb/3/32/Edward_Ruscha_display_2018.jpg/220px-Edward_Ruscha_display_2018.jpg)
Between 1962 and 1978, Ruscha produced sixteen small artist's books:
- Twentysix Gasoline Stations,1963
- Various Small Fires,1964
- Some Los Angeles Apartments,1965
- Every Building on the Sunset Strip,1966
- Thirtyfour Parking Lots,1967
- Royal Road Test,1967 (withMason Williamsand Patrick Blackwell)
- Business Cards,1968 (withBilly Al Bengston)
- Nine Swimming Pools and a Broken Glass,1968
- Crackers,1969 (withMason Williams)
- Real Estate Opportunities,1970
- Babycakes with Weights,1970
- A Few Palm Trees,1971
- Records,1971
- Dutch Details,1971
- Colored People,1972
- Hard Light,1978 (withLawrence Weiner)
Later book projects include:
- Country Cityscapes,2001
- ME and THE,2002
- Ed Ruscha and Photography,2004 (with Sylvia Wolf)
- OH / NO,2008
- Dirty Baby,2010 (withNels ClineandDavid Breskin)
In 1968, Ruscha created the cover design for the catalogue accompanying aBilly Al Bengstonexhibition at theLos Angeles County Museum of Art.For the “Documenta 5"catalogue in 1972, he designed an orange vinyl cover, featuring a “5” made up of scurrying black ants.[54]In 1978, he designed the catalogue "Stella Since 1970" for theModern Art Museum of Fort Worth.Leave Any Information at the Signal,a volume of Ruscha's writings, was published byMIT Pressin 2002. In 2010,Gagosian GalleryandSteidlpublished Ruscha's version ofJack Kerouac's novelOn the Roadin an edition of 350.[55]
Ruscha's artist books have proved to be deeply influential, beginning withBruce Nauman’sBurning Small Fires(1968), for which Nauman burned Ruscha'sVarious Small Fires and Milk(1964) and photographed the process. More than forty years later, photographerCharles Johnstonerelocated Ruscha'sTwentysix Gasoline Stationsin Cuba, producing the portfolioTwentysix Havana Gasoline Stations(2008). A recent homage isOne Swimming Pool(2013) by Dutch artistElisabeth Tonnard,who re-photographed one of the photographs from Ruscha'sNine Swimming Pools and a Broken Glass(1968) and enlarged it to the size of a small swimming pool, consisting of 3164 pages the same size as the pages in Ruscha's original book. The pages of this ‘pool on a shelf’ can be detached to create the life-size installation.[56]
Photography
[edit]Photography has played a crucial role throughout Ruscha's career, beginning with images he made during a trip to Europe with his mother and brother in 1961, and most memorably as the imagery for more than a dozen books that present precisely what their titles describe. His photographs are straightforward, even deadpan,[57]in their depiction of subjects that are not generally thought of as having aesthetic qualities. His "Products" pictures, for example, feature boxes of Sunmaid raisins and Oxydol detergent and a can of Sherwin Williams turpentine in relatively formal still lifes.[58]Mostly devoid of human presence, these photographs emphasize the essential form of the structure and its placement within the built environment.[59]Ruscha's photographic editions are most often based on his conceptual art-books of same or similar name. Ruscha re-worked the negatives of six of the images from his bookEvery Building on Sunset Strip.The artist then cut and painted directly on the negatives, resulting in photographs that have the appearance of a faded black-and-white film.[60]TheTropical Fishseries (1974–75) represents the first instance where the photographic image has been directly used in his graphic work, where Ruscha hadGemini G.E.L.'s house photographer Malcolm Lubliner make photographs of a range of common domestic objects.[61]
Films and documentaries
[edit]In the 1970s, Ruscha also made a series of largely unknown short movies, such asPremium(1971) andMiracle(1975).[62]With the assistance of aGuggenheim Fellowship,Ruscha arranged inPremiuma scenario which he first projected in his photo-bookCrackersfrom 1969 and subsequently transformed into a film which featuresLarry Bell,Leon Bing,Rudi Gernreich,andTommy Smothers.Miraclecontains the essence of the artist's same-named painting, inasmuch as the story is told of a strange day in the life of an auto mechanic, who is magically transformed as he rebuilds the carburetor on a 1965Ford Mustang.[63]The movie features Jim Ganzer andMichelle Phillips.In 1984, he accepted a small role in the filmChoose Medirected by his friendAlan Rudolph,and in 2010, he starred inDoug Aitken's filmSleepwalkers.[64]ArtistTom Sachs' 2018 short filmParadox Bulletsstars Ruscha in the role of a hiker lost in the desert and guided only by the voice ofWerner Herzog.[65]
Ruscha was featured inMichael Blackwood's film documentaryAmerican Art in the Sixties.He appeared inL.A. Suggested by the Art of Edward Ruscha,a 1981 documentary byGary Conklinshot at the artist's studio and desert home.[66]Interviews with Ruscha are included in the documentariesDennis Hopper: The Decisive Moments(2002),Sketches of Frank Gehry(2005),The Cool School(2008),Iconoclasts(2008), andHow to Make a Book with Steidl(2010), among others.[67]
Exhibitions
[edit]Birth of "Pop Art"
[edit]In 1962 Ruscha's work was included, along withRoy Lichtenstein,Andy Warhol,Robert Dowd,Phillip Hefferton,Joe Goode,Jim Dine,andWayne Thiebaud,in the historically important and ground-breaking "New Painting of Common Objects,"curated byWalter Hoppsat thePasadena Art Museum.This exhibition is historically considered one of the first "Pop Art" exhibitions in America.
Ruscha had his first solo exhibition in 1963 at theFerus Galleryin Los Angeles. In 1966, Ruscha was included in "Los Angeles Now" at theRobert Fraser Galleryin London, his first European exhibition. In 1968, he had his first European solo show in Cologne, Germany, atGalerie Rudolf Zwirner.Ruscha joined theLeo Castelli Galleryin 1970 and had his first solo exhibition there in 1973.[68]
Retrospectives
[edit]In 1970 Ruscha represented the United States at theVenice Biennaleas part of a survey of American printmaking with an on-site workshop. He constructedChocolate Room,a visual and sensory experience where the visitor saw 360 pieces of paper permeated with chocolate and hung like shingles on the gallery walls. The pavilion in Venice smelled like a chocolate factory.[69]For the Venice Biennale in 1976, Ruscha created an installation entitledVanishing Cream,consisting of letters written in Vaseline petroleum jelly on a black wall. Ruscha was the United States representative at the 51st Venice Biennale in 2005, showing the site- and occasion-specific a painting cycleCourse of Empire.[70]He was interviewed about the pavilion and its curation by Linda Norden andDonna De SalvoinSarah Thornton'sSeven Days in the Art World.[71]
He has been the subject of numerous museum retrospectives, beginning in 1983 with theSan Francisco Museum of Modern Art(traveling to theWhitney Museum of American Art,theVancouver Art Gallery,theSan Antonio Museum of Art,and theLos Angeles County Museum of Art), theCentre Georges Pompidouin 1989, theHirshhorn Museum and Sculpture Gardenin 2000, and theMuseo Nacional Centro de Arte Reina Sofiain 2001. In 2004, theMuseum of Contemporary Artin Sydney mounted a selection of the artist's photographs, paintings, books and drawings that traveled to theMuseo Nazionale delle Arti del XXI Secolo,Rome and to theScottish National Gallery of Modern Art.
In 1998, theJ. Paul Getty Museumin Los Angeles organized a retrospective solely devoted to Ruscha's works on paper. In 2004, TheWhitney Museum of American Artexhibited a second Ruscha drawing retrospective, which traveled to theMuseum of Contemporary Art, Los Angeles,and then to theNational Gallery of Art,Washington, D.C.
In 1999, theWalker Art CentermountedEdward Ruscha: Editions 1959-1999,a major retrospective of the artist's prints, books, and graphic works, which number well over 300.[72]The show travelled to the LACMA in 2000.[73]Ruscha coauthored the catalogue raisonné with Walker curatorSiri Engberg.[74]In July 2012,Reading Ed Ruschaopened at theKunsthaus Bregenzin Austria.
In 2006, an exhibition of Ruscha's photographs was organized for theJeu de Paumein Paris, theKunsthaus Zürich,and theMuseum Ludwigin Cologne.
In October 2009, London'sHayward Galleryfeatured the first retrospective to focus exclusively on Ruscha's canvases. Entitled "Ed Ruscha: Fifty Years of Painting," the exhibition sheds light on his influences, such as comics, graphic design, and hitchhiking.[75]The exhibition travelled toHaus der Kunst,Munich, and theModerna Museet,Stockholm. “Ed Ruscha: Road Tested,” opened at theModern Art Museum of Fort Worth,Texas in January 2011. TheHammer Museumin Los Angeles prepared an exhibition with Ruscha inspired byJack Kerouac’sOn the Road,which opened in mid-2011 (traveled toDenver Art Museum,Colorado in December 2011 andMuseum of Contemporary Art, North Miami,Florida in May 2012).
In 2016, there was a large 99 piece exhibit of Ruscha's paintings and prints in San Francisco'sM. H. de Young Memorial Museum.The exhibit, "Ed Ruscha and the Great American West,"[76]focuses primarily on how the artist drew inspiration from the American West. In 1956, Ruscha drove from his home in Oklahoma to Los Angeles where he hoped to attend art school. While driving in a 1950 Ford sedan, the 18 year old artist drew inspiration from dilapidated gas stations, billboards, and telephone poles cross the great expanse of the land. This inspiration from the American West across Route 66 stuck with Ruscha his whole life. The artists paintings of the West reflect both symbolic and ironic renditions of how we imagine the West.
In 2018, TheHarry Ransom Centerin Austin, Texas presented "Ed Ruscha: Archaeology and Romance,"[77]featuring more than 150 objects drawn from the Ransom Center's Edward Ruscha Papers and Art Collection.
From September 2023 to January 2024, theMuseum of Modern Artin New York City exhibited the retrospective “ED RUSCHA / NOW THEN” featuring over 200 works across mediums, includingThe Chocolate Room.[78][79]
Curating
[edit]In 2003, Ed Ruscha curated "Emerson Woelffer: A Solo Flight", a survey of the work of the late Los Angeles-based Abstract Expressionist, for the inaugural exhibition of the Gallery atREDCAT(Roy and Edna Disney/CalArts Theater).[80]In 2012, Ruscha was invited to curate “The Ancients Stole All Our Great Ideas” at theKunsthistorisches Museumin Vienna, the first exhibition in a series for which internationally renowned artists were invited to work with the national art and natural history collections.[81]
Collections
[edit]In 2000, the Achenbach Foundation for Graphic Arts, a branch ofFine Arts Museums of San Francisco,acquired Ruscha's complete graphic archive of 325 prints and 800 working proofs. The museum bought the archive and negotiated for impressions of future prints for $10 million,[82]with funds provided by San Francisco philanthropistPhyllis Wattis.[83]Another major collection of Ruscha's prints was compiled by theLos Angeles County Museum of Art.[84]In 2003, the Museum of Contemporary Art in Los Angeles acquired theChocolate Room,then worth about $1.5 million.[85]In 2004, theWhitney Museumacquired more than 300 photographs through a purchase and gift from the artist, making it the principal repository of Ruscha's photographic oevre. The gift, purchased fromLarry Gagosian,includes vintage photographs that Ruscha took on a seven-month European tour in 1961.[86]In 2005,Leonard A. LauderpurchasedThe Old Tool & Die Building(2004) andThe Old Trade School Building(2005) for the Whitney, both of which were part of "The Course of Empire: Paintings by Ed Ruscha" at the Venice Biennale.[87]Ruscha is represented by 33 of his works in the permanent collection of the Museum of Contemporary Art, Los Angeles;[88]theSan Francisco Museum of Modern Artowns 25 Ruscha paintings, works on paper, and photographs;[89]theHirshhorn Museum and Sculpture Gardenhas 21 Ruschas in its permanent collection;[90]and theArt Institute of Chicagohas more than 40 works by the artist in their collection. Ruscha also has small collections of books andlithographsin theUtah Museum of Fine ArtsinSalt Lake City, Utah[91]and inChâteau de Montsoreau-Museum of Contemporary ArtinMontsoreau,France.[92]
Ruscha's private collectors have in the past includedLeonardo DiCaprio,[93]Owen Wilson[94]andJay-Z.[95]
Awards
[edit]- 2001: Elected to theAmerican Academy of Arts and Lettersas a member of the Department of Art, after having previously received its Hassam, Speicher, Betts, and Symons Purchase Fund Award in 1992'.[96]
- 2001: Honorary doctorate degree fromCalifornia College of the Arts[97]
- 2002:amfAR’s Award of Excellence for Artistic Contributions to the Fight Against AIDS[98]
- 2004: Honorary Royal Academician of London’sRoyal Academy of Arts[99]
- 2006: The Cultural Award from theGerman Society for Photography(DGPh)[100]
- 2008:Aspen Award for Art
- 2008: Honorary doctorate degree fromRhode Island School of Design
- 2009:National Arts Awardfor Artistic Excellence[101]
- 2009: Honorary doctorate degree fromSan Francisco Art Institute[102]
- 2013: Named inTime's annuallist of the 100 most influential people in the world[103]
- 2013: Honored on the occasion of theWhitney Museum of American Art's annual gala event[104]
- 2019:J. Paul Getty Medal[105]
- 2024: Honorary doctorate fromOccidental College.[106]
Recognition
[edit]Fellow artistLouise Lawlerincluded Ruscha in her pieceBirdcalls(1972/2008), an audio artwork that transforms the names of famous male artists into a bird song, parroting names such as Artschwager,Beuys,andWarholin a mockery of conditions of privilege and recognition given to male artists at that time.[107]The muralistKent Twitchellpainted an 11,000-square-footmuralinDowntown Los Angelesto honor Ruscha entitled theEd Ruscha Monumentbetween 1978 and 1987. The mural was preserved until 2006 when it was illegally painted over. The bandTalking HeadsRuscha's eponymous 1974 painting for their "Sand in the Vaseline"compilation album. The bandVarious Cruelties,based around Liam O'Donnell, was named after Ruscha's painting of the same name of 1974.
Between 2006 and 2012, Ruscha served on the board of trustees of theMuseum of Contemporary Art(MoCA) in Los Angeles where he had previously been included in eight special exhibits.[108]In 2012, he was the honoree of theLos Angeles County Museum of Art’s Art + Film gala; in a speech, the museums's director Michal Govan paid tribute to the artist, quoting the novelistJ. G. Ballard:“Ed Ruscha has the coolest gaze in American art.”[109]Ruscha was elected to a three-year term on the board of trustees of theSan Francisco Museum of Modern Artin 2013.[110]From 2015 until 2019, Ruscha also served on the board ofDesert X;[111]he resigned over the board's decision to collaborate on an exhibition inSaudi Arabia.[112][113]
In 2009, Ruscha'sI Think I’ll...(1983) from the collection of the National Gallery was installed at theWhite House.[114]In 2010, during British prime ministerDavid Cameron's first visit to Washington, PresidentBarack Obamapresented him with a signed two-color lithograph by Ruscha,Column With Speed Lines(2003), chosen for its red, white and blue colors.[115]Obama gave Australian Prime MinisterTony Abbotta similar lithograph during his visit to the White House in 2014.[116]Ruscha'sScreaming in Spanish(2013) was installed in the entry hall of the residence of theUnited States Ambassador to SpaininMadrid.[117]
Art market
[edit]As early as 2002, the oil on canvas word paintingTalk About Space(1963), a takeoff on the American billboard in which a single word is the subject, was expected to sell for $1.5 million to $2 million from a private European collection. It was eventually sold for $3.5 million atChristie'sin New York, a record for the artist.[118]In 2008,Eli Broadacquired Ruscha's "liquid word" paintingDesire(1969) for $2.4 million[119]atSotheby's,which back then was 40 percent under the $4 million low estimate.[120]A navy blue canvas with the wordSmashin yellow, which Ruscha painted in 1963, was purchased byLarry Gagosianfor $30.4 million at a 2014 Christie's auction in New York.[121]His word paintingHurting the Word Radio #2(1964) sold by L.A. collectors Joan and Jack Quinn to an anonymous bidder at Christie's for a record-shattering $52.5 million with fees in 2019.[122][123]
Angry Because It’s Plaster, Not Milkfrom 1965, which had been shown at Ferus Gallery that year, was sold byHalsey MinortoGagosian Gallery[124]for $3.2 million[125]atPhillips de Pury & Company,New York, in 2010. From the same series,Strange Catch for a Fresh Water Fish(1965) made $4.1 million at Christie's New York in 2011.[126]
Ruscha's classic prints, published as multiples, command up to $40,000 apiece.[127]
Personal life
[edit]Ruscha is married to the former Danica Knego (known as Danna).[128]They met in 1965, wed in 1967, separated in 1972, filed for divorce in 1976, divorced in 1978, and remarried in 1987. The couple has two children, Edward "Eddie" Ruscha Jr., a son, and Sonny Bjornson, a daughter. In the late seventies, Ruscha bought land about ten miles fromPioneertown, California;he later built a house there.[129]
During the time he and Danna were apart, Ruscha dated actressesCandy Clark,Samantha Eggar,Diane Keaton,Lauren Hutton,andMichelle Phillips.[130][131]
According to theFederal Election Commission(FEC), Ruscha donated $12,500 to thepresidential campaignofHillary Clintonin September 2016.[132]
Legacy
[edit]In 2011, theJ. Paul Getty Museumand theGetty Research Instituteacquired over seventy photographs by Ruscha as well as his "Streets of Los Angeles" archive, including thousands of negatives, hundreds of photographic contact sheets, and related documents and ephemera. A portion of the material will go to the Getty as a promised gift from the artist. The "Streets of Los Angeles" archive acquired by the Getty Research Institute begins with the photographic and production material for Ruscha's landmark 1966 bookEvery Building on the Sunset Strip,and includes the original camera-ready three-panel maquette used for the publication. This ongoing project subsequently evolved into a vast photographic archive that spans over four decades and documents many major Los Angeles thoroughfares, includingSanta Monica Boulevard,Melrose Avenue,andPacific Coast Highway,shot in 1974 and 1975, and more than 25 other Los Angeles streets that Ruscha photographed since 2007. In total, the archive comprises thousands of negatives, hundreds of photographic contact sheets, and related documents and ephemera.[133]
In 2013, theHarry Ransom Centeracquired a Ruscha archive comprising five personal journals filled with preliminary sketches and notes; materials related to the making of his artist's bookOn The Road(2010); notes, photographs, correspondence and contact sheets relating to the creation and publication of his many other artist's books; and materials relating to his short filmsMiracle(1975) andPremium(1971); his portfolios; and several art commissions. Ruscha himself donated a substantial portion of the archive to the Ransom Center.[134]
References
[edit]- ^Dana Goodyear (11 April 2011),Ed Ruscha: 'California Postcard: Moving Day'The New Yorker.
- ^Streets # * of Los Angeles ArchiveArchived2012-01-31 at theWayback MachineGetty Research Institute,Los Angeles.
- ^Nichols, Chris."What Was L.A.’s First Alternative Newspaper? You can thank the hippies,"Los Angeles Magazine(January 23, 2018).
- ^Jason Farago (7 September 2023),The Deadpan Laureate of American ArtNew York Times.
- ^Edward Ruscha Biography,BLOUINARTINFO, 2008, archived fromthe originalon 2017-04-28,retrieved2008-08-05
- ^Wells, Walter, Silent Theater: The Art of Edward Hopper, London/New York: Phaidon, 2007.
- ^Jaleh Manor 'Ed Ruscha's One-Way Street'. InOctober,Winter 2005, No. 111, Pages 127-142 (doi:10.1162/0162287053148139) October Magazine, Ltd. and Massachusetts Institute of Technology
- ^THEN & NOW by Ed RuschaSteidl Publishing, Göttingen.
- ^"Ed Ruscha: Eilshemius & Me, Davies Street, London, June 18–August 2, 2019".Gagosian.2019-05-31.Retrieved2020-03-10.
- ^"Large Trademark with Eight Spotlights | painting by Ruscha".Encyclopedia Britannica.Retrieved2020-03-10.
- ^Tate."'The Final End', Edward Ruscha, 1992 ".Tate.Retrieved2020-03-10.
- ^Ed Ruscha: Fifty Years of Painting, May 29 - September 5, 2010Moderna Museet,Stockholm.
- ^Ed Ruscha: Standard Stations, March 1 — March 29, 2008Honor Fraser,Los Angeles.
- ^Ed Ruscha: Fifty Years of Painting, May 29 - September 5, 2010Moderna Museet,Stockholm.
- ^Ed Ruscha: Metro Plots, January 27 - February 27, 1999ArchivedJune 24, 2011, at theWayback MachineGagosian Gallery,New York.
- ^Ed Ruscha,BLVD.-AVE.-ST.(2006)Tate,London.
- ^Rachel Lyon,Ed RuschaArchived2011-07-19 at theWayback MachineCrown Point Press, San Francisco.
- ^Ed Ruscha,Annie, Poured from Maple Syrup(1966)Norton Simon Museum,Pasadena.
- ^Ed Ruscha: Boulangerie, 1961Christie'sNew York, Works from the Collection of Michael Crichton, 11–12 May 2010, New York.
- ^Jason Farago (7 September 2023),The Deadpan Laureate of American ArtNew York Times.
- ^Ed Ruscha:OOOandLisp,1970National Gallery of Australia,Canberra.
- ^Ed Ruscha,News, Mews, Pews, Brews, Stews, Dues, News(1970)Tate,London.
- ^Ed RuschaArchived2010-12-21 at theWayback MachineMarlborough Gallery.
- ^Ed Ruscha,I PLEAD INSANITY BECAUSE I'M JUST CRAZY ABOUT THAT LITTLE GIRL(1976)Tate,London.
- ^Amadour (2023-02-15)."15 Minutes with George Condo".LAmag - Culture, Food, Fashion, News & Los Angeles.Retrieved2023-12-31.
- ^Ed Ruscha,Brave Men Run In My Family(1988)Christie's,9 June 1999, Los Angeles.
- ^Ed Ruscha, November 17, 2012 - January 12, 2013ArchivedNovember 11, 2012, at theWayback MachineGagosian Gallery,New York.
- ^Alastair Sooke (February 9, 2008),Ed Ruscha: Painting's maverick man of lettersThe Daily Telegraph.
- ^Ed Ruscha,Rehab Pump Doctors(1998)Christie'sPost-War Contemporary Evening Sale, 8 November 2011, New York.
- ^Ed Ruscha: Fifty Years of Painting, May 29 - September 5, 2010Moderna Museet, Stockholm.
- ^Ed Ruscha, ‘’Crossover Dreams’’ (1991)National Galleries of Scotland and Tate
- ^Ed Ruscha / MATRIX 134, May 1, 1990 - July 7, 1990ArchivedJanuary 7, 2013, at theWayback MachineBerkeley Art Museum and Pacific Film Archive, Berkeley.
- ^Ed Ruscha,Angry Because It’s Plaster, Not Milk(1965)Archived2010-12-20 at theWayback MachinePhillips de Pury & Company.
- ^Ed Ruscha,Strange Catch for a Fresh Water Fish(1965)Christie'sPost-War Contemporary Evening Sale, 8 November 2011, New York.
- ^Ed Ruscha,DANCE?(1973)Tate,London.
- ^Ed Ruscha: Prints and Photographs, May 8 - June 14, 2014Gagosian Gallery,New York.
- ^Gravity's Rainbow,21 May - 23 July 2011Archived28 September 2011 at theWayback MachineIngleby Gallery, Edinburgh.
- ^Honolulu Museum of Art, wall label,Fruit Metrecal Hollywoodby Edward Ruscha, 1971, color silkscreen with apricot and grape jam with Metrecal on paper, accession TCM.1996.51
- ^Ed Ruscha,Miracle #64(1975)National Galleries of Scotland,Edinburgh.
- ^Ed RuschaArchived2010-05-25 at theWayback MachineModerna Museet,Stockholm.
- ^Ed RuschaTate Collection.
- ^Caroline Roux (September 18, 2020),Why swimming pools are making a splash in the art worldFinancial Times.
- ^Ed Ruscha's Light: An Exhibition of Works Related to the Artist's Recent Commission for the Getty Center, May 12 - September 13, 1998The J. Paul Getty Museum.
- ^Ed Ruscha: TriptychDe Young Museum, San Francisco.
- ^Carol Vogel (March 13, 2014),Traffic Sign For High LineThe New York Times.
- ^Press Release: SFMOMA and GAP partner to create limited edition T-shirt collectionArchived2010-12-16 at theWayback MachineSan Francisco Museum of Modern Art.
- ^Bill PowersEd RuschaW Magazine, November 2007.
- ^David Colman (October 19, 2003),Possessed: A Keepsake Of Romance And Travels Close to HomNew York Times.
- ^When Stella met Ed RuschaArchived2011-06-13 at theWayback MachineStella McCartney.
- ^Wanja Ochwada (15 February 2012),Ed Ruscha features in the Band of Outsiders S/S 2012 polaroid campaignArchived2012-07-31 at theWayback MachineWallpaper.
- ^Staff (11 March 2019)."Paintings On The Wall - Ed Ruscha".paulmccartney.MPL Communications Ltd.Retrieved28 October2020.
- ^Rosemary Feitelberg (12 April 2022),Artist Ed Ruscha Teams Up With (RED) and Gagosian for COVID-19 ReliefWomen's Wear Daily.
- ^Snapes, Laura (2023-10-26)."The Beatles: 'final' song Now and Then to be released thanks to AI technology".The Guardian.ISSN0261-3077.Retrieved2023-10-27.
- ^Roberta Smith(September 7, 2007),“Documenta 5” at Specific ObjectThe New York Times.
- ^Karin Nelson (January 10, 2010),Words by Jack, Art by EdThe New York Times.
- ^Ed Ruscha: Books & Co., March 5 - April 27, 2013Gagosian Gallery,New York.
- ^VINEGAR, A. (2009), ED RUSCHA, HEIDEGGER, AND DEADPAN PHOTOGRAPHY.Art History,32: 852–873. doi: 10.1111/j.1467-8365.2009.00708.x
- ^Suzanne Muchnic (March 30, 2003),Ruscha's Kodak momentsLos Angeles Times
- ^The Getty Acquires Ed Ruscha Photographs and Archive, Press Release of October 06, 2011ArchivedMarch 15, 2012, at theWayback MachineJ. Paul Getty Trust,Los Angeles.
- ^Mike Kelley/Edward Ruscha: Photographs, April 3 – May 1, 1999ArchivedNovember 17, 2018, at theWayback MachinePatrick Painter Gallery, Los Angeles.
- ^Shaune Lakin,Tropical Fish(1974–5)Kenneth Tyler Collection at theNational Gallery of Australia,Canberra.
- ^Andrew Russeth (May 18, 2010),Ed Ruscha's Rare Early Films Visit New YorkBLOUINARTINFO.
- ^Ed Ruscha:Apartments, Parking Lots, Palm Trees and others: Films, Photographs and Drawings from 1961 to 1975,Sprüth Magers Galerie, Berlin.
- ^Claudia Bodin (February 15, 2010),Highway zur Kunst. Interview mit Ed RuschaArt Magazin.
- ^Jordan Riefe (February 15, 2019),Werner Herzog to Speak with Artist Tom Sachs at Frieze L.A. About Their Film 'Paradox Bullets'The Hollywood Reporter.
- ^Douglas C. McGill (March 1, 1987),LA Suggested By the Art of Edward Ruscha (1981)The New York Times.
- ^John Anderson (June 27, 2007),The Cool SchoolVariety.
- ^Amei Wallach (June 24, 2001),The Restless American: On Ed Ruscha's RoadThe New York Times.
- ^Jacqueline Trescott (October 30, 2004),Ed Ruscha Chosen for BiennaleThe Washington Post.
- ^http:// guggenheim-venice.it/img/padiglione/5_2005_Ruscha.pdfPeggy Guggenheim Collection, Venice.
- ^L.), Thornton, Sarah (Sarah (2009-11-02).Seven days in the art world.New York.ISBN9780393337129.OCLC489232834.
{{cite book}}
:CS1 maint: location missing publisher (link) CS1 maint: multiple names: authors list (link) - ^Edward Ruscha: Editions 1959-1999,June 12-September 5, 1999ArchivedJanuary 16, 2015, at theWayback MachineWalker Art Center,Minneapolis.
- ^David Pagel (June 05, 2000),Metaphor-Loving Ruscha Remains True to His Word in This SurveyLos Angeles Times.
- ^"Siri Engberg".Barnes & Noble.RetrievedMay 3,2013.
- ^Douglas, Sarah. "In Retrospect: Ed Ruscha."Art+Auction,October 2009.
- ^"Ed Ruscha and the Great American West".22 May 2015.
- ^"Ed Ruscha: Archaeology and Romance".hrc.utexas.edu.Archived fromthe originalon 2018-07-27.
- ^"ED RUSCHA / NOW THEN".press.moma.org.Retrieved2023-12-24.
- ^Diehl, Travis (September 1, 2023)."Ed Ruscha's 'Chocolate Room' Still Tantalizes".The New York Times.RetrievedJanuary 16,2023.
- ^"Emerson Woelffer: A Solo Flight".Roy and Edna Disney/CalArts Theater.Retrieved2018-12-13.The Gallery at REDCAT in Walt Disney Concert Hall, Los Angeles.
- ^Ed Ruscha: The Ancients Stole All Our Great Ideas, 25 September - 2 December 2012Archived15 November 2012 at theWayback Machine
- ^Amei Wallach (June 24, 2001),The Restless American: On Ed Ruscha's RoadThe New York Times.
- ^Baker, Kenneth (November 29, 2000)."Fine Arts Museums Acquire Ruscha's Graphic Archive".SFGate.RetrievedJune 13,2016.
- ^Suzanne Muchnic (January 13, 2006),LACMA receives Ruscha printsLos Angeles Times.
- ^Carol Vogel (December 12, 2003),Investing in ChocolateThe New York Times.
- ^Carol Vogel (March 5, 2004),Gift for WhitneyThe New York Times.
- ^Carol Vogel (November 11, 2005),Ruscha's Biennale Works Are Shown at the WhitneyThe New York Times.
- ^MoCA Names Ruscha to Board,BLOUINARTINFO, January 23, 2007,retrieved2008-04-17
- ^SFMOMA Acquires Important Work By Ed Ruscha, Press Release of December 26, 2007San Francisco Museum of Modern Art,San Francisco.
- ^Jacqueline Trescott (October 30, 2004),Ed Ruscha Chosen for BiennaleThe Washington Post.
- ^"Argus: UMFA Collection".
- ^Sevior, Michelle (2018-11-07)."ArtPremium – 1968 - Sparta Dreaming Athens at Château de Montsoreau-Museum Contemporary Art".ArtPremium.Archived fromthe originalon 2019-08-10.Retrieved2019-08-10.
- ^Guelda Voien (September 1, 2017),Leonardo DiCaprio Buys Ruscha Print to Benefit Sean Penn’s Haiti CharityObserver.
- ^Maxwell Williams (October 31, 2013),Owen Wilson on Iconic SoCal Artist Ed RuschaThe Hollywood Reporter.
- ^Jordan Riefe (August 14, 2019),Ed Ruscha Treasure Trove to be Auctioned by Christie's (Exclusive)The Hollywood Reporter.
- ^SFAI Awards Honorary Doctorates at 2009 Commencement, April 9, 2009ArchivedNovember 7, 2012, at theWayback MachineSan Francisco Art Institute.
- ^"Ed Ruscha".American Academy of Arts & Sciences.Retrieved2020-01-17.
- ^Award of Excellence for Artistic Contributions to the Fight Against AIDSArchived2014-02-26 at theWayback MachineamfAR, The Foundation for AIDS Research.
- ^Press Release, 11 September 2010: Ed Ruscha hits the HighlandsThe Art Fund.
- ^"The Cultural Award of the Deutsche Gesellschaft für Photographie (DGPh)".Deutsche Gesellschaft für Photographie e.V.. Accessed 7 March 2017.
- ^Andrew Russeth (October 6, 2009),Ed Ruscha Honored at National Arts AwardsBLOUINARTINFO.
- ^SFAI Awards Honorary Doctorates at 2009 Commencement, April 9, 2009ArchivedNovember 7, 2012, at theWayback MachineSan Francisco Art Institute.
- ^David Ng (April 18, 2013),Ed Ruscha, Wang Shu named to Time 100 listLos Angeles Times.
- ^Whitney Museum of American Art to Honor Ed RuschaWomen's Wear Daily,October 2, 2013.
- ^J. Paul Getty Trust Announces J. Paul Getty Medal to go to Lorna Simpson, Mary Beard and Ed RuschaJ. Paul Getty Trust,press release of January 24, 2019.
- ^"Honorary Degree Recipients".oxy.edu.Retrieved2024-05-16.
- ^Jerry Saltz(May 25, 2008),The Art World’s Space InvaderNew York Magazine.
- ^MoCA Names Ruscha to Board,BLOUINARTINFO, January 23, 2007,retrieved2008-04-17
- ^Peter Haldeman (October 30, 2012),In L.A., Art + Film + FashionThe New York Times.
- ^David Ng (August 15, 2013),Ed Ruscha joining SFMoMA board a year after quitting MOCALos Angeles Times.
- ^Jori Finkel (December 31, 2015),A Desert Biennial Alongside Coachella Is in the WorksThe New York Times.
- ^Deborah Vankin (October 7, 2019),Desert X art exhibition heads to Saudi Arabia — and into contentious territoryLos Angeles Times.
- ^Gareth Harris (October 8, 2019),Three board members resign as Desert X announces collaboration with Saudi Arabia, Los Angeles Times reportsThe Art Newspaper.
- ^Amy Chozik and Kelly Crow (May 22, 2009),Changing the Art on the White House WallsThe Wall Street Journal.
- ^Rachel Cooke (12 September 2010),Ed Ruscha: 'There's room for saying things in bright shiny colours'The Observer.
- ^Barack Obama gives Tony Abbott pop art print, gets surfboardThe Australian,July 31, 2014.
- ^Christopher Bagley (April 27, 2015),Diplomatic DashW.
- ^Carol Vogel (May 15, 2002),Contemporary-Art Auction Sets Records for 15 ArtistsThe New York Times.
- ^[1]Sotheby's
- ^Lindsay Pollock and Philip Boroff (November 12, 2008),Eli Broad Goes Shopping as Sotheby's Art Auction Falls ShortBloomberg.
- ^Carol Vogel (November 13, 2014),A Warhol Leads a Night of Soaring Prices at Christie'sThe New York Times.
- ^Scott Reyburn (November 13, 2019),Fall Art Auctions See Significant DeclinesThe New York Times.
- ^Judd Tully (November 14, 2019),At Solid $325.3 M. Christie’s Contemporary Art Sale in New York, Ed Ruscha Is KingARTnews.
- ^Carol Vogel (May 13, 2010),Art Auction Highlights a Financial DownfallThe New York Times.
- ^Ed Ruscha,Angry Because It’s Plaster, Not Milk(1965)Archived2010-12-20 at theWayback MachinePhillips de Pury & Company
- ^Ed Ruscha,Strange Catch for a Fresh Water Fish(1965)Christie's Post-War Contemporary Evening Sale, 8 November 2011, New York.
- ^Suzanne Muchnic (January 13, 2006),LACMA receives Ruscha printsLos Angeles Times.
- ^Tomkins, Calvin (July 1, 2013)."Ed Ruscha's L.A."New Yorker.RetrievedOct 27,2015.
- ^Peter Plagens(February 1986),Ruscha’s LandscapeVanity Fair.
- ^Hackett, Pat (2009).The Andy Warhol Diaries.Grand Central Publishing. p. 91.ISBN978-0446571241.
- ^Moritz, Charles (1990).Current Biography Yearbook, 1989.H.W. Wilson. p. 490.
- ^Ben Luke (November 3, 2016),Artists raise millions for Hillary ClintonArchived2016-11-04 at theWayback MachineThe Art Newspaper.
- ^The Getty Acquires Ed Ruscha Photographs and Archive, Press Release of October 06, 2011ArchivedMarch 15, 2012, at theWayback MachineJ. Paul Getty Trust,Los Angeles.
- ^News Release — November 13, 2013: Artist Ed Ruscha's Archive Acquired by Harry Ransom CenterHarry Ransom Center,Austin.
Sources
[edit]- John Coplans, "New Paintings of Common Objects",Artforum,November, 1962. (Illustrations)
- Nancy Marmer, "Edward Ruscha at Ferus,"Artforum,December, 1964.
- Yve-Alain Bois, "Edward Ruscha: Romance with Liquids", Rizzoli Publications, Inc., 1993.ISBN0-8478-1730-X
- Adam Gopnik,"Ed Ruscha: Paintings", Bowne, Toronto, 2002.ISBN1-880154-79-X
- Alexandra Schwartz, ed. Leave Any Information at the Signal: Writings, Interviews, Bits, Pages by Ed Ruscha. Cambridge: MIT Press, 2002.
- Mark Francis, "New Drawings", Transcontinental Litho-Acme, Montreal, 2006.ISBN1-932598-19-7
- David Hickey, "Ed Ruscha: La Mirada Distanciada (The Long View)", Dr. Cantz'sche Druckerei, Ostildern, 2006.ISBN968-5979-15-4
- Mary Richards, "Ed Ruscha. Modern Artists series", Tate Publishing, 2008.ISBN978-1-85437-623-7
- Alexandra Schwartz, "Ed Ruscha's Los Angeles", Cambridge: MIT Press, 2010.ISBN978-0-262-01364-2
- James Ellroy,Ralph Rugoff, Alexandra Schwartz, Bruce Wagner, Ulrich Wilmes, "ED RUSCHA: FIFTY YEARS OF PAINTING," D.A.P./Distributed Art Publishers, 2010.ISBN978-1-935202-06-6
- Auping Michael, Prince Richard, "ED RUSCHA: ROAD TESTED", Hatje Cantz, 2011.ISBN978-3-7757-2810-2
- Virginia Heckert, Ed Ruscha and Some Los Angeles Apartments, Los Angeles: Getty Publications, 2013.ISBN978-1-60606-138-1
- Calvin Tomkins,"Ed Ruscha's L.A.,"The New Yorker,July 1, 2013, pp. 48–57.
External links
[edit]- Oral history interview with Edward Ruscha, Smithsonian Archives of American Art
- Excerpts from a 1965 Artforum interview of Ruscha discussing his artist books
- Edward Ruscha: An Inventory of His Papers and Art Collection at the Harry Ransom Center
- Edward Ruscha Photographs of Sunset Boulevard and Hollywood Boulevard, 1965–2010.TheGetty Research Institute,Los Angeles, Accession no. 2012.M.1.
- Edward Ruscha photographs of Los Angeles streets, 1974-2010.TheGetty Research Institute,Los Angeles, Accession no. 2012.M.2.
- Edward Ruschadiscography atDiscogs
- Edward RuschaatIMDb
- 1937 births
- 20th-century American painters
- 20th-century American printmakers
- 21st-century American painters
- American conceptual artists
- American contemporary painters
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- Artists from Oklahoma
- Artists from Omaha, Nebraska
- Honorary Members of the Royal Academy
- Living people
- Members of the American Academy of Arts and Letters
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- 20th-century American male artists