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Edward Ruscha

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Edward Ruscha Edward Ruscha Birth name Edward Joseph Ruscha IV Born

December 16, 1937 Omaha, Nebraska, United States

Nationality American Field

Photography, Printmaking, Film, book art

Training

Chouinard Art Institute

Movement

Pop art

Works

Large Trademark with Eight Spotlights (1961) Every Building on the Sunset Strip (1966) Standard Station (1966)

Awards

Guggenheim Fellowship (1971)

Edward Joseph Ruscha IV (roo-SHAY; born December 16, 1937) is an American artist associated with the Pop art movement. He has worked in the media of painting, printmaking, drawing, photography, and film. Ruscha lives and works in Culver City, California.[1]

Background and education Ruscha was born into a Roman Catholic family in Omaha, Nebraska, with an older sister, Shelby, and a younger brother, Paul. Edward Ruscha, Sr. was an auditor for Hartford Insurance Company. Ruscha’s mother was supportive of her son’s early signs of artistic skill and interests. Young Ruscha was attracted to cartooning and would sustain this interest throughout his adolescent years. Though born in Nebraska, Ruscha lived some 15 years in Oklahoma City before moving to Los Angeles in 1956 where he studied at the Chouinard Art Institute (now known as the California Institute of the Arts) under Robert Irwin and Emerson Woelffer from 1956 through 1960. While at Chouinard, Ruscha edited and produced the journal "Orb" (1959–60) together with Joe Goode, Emerson Woelffer, Stephan von Huene, Jerry McMillan, and others.[2] Ruscha spent much of the summer of 1961 traveling through Europe. After graduation, Ruscha took a job as a layout artist for the Carson-Roberts Advertising Agency in Los Angeles. He was married to Danna Knego from 1967 to 1972. They remarried in 1987. By the early 1960s he was well known for his paintings, collages, and photographs, and for his association with the Ferus Gallery group, which also included artists Robert Irwin, John Altoon, John McCracken, Larry Bell, Ken Price, and Edward Kienholz. He worked as layout designer for Artforum magazine under the pseudonym “Eddie Russia” from 1965 to 1969 and taught at UCLA as a visiting professor for printing and drawing in 1969. He is also a lifelong friend of guitarist Mason Williams.

He has two children, Edward "Eddie" Ruscha Jr. and Sonny Bjornson.

Edward Ruscha

Work 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 the beat generation.[3]

Early influences While in school in 1957, Ruscha chanced upon then unknown Jasper Johns’ Target with Four Faces in the magazine Print and was greatly moved. Ruscha has credited these artists’ work as sources of inspiration for his change of interest from graphic arts to painting. He was also impacted by Arthur Dove’s 1925 painting Goin’ Fishin’, Alvin Lustig's cover illustrations for New Directions Press, and much of Marcel Duchamp’s work. In a 1961 tour of Europe, Ruscha came upon more works by Johns and Robert Rauschenberg, R. A. Bertelli’s Head of Mussolini, and Ophelia by Sir John Everett Millais. Some critics are quick to see the influence of Edward Hopper's Gas (1940) in Ruscha's 1963 oil painting, Standard Station, Amarillo, Texas.[4] In any case, "Art has to be something that makes you scratch your head," Ruscha said.

Southern California Although Ruscha denies this in interviews, the vernacular of Los Angeles and Southern California landscapes contributes to the themes and styles central to much of Ruscha’s paintings, drawings, and books. Examples of this include the publication Every Building on the Sunset Strip (1966), a book of continuous photographs of a two and one half mile stretch of the 24 mile boulevard. In 1973, following the model of Every Building on the Sunset Strip, he photographed the entire length of Hollywood Boulevard with a motorized camera.[5] Also, paintings like Standard Station (1966), Large Trademark (1962), and Hollywood (1982) exemplify Ruscha’s kinship with the Southern California visual language.

Two of these paintings, Standard and Large Trademark were emulated out of car parts in 2008 by Brazilian photographer Vik Muniz as a commentary on Los Angeles and its car culture.

His work is also strongly influenced by the Hollywood Twentysix Gasoline Stations, 1963 by Ed Ruscha film industry: the mountain in his Mountain Series is a play on the Paramount Pictures logo; Large Trademark with Eight Spotlights (1962) depicts the 20th Century Fox logo, while the dimensions of this work are reminiscent of a movie screen; in his painting The 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. Also, the proportions of the Hollywood print seems to mimic the Cinemascope screen (however, to make the word "Hollywood", Ruscha transposed the letters of the sign from their actual location on the slope of the Santa Monica Mountains to the crest of the ridge).

Ruscha completed Large Trademark with Eight Spotlights in 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

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Edward Ruscha throughout his career. Large Trademark was quickly followed by Standard Station (1963) and Wonder Bread (1962). In Norm’s, La Cienega, on Fire (1964), Burning Gas Station (1965–66), and Los Angeles County Museum of Art on Fire (1965–68), Ruscha brought flames into play.[6] In 1966, Ruscha reproduced Standard Station in a silkscreen print 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, and Double Standard).[7] 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.[8] 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 in Alvarado to Doheny (1998).[9] 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.[10] A 2003 portfolio of prints called Los Francisco San Angeles shows street intersections from San Francisco and LA juxtaposed one over the other.[11]

Word paintings As with Andy Warhol and Roy Lichtenstein, his East Coast counterparts, Ed 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.[12] The very first of Ruscha's word paintings were created as oil paintings on paper in Paris in 1961.[13] 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 as Adios (1967), Steel (1967–9) and Desire (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)[14] 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).[15] In the 1970s, Ruscha, with Barbara Kruger and Jenny Holzer, among others, began using entire phrases in his works, thereby making it a distinctive characteristic of the post-Pop Art generation.[16] During the mid 1970s, he made a series of drawings in pastel using pithy phrases against a field of colour.[17] In the early 1980s he produced a series of paintings of words over sunsets, night skies and wheat fields. In the photo-realist painting Brave 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).[18] Later, words appeared on a photorealist mountain-range series which Ruscha started producing in 1998.[19] For these acrylic-on-canvas works, Ruscha pulled his mountain images either from photographs, commercial logos, or from his imagination.[20] From 1980, Ruscha started using an all-caps typeface of his own invention named ”Boy Scout Utility Modern” in which curved letter forms are squared-off (as in the Hollywood Sign)[21] This simple font which is radically different from the style he used in works such as Honk (1962).[22] 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.[23]

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Edward Ruscha

Surrealism Paintings like Angry Because It’s Plaster, Not Milk (1965) and Strange 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 to Surrealism, a recurring theme in the artist’s career.[24] The fish plays a prominent role throughout the series and appears in nearly half of the paintings.[25] Another frequent element is Ruscha's continuous depiction of a graphite pencil - broken, splintered, melted, transformed.

Odd media In his drawings, prints, and paintings throughout the 1970s, Ruscha experimented with a range of materials including gunpowder, vinyl, blood, red wine, fruit and vegetable juices, axle grease, chocolate syrup, tomato paste, bolognese sauce, cherry pie, coffee, caviar, daffodils, tulips, raw eggs and grass stains.[26] 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. Ruscha has also produced his word paintings with food products on moiré and silks, since they were more stain-absorbent; paintings like A Blvd. Called Sunset (1975) were executed in blackberry juice on moiré. However, these most vibrant and varied organic colourings usually dried to a range of muted greys, mustards and browns.[27] His portfolio Insects (1972) consists of six screen prints – three on paper, three on paper-backed wood veneer, each showing a life-like swarm of a different meticulously detailed species. For the April 1972 cover of ARTnews, he composed a Arcimboldo-like photograph that spelled out the magazine’s title in a salad of squashed foods.

Motifs in light Notably different from many of Ruscha’s works of the same period, most obviously in its exclusion of text, his series of Miracle pastel 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.[28] 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 as WONDER SICKNESS (1984) and 99% DEVIL, 1% ANGEL (1983). By the 1990s, Ruscha was creating larger paintings of light projected into empty rooms, some with ironic titles such as An Exhibition of Gasoline Powered Engines (1993).

Commissioned works Ruscha's first major public commissions include a monumental mural at the Museum of Contemporary Art, San Diego (1966) and a seventy-panel, 360-degree work for the Great Hall of Denver Public Library in 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 the Los Angeles County Museum of Art, designed to be read in the rear-view mirror of a moving car.[29] In 1985 Ruscha was commissioned to design a series of fifty murals, WORDS WITHOUT THOUGHTS NEVER TO HEAVEN GO (a quotation from Hamlet), for the rotunda of Miami–Dade Public Library (now the Miami Art Museum) in Florida, designed by architects Philip Johnson and John Burgee.[30] In 1998, Ruscha was commissioned to produce a nearly thirty-foot high vertical painting entitled PICTURE WITHOUT WORDS, for the lobby of the Harold M. Williams Auditorium of the Getty Center.[31] He produced another site-specific piece, three 13-by-23-foot panels proclaiming Words In Their Best Order, for the offices of Gannett Company publishers in Tysons Corner, Virginia, in 2002. The artist was later asked by the M. H. de Young Memorial Museum to create two large-scale paintings that flank his A Particular Kind of Heaven (1983), which is in the museum’s collection, to form a spectacular, monumental triptych.[32] In 2008, he was among four text-based artists that were invited by the Whitechapel Gallery to write scripts to be performed by leading actors; Ruscha's

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Edward Ruscha

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contribution was Public Notice (2007). To celebrate the San 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.[33] Ruscha is regularly commissioned with works for private persons, among them James Frey (Public Stoning, 2007),[34] Lauren Hutton (Boy Meets Girl , 1987),[35] and Stella McCartney (Stella, 2001).[36] In 1987, collector Frederick Weisman had Ruscha paint the exterior of his private plane, a Lockheed JetStar. The summer 2012 campaign of L.A.-based fashion label Band of Outsiders featured Polaroid shots of Ruscha.[37]

Books Between 1962 and 1978, Ed Ruscha produced sixteen small artist's books: • Twentysix Gasoline Stations, 1962 • Various Small Fires, 1964 • Some Los Angeles Apartments, 1965 • Every Building on the Sunset Strip, 1966 • Thirtyfour Parking Lots, 1967 • Royal Road Test, 1967 (with Mason Williams and Patrick Blackwell) • Business Cards, 1968 (with Billy Al Bengston) • Nine Swimming Pools and a Broken Glass, 1968

Catalogue for Documenta 5

• Crackers, 1969 (with Mason 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 (with Lawrence 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 (with Nels Cline and David Breskin)

Leave Any Information at the Signal, a volume of Ruscha's writings, was published by MIT Press in 2002. In 2010, Gagosian Gallery and Steidl published Ruscha's version of Jack Kerouac's novel On the Road in an edition of 350.[38] For the “Documenta 5" catalogue, Ruscha designed an orange vinyl cover, featuring a “5” made up of scurrying black ants.[39]

Edward Ruscha

Photography 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, 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.[40] Mostly devoid of human presence, these photographs emphasize the essential form of the structure and its placement within the built environment.[41] 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 book Every 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.[42]

Films In the 1970s, Ruscha also made a series of largely unknown short movies, such as Premium (1971) and Miracle (1975).[43] With the assistance of a Guggenheim Foundation Fellowship, Ruscha arranged in Premium a scenario which he first projected in his photo-book Crackers from 1969 and subsequently transformed into a film which features Larry Bell, Leon Bing, Rudi Gernreich, and Tommy Smothers. Miracle contains 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 1965 Ford Mustang.[44] The movie features Jim Ganzer and Michelle Phillips.

In 1984, Ruscha accepted a small role in the film Choose Me directed by his friend Alan Rudolph. Interviews with Ruscha are included in the documentaries Sketches of Frank Gehry (2005) and The Cool School (2008). In 2010, he starred in Doug Aitken's film Sleepwalkers.[45]

Exhibitions Birth of "Pop Art" In 1962 Ruscha's work was included, along with Roy Lichtenstein, Andy Warhol, Robert Dowd, Phillip Hefferton, Joe Goode, Jim Dine, and Wayne Thiebaud, in the historically important and ground-breaking "New Painting of Common Objects," curated by Walter Hopps at the Pasadena 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 the Ferus Gallery in Los Angeles. In 1966, Ruscha was included in "Los Angeles Now" at the Robert Fraser Gallery in London, his first European exhibition. In 1968, he had his first European solo show in Cologne, Germany, at Galerie Rudolf Zwirner. Ruscha joined the Leo Castelli Gallery in 1970 and had his first solo exhibition there in 1973.[46]

Retrospectives In 1970 Ruscha represented the United States at the Venice Biennale as part of a survey of American printmaking with an on-site workshop. He constructed Chocolate 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.[47] For the Venice Biennale in 1976, Ruscha created an installation entitled Vanishing 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 cycle Course of Empire.[48]

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Edward Ruscha He has been the subject of numerous museum retrospectives, beginning in 1983 with the San Francisco Museum of Modern Art (traveling to the Whitney Museum of American Art, the Vancouver Art Gallery, the San Antonio Museum of Art, and the Los Angeles County Museum of Art), the Centre Georges Pompidou in 1989, the Hirshhorn Museum and Sculpture Garden in 2000, and the Museo Nacional Centro de Arte Reina Sofia in 2001. In 2004, the Museum of Contemporary Art in Sydney mounted a selection of the artist's photographs, paintings, books and drawings that traveled to the Museo Nazionale delle Arti del XXI Secolo, Rome and to the Scottish National Gallery of Modern Art. In 1998, the J. Paul Getty Museum in Los Angeles organized a retrospective solely devoted to Ruscha’s works on paper. In 2004, The Whitney Museum of American Art exhibited a second Ruscha drawing retrospective, which traveled to the Museum of Contemporary Art, Los Angeles, and then to the National Gallery of Art, Washington, D.C. In 1999, the Walker Art Center mounted Edward Ruscha: Editions 1959-1999, a major retrospective of the artist's prints, books, and graphic works, which number well over 300.[49] The show travelled to the LACMA in 2000.[50] In 2006, an exhibition of Ruscha's photographs was organized for the Jeu de Paume in Paris, the Kunsthaus Zürich, and the Museum Ludwig in Cologne.

In October 2009, London’s Hayward Gallery featured 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.[51] The exhibition travelled to Haus der Kunst, Munich, and the Moderna Museet, Stockholm.

"Emerson Woelffer: A Solo Flight" 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 at REDCAT (Roy and Edna Disney/CalArts Theater).[52]

Collections In 2001, the Achenbach Foundation for Graphic Arts, a branch of Fine Arts Museums of San Francisco, acquired the entire archive of Ruscha's 325 prints and 800 working proofs. The museum bought the archive and negotiated for impressions of future prints for $10 million,[53] with funds provided by San Francisco philanthropist Phyllis Wattis.

Another major collection of Ruscha's print was compiled by the Los Angeles County Museum of Art.[54] In 2003, the Museum of Contemporary Art in Los Angeles acquired the Chocolate Room, then worth about $1.5 million.[55] In 2004, the Whitney Museum acquired 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 from Larry Gagosian, includes vintage photographs that Ruscha took on a seven-month European tour in 1961.[56] In 2005, Leonard A. Lauder purchased The Old Tool & Die Building (2004) and The 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.[57] Ruscha is represented by 33 of his works in the permanent collection of the Museum of Contemporary Art, Los Angeles;[58] the San Francisco Museum of Modern Art owns 25 important Ruscha paintings, works on paper, and photographs;[59] and the Hirshhorn Museum and Sculpture Garden has 21 Ruschas in its permanent collection.[60] Private collections holding substantial numbers of Ruscha's work include the Broad Collection and the UBS Art Collection.

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Edward Ruscha

Recognition The muralist Kent Twitchell painted a 11,000-square-foot mural in Downtown Los Angeles to honor Ruscha entitled the Ed Ruscha Monument between 1978 and 1987. The mural was preserved until 2006 when it was illegally painted over. The band Talking Heads Ruscha's eponymous 1974 painting for their "Sand in the Vaseline" compilation album. The band Various Cruelties, based around Liam O'Donnell, was named after Ruscha's painting of the same name of 1974.

In 2001, Ruscha was elected to The American Academy of Arts and Letters as a member of the Department of Art, after having previously received its Hassam, Speicher, Betts, and Symons Purchase Fund Award in 1992.[61] In 2004 he was elected an Honorary Royal Academician of London’s Royal Academy of Arts.[62] He was honored with the cultural prize of the Deutsche Gesellschaft für Photographie (DGPh, ‘German Society for Photography’) in 2006, the Aspen Award for Art in 2008, and the National Arts Award for Artistic Excellence in 2009.[63] He also received honorary doctorate degrees from the California College of the Arts (2001), Rhode Island School of Design (2008), and the San Francisco Art Institute (2009).[64] In 2006, Ruscha was named a trustee of the Museum of Contemporary Art (MoCA) in Los Angeles where he had previously been included in eight special exhibits.[65] In 2009, Ruscha’s I Think I’ll... (1983) from the collection of the National Gallery was installed at the White House.[66] In 2010, during British prime minister David Cameron's first visit to Washington, President Barack Obama presented him with a signed lithograph by Ruscha, Column With Speed Lines, chosen for its red, white and blue colours.[67]

Position on the art market At the start of the seventies, Ruscha began showing his work with Leo Castelli in New York. Castelli paid him a stipend, only rarely able to sell anything. Only at an exhibition of Ruscha's spray-gun silhouette paintings at the Robert Miller Gallery, New York, in 1986 he sold out a show.[68] He currently shows with the Gagosian Gallery in New York, Beverly Hills and London; John Berggruen Gallery in San Francisco; and Sprüth Magers in Berlin.

As early as 2002, the oil on canvas word painting Talk 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 at Christie's in New York, a record for the artist.[69] In 2008, Eli Broad acquired Ruscha's "liquid word" painting Desire (1969) for $2.4 million[70] at Sothebys, which back then was 40 percent under the $4 million low estimate.[71] Angry Because It’s Plaster, Not Milk from 1965, which had been shown at Ferus Gallery that year, was later sold by Halsey Minor to Gagosian Gallery[72] for $3.2 million[73] at Phillips 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.[74] Ruscha's classic prints, published as multiples, command up to $40,000 apiece.[75]

Hamilton Press Hamilton Press came into being in 1990, as a result of a collaboration between Ed Ruscha and printer Ed Hamilton.

It makes lithographs with artists like George Condo and Raymond Pettibon.

Legacy In 2011, the J. Paul Getty Museum and the Getty Research Institute acquired 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 come 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

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Edward Ruscha photographic and production material for Ruscha’s landmark 1966 book Every 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, including Santa Monica Boulevard, Melrose Avenue, and Pacific 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.[76]

References [1] Dana Goodyear (11 April 2011), Ed Ruscha: 'California Postcard: Moving Day' (http:/ / www. newyorker. com/ talk/ 2011/ 04/ 11/ 110411ta_talk_goodyear) The New Yorker.

[2] Streets of Los Angeles Archive (http:/ / www. getty. edu/ research/ special_collections/ ruscha. html) Getty Research Institute, Los Angeles.

[3] Edward Ruscha Biography (http:/ / www. artinfo. com/ artists/ profile/ biography/ 109/ edward-ruscha/ ), ARTINFO, 2008, , retrieved 2008-08-05 [4] Wells, Walter, Silent Theater: The Art of Edward Hopper, London/New York: Phaidon, 2007.

[5] THEN & NOW by Ed Ruscha (http:/ / www. steidlville. com/ books/ 124-THEN-NOW. html) Steidl Publishing, Göttingen.

[6] Ed Ruscha: Fifty Years of Painting, May 29 - September 5, 2010 (http:/ / www. modernamuseet. se/ en/ Stockholm/ Exhibitions/ 2010/ Ed-Ruscha/ Fifty-Years-of-Painting/ ) Moderna Museet, Stockholm.

[7] Ed Ruscha: Standard Stations, March 1 — March 29, 2008 (http:/ / www. honorfraser. com/ ?s=past& eid=18& c=press) Honor Fraser, Los Angeles.

[8] Ed Ruscha: Fifty Years of Painting, May 29 - September 5, 2010 (http:/ / www. modernamuseet. se/ en/ Stockholm/ Exhibitions/ 2010/ Ed-Ruscha/ Fifty-Years-of-Painting/ ) Moderna Museet, Stockholm.

[9] Ed Ruscha: Metro Plots, January 27 - February 27, 1999 (http:/ / www. gagosian. com/ exhibitions/ 980-madison-1999-01-ed-ruscha/ ) Gagosian Gallery, New York.

[10] Ed Ruscha, BLVD.-AVE.-ST. (2006) (http:/ / www. tate. org. uk/ art/ artworks/ ruscha-blvd-ave-st-ar00049) Tate, London.

[11] Rachel Lyon, Ed Ruscha (http:/ / www. crownpoint. com/ artists/ 195/ about-artist) Crown Point Press, San Francisco.

[12] Ed Ruscha, Annie, Poured from Maple Syrup (1966) (http:/ / www. nortonsimon. org/ collections/ browse_title. php?id=P. 1966. 06) Norton Simon Museum, Pasadena.

[13] Ed Ruscha: Boulangerie, 1961 (http:/ / www. christies. com/ LotFinder/ lot_details. aspx?intObjectID=5313631) Christie's New York, Works from the Collection of Michael Crichton, 11–12 May 2010, New York.

[14] Ed Ruscha: OOO and Lisp, 1970 (http:/ / nga. gov. au/ internationalprints/ Tyler/ Default. cfm?MnuID=6& Essay=Ruscha_OOO) National Gallery of Australia, Canberra.

[15] Ed Ruscha, News, Mews, Pews, Brews, Stews, Dues, News (1970) (http:/ / www. tate. org. uk/ art/ artworks/ ruscha-news-mews-pews-brews-stews-dues-p20295) Tate, London.

[16] Ed Ruscha (http:/ / www. marlboroughgallery. com/ galleries/ graphics/ artists/ ed-ruscha/ graphics) Marlborough Gallery.

[17] Ed Ruscha, I PLEAD INSANITY BECAUSE I'M JUST CRAZY ABOUT THAT LITTLE GIRL (1976) (http:/ / www. tate. org. uk/ art/ artworks/ ruscha-i-plead-insanity-because-im-just-crazy-about-that-little-girl-ar00053) Tate, London.

[18] Ed Ruscha, Brave Men Run In My Family (1988) (http:/ / www. christies. com/ lotFinder/ lot_details. aspx?intObjectID=1522251) Christie's, 9 June 1999, Los Angeles.

[19] Alastair Sooke (February 9, 2008), Ed Ruscha: Painting's maverick man of letters (http:/ / www. telegraph. co. uk/ culture/ art/ 3671029/ Ed-Ruscha-Paintings-maverick-man-of-letters. html) The Daily Telegraph.

[20] Ed Ruscha, Rehab Pump Doctors (1998) (http:/ / www. christies. com/ lotfinder/ ed-ruscha-rehab-pump-doctors/ 5496759/ lot/ lot_details. aspx?from=salesummary& intObjectID=5496759& sid=4e3d4089-3791-4755-92cd-bee24959a5a6) Christie's Post-War Contemporary Evening Sale, 8 November 2011, New York.

[21] Ed Ruscha: Fifty Years of Painting, May 29 - September 5, 2010 (http:/ / www. modernamuseet. se/ en/ Stockholm/ Exhibitions/ 2010/ Ed-Ruscha/ Fifty-Years-of-Painting/ ) Moderna Museet, Stockholm.

[22] Ed Ruscha, ‘’Crossover Dreams’’ (1991) (http:/ / www. nationalgalleries. org/ collection/ ar_home/ 4:6685/ 4968/ 84352) National Galleries of Scotland and Tate [23] Ed Ruscha / MATRIX 134, May 1, 1990 - July 7, 1990 (http:/ / www. bampfa. berkeley. edu/ exhibition/ 134) Berkeley Art Museum and Pacific Film Archive, Berkeley.

[24] Ed Ruscha, Angry Because It’s Plaster, Not Milk (1965) (http:/ / www. phillipsdepury. com/ auctions/ lot-detail. aspx?sn=NY010410& search=& p=& order=& lotnum=12#) Phillips de Pury & Company.

[25] Ed Ruscha, Strange Catch for a Fresh Water Fish (1965) (http:/ / www. christies. com/ lotfinder/ ed-ruscha-strange-catch-for-a-fresh/ 5496730/ lot/ lot_details. aspx?from=salesummary& intObjectID=5496730& sid=4e3d4089-3791-4755-92cd-bee24959a5a6) Christie's Post-War Contemporary Evening Sale, 8 November 2011, New York.

[26] Ed Ruscha, DANCE? (1973) (http:/ / www. tate. org. uk/ art/ artworks/ ruscha-dance-ar00046) Tate, London.

[27] Gravity's Rainbow, 21 May - 23 July 2011 (http:/ / www. inglebygallery. com/ exhibition_detail. php?id=167) Ingleby Gallery, Edinburgh.

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Edward Ruscha [28] Ed Ruscha, Miracle #64 (1975) (http:/ / www. nationalgalleries. org/ collection/ artists-a-z/ R/ 16671/ artistName/ Ed Ruscha/ recordId/ 84319) National Galleries of Scotland, Edinburgh.

[29] Ed Ruscha (http:/ / www. modernamuseet. se/ en/ Portraits/ Konstnarer/ Ed-Ruscha/ ) Moderna Museet, Stockholm.

[30] Ed Ruscha (http:/ / www. tate. org. uk/ servlet/ ArtistWorks?cgroupid=999999961& artistid=1882& page=1& sole=y& collab=y& attr=y& sort=default& tabview=bio) Tate Collection.

[31] Ed Ruscha's Light: An Exhibition of Works Related to the Artist's Recent Commission for the Getty Center, May 12 - September 13, 1998 (http:/ / www. getty. edu/ news/ press/ exhibit/ ruscha. html) The J. Paul Getty Museum.

[32] Ed Ruscha: Triptych (http:/ / deyoung. famsf. org/ about/ ed-ruscha-triptych) De Young Museum, San Francisco.

[33] Press Release: SFMOMA and GAP partner to create limited edition T-shirt collection (http:/ / www. sfmoma. org/ press/ releases/ news/ 833#ixzz1HKJUaPxl) San Francisco Museum of Modern Art. [34] Bill Powers Ed Ruscha (http:/ / www. wmagazine. com/ artdesign/ 2007/ 11/ ed_ruscha) W Magazine, November 2007.

[35] David Colman (October 19, 2003), Possessed: A Keepsake Of Romance And Travels Close to Hom (http:/ / www. nytimes. com/ 2003/ 10/ 19/ style/ possessed-a-keepsake-of-romance-and-travels-close-to-home. html) New York Times.

[36] When Stella met Ed Ruscha (http:/ / www. stellamccartney. com/ default/ stellas-world/ stellas-stories/ stories-ed-rusha. html) Stella McCartney.

[37] Wanja Ochwada (15 February 2012), Ed Ruscha features in the Band of Outsiders S/S 2012 polaroid campaign (http:/ / www. wallpaper. com/ fashion/ ed-ruscha-features-in-band-of-outsiders-ss-2012-polaroid-campaign/ 5642) Wallpaper.

[38] Karin Nelson (January 10, 2010), Words by Jack, Art by Ed (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9504E5DF103CF933A25752C0A9669D8B63& ref=edruscha) New York Times [39] Roberta Smith (September 7, 2007), “Documenta 5” at Specific Object (http:/ / www. nytimes. com/ 2007/ 09/ 07/ arts/ design/ 07gall. html) New York Times [40] Suzanne Muchnic (March 30, 2003), Ruscha's Kodak moments (http:/ / articles. latimes. com/ 2003/ mar/ 30/ entertainment/ ca-muchnic30) Los Angeles Times [41] The Getty Acquires Ed Ruscha Photographs and Archive, Press Release of October 06, 2011 (http:/ / news. getty. edu/ press_materials. cfm#2-3-5592) J. Paul Getty Trust, Los Angeles.

[42] Mike Kelley/Edward Ruscha: Photographs, April 3 – May 1, 1999 (http:/ / www. patrickpainter. com/ GroupShows/ 199904-kelleyR/ #) Patrick Painter Gallery, Los Angeles.

[43] Andrew Russeth (May 18, 2010), Ed Ruscha's Rare Early Films Visit New York (http:/ / www. artinfo. com/ news/ story/ 34655/ ed-ruschas-rare-early-films-visit-new-york/ ) ARTINFO. [44] Ed Ruscha: Apartments, Parking Lots, Palm Trees and others: Films, Photographs and Drawings from 1961 to 1975, Sprüth Magers Galerie, Berlin.

[45] Claudia Bodin (February 15, 2010), Highway zur Kunst. Interview mit Ed Ruscha (http:/ / www. art-magazin. de/ kunst/ 26428/ ed_ruscha_interview?p=1) Art Magazin.

[46] Amei Wallach (June 24, 2001), The Restless American: On Ed Ruscha's Road (http:/ / www. nytimes. com/ 2001/ 06/ 24/ arts/ art-architecture-the-restless-american-on-ed-ruscha-s-road. html?ref=edruscha) New York Times.

[47] Jacqueline Trescott (October 30, 2004), Ed Ruscha Chosen for Biennale (http:/ / www. washingtonpost. com/ wp-dyn/ articles/ A10820-2004Oct29. html) The Washington Post.

[48] www.guggenheim-venice.it/img/padiglione/5_2005_Ruscha.pdf Peggy Guggenheim Collection, Venice.

[49] Edward Ruscha: Editions 1959-1999, June 12-September 5, 1999 (http:/ / www. walkerart. org/ archive/ 1/ A973E55CFE7364576163. htm) Walker Art Center, Minneapolis.

[50] David Pagel (June 05, 2000), http:/ / articles. latimes. com/ 2000/ jun/ 05/ entertainment/ ca-37540 Metaphor-Loving Ruscha Remains True to His Word in This Survey] Los Angeles Times.

[51] Douglas, Sarah. " In Retrospect: Ed Ruscha (http:/ / www. artinfo. com/ news/ story/ 32724/ in-retrospect-ed-ruscha/ )."Art+Auction, October 2009.

[52] "Emerson Woelffer: A Solo Flight", curated by Ed Ruscha, November 20 - December 28, 2003 (http:/ / archive. redcat. org/ about/ press/ 0506/ 10. 23. 03asoloflight. php) The Gallery at REDCAT in Walt Disney Concert Hall, Los Angeles.

[53] Amei Wallach (June 24, 2001), The Restless American: On Ed Ruscha's Road (http:/ / www. nytimes. com/ 2001/ 06/ 24/ arts/ art-architecture-the-restless-american-on-ed-ruscha-s-road. html?ref=edruscha) New York Times.

[54] Suzanne Muchnic (January 13, 2006), LACMA receives Ruscha prints (http:/ / articles. latimes. com/ 2006/ jan/ 13/ entertainment/ et-ruscha13) Los Angeles Times.

[55] Carol Vogel (December 12, 2003), Investing in Chocolate (http:/ / www. nytimes. com/ 2003/ 12/ 12/ arts/ inside-art. html?ref=edruscha) New York Times.

[56] Carol Vogel (March 5, 2004), Gift for Whitney (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9D00E0D8133FF936A35750C0A9629C8B63) New York Times.

[57] Carol Vogel (November 11, 2005), Ruscha's Biennale Works Are Shown at the Whitney (http:/ / www. nytimes. com/ 2005/ 11/ 11/ arts/ design/ 11voge. html) New York Times.

[58] MoCA Names Ruscha to Board (http:/ / www. artinfo. com/ news/ story/ 9488/ moca-names-ruscha-to-board/ ), ARTINFO, January 15, 2006, , retrieved 2008-04-17

10

Edward Ruscha [59] SFMOMA Acquires Important Work By Ed Ruscha, Press Release of December 26, 2007 (http:/ / www. sfmoma. org/ about/ press/ press_news/ releases/ 335#ixzz1v2mVy1ry) San Francisco Museum of Modern Art, San Francisco.

[60] Jacqueline Trescott (October 30, 2004), Ed Ruscha Chosen for Biennale (http:/ / www. washingtonpost. com/ wp-dyn/ articles/ A10820-2004Oct29. html) The Washington Post.

[61] SFAI Awards Honorary Doctorates at 2009 Commencement, April 9, 2009 (http:/ / www. sfai. edu/ sfai-awards-honorary-doctorates-2009-commencement) San Francisco Art Institute.

[62] Press Release, 11 September 2010: Ed Ruscha hits the Highlands (http:/ / www. artfund. org/ artistrooms/ news/ 46/ ed-ruscha-hits-the-highlands) The Art Fund.

[63] Andrew Russeth (October 6, 2009), Ed Ruscha Honored at National Arts Awards (http:/ / www. artinfo. com/ news/ story/ 32853/ ed-ruscha-honored-at-national-arts-awards/ ?page=1) ARTINFO. [64] SFAI Awards Honorary Doctorates at 2009 Commencement, April 9, 2009 (http:/ / www. sfai. edu/ sfai-awards-honorary-doctorates-2009-commencement) San Francisco Art Institute.

[65] MoCA Names Ruscha to Board (http:/ / www. artinfo. com/ news/ story/ 9488/ moca-names-ruscha-to-board/ ), ARTINFO, January 15, 2006, , retrieved 2008-04-17 [66] Amy Chozik and Kelly Crow (May 22, 2009), Changing the Art on the White House Walls (http:/ / online. wsj. com/ article/ SB10001424052970203771904574175453455287432. html) Wall Street Journal.

[67] Rachel Cooke (12 September 2010), Ed Ruscha: 'There's room for saying things in bright shiny colours' (http:/ / www. guardian. co. uk/ artanddesign/ 2010/ sep/ 12/ ed-ruscha-obama-pop-art) The Observer.

[68] Amei Wallach (June 24, 2001), The Restless American: On Ed Ruscha's Road (http:/ / www. nytimes. com/ 2001/ 06/ 24/ arts/ art-architecture-the-restless-american-on-ed-ruscha-s-road. html?ref=edruscha) New York Times.

[69] Carol Vogel (May 15, 2002), Contemporary-Art Auction Sets Records for 15 Artists (http:/ / www. nytimes. com/ 2002/ 05/ 15/ nyregion/ contemporary-art-auction-sets-records-for-15-artists. html?ref=edruscha) New York Times.

[70] (http:/ / www. sothebys. com/ app/ live/ lot/ LotDetail. jsp?lot_id=159505547) Sotheby's [71] Lindsay Pollock and Philip Boroff (November 12, 2008), Eli Broad Goes Shopping as Sotheby's Art Auction Falls Short (http:/ / www. bloomberg. com/ apps/ news?sid=abJmdMZFT. WM& pid=newsarchive) Bloomberg.

[72] Carol Vogel (May 13, 2010), Art Auction Highlights a Financial Downfall (http:/ / www. nytimes. com/ 2010/ 05/ 14/ arts/ design/ 14auction. html) New York Times.

[73] Ed Ruscha, Angry Because It’s Plaster, Not Milk (1965) (http:/ / www. phillipsdepury. com/ auctions/ lot-detail. aspx?sn=NY010410& search=& p=& order=& lotnum=12#) Phillips de Pury & Company [74] Ed Ruscha, Strange Catch for a Fresh Water Fish (1965) (http:/ / www. christies. com/ lotfinder/ ed-ruscha-strange-catch-for-a-fresh/ 5496730/ lot/ lot_details. aspx?from=salesummary& intObjectID=5496730& sid=4e3d4089-3791-4755-92cd-bee24959a5a6) Christie's Post-War Contemporary Evening Sale, 8 November 2011, New York.

[75] Suzanne Muchnic (January 13, 2006), LACMA receives Ruscha prints (http:/ / articles. latimes. com/ 2006/ jan/ 13/ entertainment/ et-ruscha13) Los Angeles Times.

[76] The Getty Acquires Ed Ruscha Photographs and Archive, Press Release of October 06, 2011 (http:/ / news. getty. edu/ press_materials. cfm#2-3-5592) J. Paul Getty Trust, Los Angeles.

Literature • • • • • • • • •

Auping Michael, Prince Richard "ED RUSCHA: ROAD TESTED", Hatje Cantz, 2011. ISBN 978-3-7757-2810-2 John Coplans, "New Paintings of Common Objects", Artforum, November, 1962. (Illustrations) Mark Francis, "New Drawings", Transcontinental Litho-Acme, Montreal, 2006. ISBN 1-932598-19-7 Adam Gopnik, "Ed Ruscha: Paintings", Bowne, Toronto, 2002. ISBN 1-880154-79-X David Hickey, "Ed Ruscha: La Mirada Distanciada (The Long View)", Dr. Cantz'sche Druckerei, Ostildern, 2006.

ISBN 968-5979-15-4 Ellroy James, Rugoff Ralph, Schwartz Alexandra, Wagner Bruce, Wilmes Ulrich, "ED RUSCHA: FIFTY YEARS OF PAINTING",D.A.P./Distributed Art Publishers, 2010. ISBN 978-1-935202-06-6 Yve-Alain Bois, "Edward Ruscha: Romance with Liquids", Rizzoli Publications, Inc., 1993. ISBN 0-8478-1730-X Nancy Marmer, "Edward Ruscha at Ferus," Artforum, December, 1964.

Mary Richards, "Ed Ruscha. Modern Artists series", Tate Publishing, 2008. ISBN 978-1-85437-623-7

• Alexandra Schwartz, ed. Leave Any Information at the Signal: Writings, Interviews, Bits, Pages by Ed Ruscha.

Cambridge: MIT Press, 2002.

• Alexandra Schwartz, "Ed Ruscha's Los Angeles", Cambridge: MIT Press, 2010. ISBN 978-0-262-01364-2

11

Edward Ruscha

External links • Edward Ruscha (http://www.moma.org/collection/artist.php?artist_id=5086) at the Museum of Modern Art • Psycho Spaghetti Westerns: Ed Ruscha at Gagosian Beverly Hills - Huffington Post (http://www. huffingtonpost.com/evan-j-garza/psyscho-spaghetti-western_b_840650.html) • Ed Ruscha artwork at Brooke Alexander Gallery (http://www.baeditions.com/ed-ruscha-artwork.htm) • A Q&A about Ruscha's DIRTY BABY project (http://www.artinfo.com/news/story/35650/ a-qa-with-poet-david-breskin-on-dirty-baby-his-new-collaboration-with-ed-ruscha-and-nels-cline/) • Cotton Puffs, Q-tips, Smoke and Mirrors: The Drawings of Ed Ruscha, at the National Gallery of Art (http:// www.nga.gov/exhibitions/ruschainfo.shtm) • "A Photographer-In-Spite-Of-Himself?: Ed Ruscha in New York and Los Angeles" (http://x-traonline.org/ past_articles.php?articleID=60) Illustrated Essay by Ken Allan from X-TRA: Contemporary Art Quarterly • "Catching Up with Ed Ruscha" (http://www.nplusonemag.com/ruscha.monday.html) Article about Ed Ruscha in n+1 magazine • Ed Ruscha at Gagosian Gallery (http://www.gagosian.com/artists/ed-ruscha/) • Catalogue Raisonné of Paintings (http://www.edruschacatalogue.com/) • Ed Ruscha at ArteF Fine Art Photography Gallery, Zurich (http://www.artef.com/Photo.Index.htm) • "Gunpowder Empire" Review of Ruscha's Whitney Museum shows in n+1 (http://www.nplusonemag.com/ ruscha3.html) • "What I Like About Ed Roo-SHAY", by SL Kim. (http://printculture.com/?itemid=597) • Ed Ruscha/Lawrence Wiener "Hard Light" in mini-tofu#2 (http://www.tofu-magazine.net/newVersion/pages/ home.htm) • Documentary film, L.A. Suggested by the Art of Ed Ruscha, directed by [[Gary Conklin (http:// garyconklinfilms.com/LA.html)]] • Current exhibitions and connection to galleries at Artfacts.Net (http://www.artfacts.net/index.php/pageType/ artistInfo/artist/2298/lang/1) • Ed Ruscha video at Crown Point Press (http://www.magical-secrets.com/artists/ruscha/video) • Ed Ruscha- Artist on KCET Departures Venice (http://www.kcet.org/socal/departures/venice/arts-and-beats/ ed-ruscha---artist.html) Interviews of the artist • Illustrated bibliography: Edward Ruscha (http://www.artbook.com/catalog--art--monographs--ruscha--ed. html)

12

Article Sources and Contributors

Article Sources and Contributors Edward Ruscha Source: http://en.wikipedia.org/w/index.php?oldid=514034061 Contributors: 2D, 777sms, Adamburton, Adamstamp, Ahoerstemeier, Aks1972, Ale jrb, All Hallow's Wraith, Arsene, Artbookat, Artintegrated, Atomjack, Benwha, Bigowie, Bus stop, CDN99, Calliopejen1, Casadevida, Cbernasc, Charles Matthews, Chowbok, Chris the speller, ChrisTheDude, CommonsDelinker, D6, Dannaru, Danny, David Gerard, DieBuche, Elbelz, EncycloPetey, Ethicoaestheticist, Eumolpo, Evanjgarza, Folopizer, Franciselliott, Fratrep, Freechild, Gaius Cornelius, GeorgeJanney, Grayleholme, Grendelkhan, Ground Zero, GuzonjinSin, J.delanoy, JPLei, JimVC3, Julia Rossi, Khazar2, Lafayjr, Lockley, LouisBrownstone, Mandarax, Manecke, MargueritePerfumada, Martarius, Maxbeck, Melaen, MilkEm, Modernist, Mrskep, Oesterli, Omnipaedista, Open2universe, Orange Suede Sofa, Oyster Flute, PKT, Patriciathornton, Pevarnj, Pfranson, Projectx, ResidueOfDesign, Rettetast, Roux, Rwiedower, Schreck59, Skomorokh, Soumyasch, Stepshep, Stevegallery, Tassedethe, Teallauren, TheMindsEye, Theturkman, Tohd8BohaithuGh1, Tylercos, Via Cythera, W guice, Waacstats, Wattsei, Wikiabulafia, Wikipuppet, Wizardman, Wmpearl, Woohookitty, Ymarchosky, Zoicon5, 120 anonymous edits

Image Sources, Licenses and Contributors File:RuschaGasolineStations.jpg Source: http://en.wikipedia.org/w/index.php?title=File:RuschaGasolineStations.jpg License: Public Domain Contributors: Edward Ruscha. Original uploader was Franciselliott at en.wikipedia File:Katalog documenta 5 1972.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Katalog_documenta_5_1972.JPG License: GNU Free Documentation License Contributors: delorian (Foto)

License Creative Commons Attribution-Share Alike 3.0 Unported //creativecommons.org/licenses/by-sa/3.0/

13

Twentysix Gasoline Stations

1

Twentysix Gasoline Stations Twentysix Gasoline Stations

Author(s)

Ed Ruscha

Country

USA

Language

English

Genre(s)

Artists' books

Publisher

National Excelsior Press

Publication date 1963 Media type

Book

Pages

48

OCLC Number

20409845

[1]

Twentysix Gasoline Stations is the first artist's book by the American pop artist Ed Ruscha. Published in April 1963[2] on his own imprint National Excelsior Press,[3] it is often considered to be the first modern Artist's book,[4] and has become famous as a precursor and a major influence on the emerging artist's book culture, especially in America.[5] The book does exactly what its title suggests, reproducing 26 photographs of gasoline stations next to captions indicating their brand and location. From the first service station, 'Bob's Service' in Los Angeles where Ruscha lived, the book follows a journey back to Oklahoma City where the artist had grown up, and where his mother still resided. The last image is of a Fina Gasoline Station in Groom, Texas, which Ruscha has suggested should be seen as the beginning of the return journey, 'like a coda'.[6] Originally printed in a numbered edition of 400, a second edition of 500 was published in 1967 and a third of 3000 in 1969.[7] Neither of these later editions was numbered. It has been suggested that these reprints were a deliberate attempt to flood the market in order to maintain the book's status as a cheap, mass produced commodity.[8] The book originally sold for $3.50.[3] Of the work, Johanna Drucker said: "Ruscha's books combined the literalness of early California pop art with a flat-footed photographic aesthetic informed by minimalist notions of repetitive sequence and seriality....Thirty years later, with a quarter of a century of mainstream artworld activity between, the aspect of shock-effect and humor has diminished somewhat. But in 1962 (sic) this work read against the photographic landscape of highly aestheticized image-making."[9]

Twentysix Gasoline Stations

Origins of Twentysix Gasoline Stations Ruscha would drive home to visit his parents in Oklahoma four or five times a year[10] after leaving home at 18; many of the journeys were taken with his friend and fellow artist Joe Goode.

"I wasn't coming out here [California] to do anything in particular, or to be anything in particular except...except out of Oklahoma...a long way from Oklahoma, that's what I wanted to be, and everything it stood for. And away from the catholic church too, and Sister Daniella who beat my knuckles with a pencil the one year I was in parochial school." Ed Ruscha[11] Ruscha had visited Europe in 1961, and been particularly taken by the books he saw for sale 'on the street, in those little bookstalls,' and been impressed by the 'non-commercial look... a strange kind of sober design including the typography and the binding and everything.'[12] Back in Los Angeles, he conceived the idea initially as a play on words, deciding upon the title first, then working on the typography and design before taking the photographs.[13] He took about 60 photographs, and edited them down to 26 by removing any that he felt were too interesting.

The Book Dated 1962 in the foreword and dedicated to Patty Callahan, the book comprises twenty-six photographs of various dimensions and proportions; most are laid out on a single page with the text facing the image; some go across the double spread, a few are placed next to each other. Three images are taken at night, including one of Tucumcari, New Mexico, that appears to have been taken from a moving car. But for three people walking across the forecourt on the Sunset Strip, a man getting out of his car at Flagstaff, Arizona and a man looking under his hood at Lipton, Arizona, there are no people present. There are no cars visible in some of the photos. Almost all of the photos are taken from the other side of the highway.

All of the gasoline stations are on Route 66, a road that had already been mythologized by the TV series Route 66 and in Steinbeck's The Grapes Of Wrath, and later reappeared as a motif in Dennis Hopper's Easy Rider.[2] The order that the stations appear is almost the same as their position on the route west-east, with five stations moved out of order.[14][15] With the exception of the last station in Groom, Texas, the relevant states listed are all in order.

The first edition was numbered and occasionally signed, which Ruscha later admitted was a 'mistake'.[13] Apart from this detail, the books are defined by their 'professional polish, a clear-cut machine finish.'[13] "I have eliminated all text from my books- I want absolutely neutral material. My pictures are not that interesting, nor the subject matter. They are simply a collection of 'facts', my book is more like a collection of readymades.....It is almost worth the money to have the thrill of 400 exactly identical books stacked in front of you." Ed Ruscha[13] Later, in an interview in the National Observer, Ruscha declared; "I want to be the Henry Ford of book making."[16] The book is covered with a semi-transparent glassine dust jacket for protection. About fifty copies of the first edition came in a black cardboard slipcase. Apart from this, and the numbering on the last page of the first edition, each of the three editions is basically identical; but for the details of each edition at the beginning of the book, the three are indistinguishable.

2

Twentysix Gasoline Stations

Possible meanings A lot of critics have assigned a religious sub-text to the work, seeing a correlation between the gasoline stations and the 14 Stations of the Cross, traditionally the staging posts between Pilate's condemnation and the burial of Christ after His crucifixion on Calvary.[17][18] Ruscha, a lapsed catholic, has gone some way to supporting this view in interviews: There is a connection between my work and my experience with religious icons, and the stations of the cross and the Church generally, but it's in one of method, you know; I do have some flavors that come over, like the incense... we all go through stages... the attitude comes out of a whole style of living and then coming up with statements.[19] The book has also been cited as an artist's book equivalent of a road movie,[20] and as a pop version of Walker Evans' photos of America, such as his deserted gasoline station in 'Highway Corner Reedsville West Virginia, 1935'.

(Although Ruscha has admitted knowledge of Evans' work, he has dismissed it as an influence.)[21] The last image, of a Fina station, has been interpreted as a Duchampian pun on Fin (end).[20]

Reception Originally, the book was received poorly; despite being published the same year as Ruscha's first exhibition at the Ferus Gallery, Los Angeles-which also represented Andy Warhol- the book was rejected by the Library of Congress for its 'unorthodox form and supposed lack of information'.[22] The book gradually acquired cult status through the sixties, and by the eighties was often being hailed as the first modern artist's book[4] although in fact Dieter Roth's artist's books share the same mass produced aesthetic and investigate the nature of books with at least as much formal vigour, and predate Ruscha's first publication by 7 years.[4] Additionally, Warja Lavater's first book, William Tell [23] (New York : Junior Council, Museum of Modern Art, 1962 (OCLC 10911288 [24]), an accordion folded book written using symbols only, preceded Ruscha's Twentysix Gasoline Stations.

An original signed copy of Twentysix Gasoline Stations is now worth up to $35,000.[25][26] Copies are kept in public collections across the world, including MOMA, V&A, Tate, and the National Gallery of Australia.

References • Twentysix Gasoline Stations, Ed Ruscha, Third Edition, Cunningham Press Alhambra, California, 1969 • I Dont Want No Retro Spective, Hickey & Plagens, Hudson Hills Press 1982 • Cara Marsh Sheffler, The Late Edition: Twenty Years of Dissemination at Printed Matter (2005) essay reproduced on Printed Matter Website [27] • Artforum Jan 1997, essay by Dave Hickey, reproduced at BNet UK [28] • Edward Ruscha Editions, Engberg, Phillpot, Walker Art Center, 1999 • Leave Any Information At The Signal, Schwartz, October Books, 2002 • Ed Ruscha, R Marshall, Phaidon 2003 • The Century of Artist's Books, Joanna Drucker, Granary, 2004 • TWENTYSIX GASOLINE STATIONS, Michalis Pichler, Second Edition, Printed Matter, Inc., NY, 2011 [29]

3

Twentysix Gasoline Stations

Notes [1] [2] [3] [4] [5] [6]

http:/ / worldcat. org/ oclc/ 20409845 Edward Ruscha Editions, Engberg, Phillpot, Walker Art Center, 1999 Edward Ruscha Editions, Engberg, Phillpot, Walker Art Center, 1999 Vol2 p60 The Century of Artist's Books, Drucker, Granary, 2004 p11 Printed Matter website (http:/ / printedmatter. org/ catalogue/ recs. cfm?list_id=224) 'It was like going out in a certain direction and then backtracking...I wanted something to appear kind of awkward there, almost like a coda' Ruscha, 1963, quoted in Edward Ruscha Editions 1959-1999, Walker Art Center, Vol 2 1999 p63 [7] Twentysix Gasoline Stations, Ed Ruscha, 3rd Edition, 1969 [8] Cara Marsh Sheffler, The Late Edition: Twenty Years of Dissemination at Printed Matter (2005) essay reproduced on Printed Matter Website (http:/ / printedmatter. org/ catalogue/ recs. cfm?list_id=224) [9] The Century of Artist's Books, Drucker, Granary, 2004 p76 [10] (http:/ / thispublicaddress. com/ tPA4/ archives/ 2006/ 07/ twentysix_gasoline_stations. html) [11] Ed Ruscha quoted in I Dont Want No Retro Spective, Hickey & Plagens, Hudson Hills Press 1982, p26 [12] Edward Ruscha Editions, Engberg, Phillpot, Walker Art Center, 1999 p59 [13] Interview with Ed Ruscha, Artforum, Feb 1965, reprinted in Leave Any Information At The Signal, Schwartz, October Books, 2002, p24-25 [14] If each station is assigned a letter, the order is ABECDIGHJKLFMNOPQSTUWRXYZV. [15] Edward Ruscha Editions, Engberg, Phillpot, Walker Art Center, 1999 p63 [16] Ed Ruscha, Interview in the National Observer, July 28, 1969, reprinted Leave Any Information At The Signal, Schwartz, October Books, 2002, p28 [17] Artforum Jan 1997, essay by Dave Hickey, reproduced at BNet UK (http:/ / findarticles. com/ p/ articles/ mi_m0268/ is_n5_v35/ ai_19225277) [18] Kukje Gallery Online (http:/ / www. kukje. org/ old_eng/ artists_view. php?ex_no=42) [19] Ruscha quoted in I Dont Want No Retro Spective, Hickey & Plagens, Hudson Hills Press, 1982, p19 [20] I Dont Want No Retro Spective, Hickey & Plagens, Hudson Hills Press, 1982, foreword.

[21] Ed Ruscha, R Marshall, Phaidon, 2003, p58 [22] (http:/ / www. franklinbooks. com/ servlet/ the-749/ Twentysix-Gasoline-Stations-by/ Detail) [23] http:/ / digilab. browardlibrary. org/ cdm4/ document. php?CISOROOT=/ Fontaneda& CISOPTR=729& REC=3 [24] http:/ / www. worldcat. org/ oclc/ 10911288 [25] (http:/ / www. abebooks. com/ blog/ index. php/ 2008/ 08/ 21/ twenty-six-gasoline-stations/ ) [26] (http:/ / www. abebooks. com/ servlet/ SearchResults?kn=Ruscha& sortby=1& tn=gasoline+ stations& x=0& y=0& cm_ven=blog& cm_cat=blog& cm_pla=link& cm_ite=26 Gasoline stations) [27] http:/ / printedmatter. org/ catalogue/ recs. cfm?list_id=224 [28] http:/ / findarticles. com/ p/ articles/ mi_m0268/ is_n5_v35/ ai_19225277 [29] http:/ / www. printedmatter. org/ news/ news. cfm?article_id=853

External links • An interview by Richard Prince with Ruscha (http://findarticles.com/p/articles/mi_m1285/is_6_35/ ai_n14693958) • Another interview with Ruscha (http://www.lacma.org/art/BehindTheScenes14.aspx) • Another interview, discussing Twentysix Gasoline Stations specifically (http://thispublicaddress.com/tPA4/ archives/art/ed_ruscha/)

4

Article Sources and Contributors

Article Sources and Contributors Twentysix Gasoline Stations Source: http://en.wikipedia.org/w/index.php?oldid=489570825 Contributors: Available light, Billinghurst, Carasheffler, Franciselliott, GuzonjinSin, JamesAM, Lester, Martarius, Mild Bill Hiccup, Newtown11, PhnomPencil, Quartermaster, Ser Amantio di Nicolao, Wordbuilder, Zenohockey, 3 anonymous edits

Image Sources, Licenses and Contributors Image:RuschaGasolineStations.jpg Source: http://en.wikipedia.org/w/index.php?title=File:RuschaGasolineStations.jpg License: Public Domain Contributors: Edward Ruscha. Original uploader was Franciselliott at en.wikipedia

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Arboles, plantas, jardines y viveros en El Prat de Llobregat Los viveros en El Prat de Llobregat serán siempre el foco de nuestro interés.

Aquí presentamos algunas ideas clave para redactar un anuncio si tenemos plantas de viveros para vender o comprar.

La ocasión de comprar o vender en viveros en páginas de anuncios debe plantearse con miras a que nos encuentre el comprador o vendedor con facilidad.

Las que siguen a continuación son las palabras más buscadas, y las que deberemos usar en nuestros anuncios.

Es nuestro consejo: redactar diferentes anuncios y usar diferentes palabras en cada uno de ellos, pero que sean las que aparecen a continuación. plantas ornamentales viveros forestales invernadero jardinería jardines El Prat de Llobregat palmeras arboles frutales frutales paisajismo arboles garden ferca olivos barato shangai viveros para flores pino pedro viveros escobar viveros palmeras panduro decoplantas provedo mundo verde precios vivero la barcina uruapan arboles gigantes maipu 2012 arousa fundacion forestal canos fronda villanueva casla plantas ornamentales canos cidoncha valdemorillo liderflor cadalso palmeras panduro arboles gigantes maipu antequera villanueva El Prat de Llobregat viveres aromos bermejo villanueva 2012 can montes mediterranea de cactus 2012 provedo guadarrama canos arousa colima herramientas manzover viveros decoplantas zuaime villanueva atlixco construir un los pecanes

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