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Ed Ruscha

Ed Ruscha, Actual Size, 1962 Oil on canvas, 67 ⅛ × 72 ⅛ inches (170.3 × 183 cm), Los Angeles County Museum of Art© Ed Ruscha

Ed Ruscha, Actual Size, 1962

Oil on canvas, 67 ⅛ × 72 ⅛ inches (170.3 × 183 cm), Los Angeles County Museum of Art
© Ed Ruscha

Ed Ruscha, Oof, 1963 Oil on canvas, 71 ½ × 67 inches (181.5 × 170.2 cm), Museum of Modern Art, New York© Ed Ruscha

Ed Ruscha, Oof, 1963

Oil on canvas, 71 ½ × 67 inches (181.5 × 170.2 cm), Museum of Modern Art, New York
© Ed Ruscha

Ed Ruscha, Standard Station, Amarillo, Texas, 1963 Oil on canvas, 64 ⅞ × 121 ¾ inches (164.8 × 309.2 cm), Hood Museum of Art, Dartmouth College, Hanover, New Hampshire© Ed Ruscha

Ed Ruscha, Standard Station, Amarillo, Texas, 1963

Oil on canvas, 64 ⅞ × 121 ¾ inches (164.8 × 309.2 cm), Hood Museum of Art, Dartmouth College, Hanover, New Hampshire
© Ed Ruscha

Ed Ruscha, View of the Big Picture, 1963 Colored pencil, ink, and pencil on paper, in 3 parts, each: 22 × 18 inches (55.8 × 45.6 cm), National Gallery of Art, Washington, DC© Ed Ruscha

Ed Ruscha, View of the Big Picture, 1963

Colored pencil, ink, and pencil on paper, in 3 parts, each: 22 × 18 inches (55.8 × 45.6 cm), National Gallery of Art, Washington, DC
© Ed Ruscha

Ed Ruscha, Hurting the Word Radio #2, 1964 Oil on canvas, 59 × 55 inches (149.9 × 139.7 cm)© Ed Ruscha

Ed Ruscha, Hurting the Word Radio #2, 1964

Oil on canvas, 59 × 55 inches (149.9 × 139.7 cm)
© Ed Ruscha

Ed Ruscha, Every Building on the Sunset Strip, 1966 Artist’s book, offset printed, each page: 7 × 5 ½ inches (17.8 × 14 cm), overall: 7 ⅛ × 5 ⅝ × ½ inches (18.1 × 14.3 × 1.1 cm)© Ed Ruscha

Ed Ruscha, Every Building on the Sunset Strip, 1966

Artist’s book, offset printed, each page: 7 × 5 ½ inches (17.8 × 14 cm), overall: 7 ⅛ × 5 ⅝ × ½ inches (18.1 × 14.3 × 1.1 cm)
© Ed Ruscha

Ed Ruscha, So, 1967 Gunpowder on paper, 14 ½ × 23 inches (36.8 × 58.4 cm)© Ed Ruscha

Ed Ruscha, So, 1967

Gunpowder on paper, 14 ½ × 23 inches (36.8 × 58.4 cm)
© Ed Ruscha

Ed Ruscha, Century City, 1800 Avenue of the Stars, 1967/1999, from the portfolio Parking Lots Gelatin silver print held in place with acetate corners to mat board, 20 × 16 inches (50.8 × 40.6 cm); image size: 15 ½ × 15 ½ inches (39.4 × 39.4 cm); window mat: 24 × 24 inches (61 × 61 cm), edition of 35 + 11 AP© Ed Ruscha

Ed Ruscha, Century City, 1800 Avenue of the Stars, 1967/1999, from the portfolio Parking Lots

Gelatin silver print held in place with acetate corners to mat board, 20 × 16 inches (50.8 × 40.6 cm); image size: 15 ½ × 15 ½ inches (39.4 × 39.4 cm); window mat: 24 × 24 inches (61 × 61 cm), edition of 35 + 11 AP
© Ed Ruscha

Ed Ruscha, Hollywood, 1968 Color screen print, 17 ½ × 44 ½ inches (44.5 × 112.9 cm), edition of 100© Ed Ruscha

Ed Ruscha, Hollywood, 1968

Color screen print, 17 ½ × 44 ½ inches (44.5 × 112.9 cm), edition of 100
© Ed Ruscha

Ed Ruscha, Eye, 1969 Oil on canvas, 60 × 54 inches (152.4 × 137.2 cm), Oakland Museum of California© Ed Ruscha

Ed Ruscha, Eye, 1969

Oil on canvas, 60 × 54 inches (152.4 × 137.2 cm), Oakland Museum of California
© Ed Ruscha

Ed Ruscha, Chocolate Room, 1970 Chocolate paste on paper, overall dimensions variableInstallation view, Cotton Puffs, Q-Tips®, Smoke and Mirrors: The Drawings of Ed Ruscha, Museum of Contemporary Art, Los Angeles, October 17, 2004–January 17, 2005© Ed Ruscha

Ed Ruscha, Chocolate Room, 1970

Chocolate paste on paper, overall dimensions variable
Installation view, Cotton Puffs, Q-Tips®, Smoke and Mirrors: The Drawings of Ed Ruscha, Museum of Contemporary Art, Los Angeles, October 17, 2004–January 17, 2005
© Ed Ruscha

Ed Ruscha, Satin, 1971 Rose-petal stain on paper, 23 × 29 inches (58.4 × 73.7 cm)© Ed Ruscha

Ed Ruscha, Satin, 1971

Rose-petal stain on paper, 23 × 29 inches (58.4 × 73.7 cm)
© Ed Ruscha

Ed Ruscha, Scratches on the Film, 1974 Shellac on satin, 36 × 40 inches (91.4 × 101.6 cm), San Francisco Museum of Modern Art© Ed Ruscha

Ed Ruscha, Scratches on the Film, 1974

Shellac on satin, 36 × 40 inches (91.4 × 101.6 cm), San Francisco Museum of Modern Art
© Ed Ruscha

Ed Ruscha, She Sure Knew Her Devotionals, 1976 Pastel on paper, 22 ⅝ × 28 ⅝ inches (57.5 × 72.7 cm), Art Institute of Chicago© Ed Ruscha

Ed Ruscha, She Sure Knew Her Devotionals, 1976

Pastel on paper, 22 ⅝ × 28 ⅝ inches (57.5 × 72.7 cm), Art Institute of Chicago
© Ed Ruscha

Ed Ruscha, I Think I’ll. . . , 1983 Oil on canvas, 53 ¾ × 63 ¾ inches (136.5 × 161.9 cm), National Gallery of Art, Washington, DC© Ed Ruscha

Ed Ruscha, I Think I’ll. . . , 1983

Oil on canvas, 53 ¾ × 63 ¾ inches (136.5 × 161.9 cm), National Gallery of Art, Washington, DC
© Ed Ruscha

Ed Ruscha, Wen Out for Cigrets, 1985 Oil and enamel on canvas, 64 × 64 inches (162.6 × 162.6 cm)© Ed Ruscha

Ed Ruscha, Wen Out for Cigrets, 1985

Oil and enamel on canvas, 64 × 64 inches (162.6 × 162.6 cm)
© Ed Ruscha

Ed Ruscha, Golden Words, 1985 Dry pigment and acrylic on paper, 40 ¼ × 60 ⅛ inches (102.2 × 152.7 cm)© Ed Ruscha

Ed Ruscha, Golden Words, 1985

Dry pigment and acrylic on paper, 40 ¼ × 60 ⅛ inches (102.2 × 152.7 cm)
© Ed Ruscha

Ed Ruscha, Sin—Without, 1991 Acrylic and oil on canvas, 70 × 138 inches (178 × 350.5 cm), Los Angeles County Museum of Art© Ed Ruscha

Ed Ruscha, Sin—Without, 1991

Acrylic and oil on canvas, 70 × 138 inches (178 × 350.5 cm), Los Angeles County Museum of Art
© Ed Ruscha

Ed Ruscha, Blue Collar Tool & Die, 1992 Acrylic on canvas, 52 × 116 inches (132.1 × 294.6 cm), Whitney Museum of American Art, New York© Ed Ruscha

Ed Ruscha, Blue Collar Tool & Die, 1992

Acrylic on canvas, 52 × 116 inches (132.1 × 294.6 cm), Whitney Museum of American Art, New York
© Ed Ruscha

Ed Ruscha, Brave Men Run in My Family [#1], 1988 Acrylic on paper, 60 ⅛ × 40 1¼ inches (152.7 × 102.2 cm)© Ed Ruscha

Ed Ruscha, Brave Men Run in My Family [#1], 1988

Acrylic on paper, 60 ⅛ × 40 1¼ inches (152.7 × 102.2 cm)
© Ed Ruscha

Ed Ruscha, Artists, 1998 Acrylic on paper, 30 ¼ × 39 ½ inches (76.8 × 100.2 cm), Joslyn Art Museum, Omaha, Nebraska© Ed Ruscha

Ed Ruscha, Artists, 1998

Acrylic on paper, 30 ¼ × 39 ½ inches (76.8 × 100.2 cm), Joslyn Art Museum, Omaha, Nebraska
© Ed Ruscha

Ed Ruscha, Beverly at Western, Normandie, and Vermont, 1999 Acrylic on paper, 30 × 40 inches (76.2 × 101.6 cm), Seattle Art Museum© Ed Ruscha

Ed Ruscha, Beverly at Western, Normandie, and Vermont, 1999

Acrylic on paper, 30 × 40 inches (76.2 × 101.6 cm), Seattle Art Museum
© Ed Ruscha

Ed Ruscha, The End #23, 2002 Acrylic and fiber-tip pen on paper, 24 × 30 inches (61 × 76.2 cm), Whitney Museum of American Art, New York© Ed Ruscha

Ed Ruscha, The End #23, 2002

Acrylic and fiber-tip pen on paper, 24 × 30 inches (61 × 76.2 cm), Whitney Museum of American Art, New York
© Ed Ruscha

Ed Ruscha, Bliss Bucket, 2009 Acrylic on canvas, 60 × 60 inches (152.4 × 152.4 cm)© Ed Ruscha

Ed Ruscha, Bliss Bucket, 2009

Acrylic on canvas, 60 × 60 inches (152.4 × 152.4 cm)
© Ed Ruscha

Ed Ruscha, The Old Tool & Die Building, 2004 Acrylic on canvas, 52 × 116 inches (132.1 × 294.6 cm), Whitney Museum of American Art, New York© Ed Ruscha

Ed Ruscha, The Old Tool & Die Building, 2004

Acrylic on canvas, 52 × 116 inches (132.1 × 294.6 cm), Whitney Museum of American Art, New York
© Ed Ruscha

Ed Ruscha, Psycho Spaghetti Western #2, 2010 Acrylic on canvas, 42 × 72 inches (106.7 × 182.9 cm)© Ed Ruscha

Ed Ruscha, Psycho Spaghetti Western #2, 2010

Acrylic on canvas, 42 × 72 inches (106.7 × 182.9 cm)
© Ed Ruscha

Ed Ruscha, Busted Glass, 2014 Dry pigment and acrylic on paper, 15 × 22 ⅜ inches (38.1 × 56.8 cm), de Young, Fine Arts Museums of San Francisco© Ed Ruscha

Ed Ruscha, Busted Glass, 2014

Dry pigment and acrylic on paper, 15 × 22 ⅜ inches (38.1 × 56.8 cm), de Young, Fine Arts Museums of San Francisco
© Ed Ruscha

Ed Ruscha, Dead End 1, 2014 Mixografia print on handmade paper, 24 × 24 inches (61 × 61 cm), edition of 50 + 10 AP© Ed Ruscha

Ed Ruscha, Dead End 1, 2014

Mixografia print on handmade paper, 24 × 24 inches (61 × 61 cm), edition of 50 + 10 AP
© Ed Ruscha

Ed Ruscha, Inch Mile, 2016 Acrylic on museum board, 40 × 60 inches (101.6 × 152.4 cm)© Ed Ruscha

Ed Ruscha, Inch Mile, 2016

Acrylic on museum board, 40 × 60 inches (101.6 × 152.4 cm)
© Ed Ruscha

Ed Ruscha, Really Old, 2016 Acrylic on canvas, 114 × 76 inches (289.6 × 193 cm), Museum Brandhorst, Munich© Ed Ruscha

Ed Ruscha, Really Old, 2016

Acrylic on canvas, 114 × 76 inches (289.6 × 193 cm), Museum Brandhorst, Munich
© Ed Ruscha

Ed Ruscha, TOM SAWYER #1, 2022 Acrylic on canvas, 28 × 39 inches (71.1 × 99.1 cm)© Ed Ruscha. Photo: Jeff McLane

Ed Ruscha, TOM SAWYER #1, 2022

Acrylic on canvas, 28 × 39 inches (71.1 × 99.1 cm)
© Ed Ruscha. Photo: Jeff McLane

About

There are things that I’m constantly looking at that I feel should be elevated to greater status, almost to philosophical status or to a religious status. That’s why taking things out of context is a useful tool to an artist. It’s the concept of taking something that’s not subject matter and making it subject matter.
—Ed Ruscha

At the start of his artistic career, Ed Ruscha called himself an “abstract artist ... who deals with subject matter.” Abandoning academic connotations that came to be associated with Abstract Expressionism, he looked instead to tropes of advertising and brought words—as form, symbol, and material—to the forefront of painting. Working in diverse media with humor and wit, he oscillates between sign and substance, locating the sublime in landscapes both natural and artificial.

In 1956, Ruscha moved from Oklahoma City to Los Angeles, where he attended the Chouinard Art Institute. During his time in art school, he had been painting in the manner of Franz Kline and Willem de Kooning, and came across a reproduction of Jasper Johns’s Target with Four Faces (1955). Struck by Johns’s use of readymade images as supports for abstraction, Ruscha began to consider how he could employ graphics in order to expose painting’s dual identity as both object and illusion. For his first word painting, E.Ruscha (1959), he intentionally miscalculated the space it would take to write his first initial and surname on the canvas, inserting the last two letters, HA, above and indicating the “error” with an arrow. After graduation, Ruscha began to work for ad agencies, honing his skills in schematic design and considering questions of scale, abstraction, and viewpoint, which became integral to his painting and photography. He produced his first artist’s book, Twentysix Gasoline Stations—a series of deadpan photographs the artist took while driving on Route 66 from Los Angeles to Oklahoma City—in 1963. Ruscha since has gone on to create over a dozen artists’ books, including the 25-foot-long, accordion-folded Every Building on the Sunset Strip (1966) and his version of Kerouac's iconic On the Road (2009). Ruscha also paints trompe-l’oeil bound volumes and alters book spines and interiors with painted words: books in all forms pervade his investigations of language and the distribution of art and information.

Ruscha’s paintings of the 1960s explore the noise and the fluidity of language. With works such as OOF (1962–63)—which presents the exclamation in yellow block letters on a blue ground—it is nearly impossible to look at the painting without verbalizing the visual. Since his first exhibition with Gagosian in 1993, Ruscha has had twenty-one solo exhibitions with the gallery, including Custom-Built Intrigue: Drawings 1974–84 (2017), comprising a decade of reverse-stencil drawings of phrases rendered in pastel, dry pigment, and various edible substances, from spinach to carrot juice. The first retrospective of Ruscha’s drawings was held in 2004 at the Whitney Museum of American Art. Ruscha continues to influence contemporary artists worldwide, his formal experimentations and clever use of the American vernacular evolving in form and meaning as technology and internet platforms alter the essence of human communication. Ruscha represented the United States at the 51st Venice Biennale (2005) with Course of Empire, an installation of ten paintings. Inspired by nineteenth century American artist Thomas Cole’s famous painting cycle of the same name, the work alludes to the pitfalls surrounding modernist visions of progress. In 2018 Ruscha’s Course of Empire was presented concurrently with Cole’s at the National Gallery in London.

Ed Ruscha

Photo: Leo Holub/Archives of American Art/Smithsonian Institution, Washington, DC

Website

edruscha.com

Black-and-white photograph: Donald Marron, c. 1984.

Donald Marron

Jacoba Urist profiles the legendary collector.

Alexander Calder poster for McGovern, 1972, lithograph

The Art History of Presidential Campaign Posters

Against the backdrop of the 2020 US presidential election, historian Hal Wert takes us through the artistic and political evolution of American campaign posters, from their origin in 1844 to the present. In an interview with Quarterly editor Gillian Jakab, Wert highlights an array of landmark posters and the artists who made them.

Ed Ruscha, At That, 2020, dry pigment and acrylic on paper.

“Things Fall Apart”: Ed Ruscha’s Swiped Words

Lisa Turvey examines the range of effects conveyed by the blurred phrases in recent drawings by the artist, detailing the ways these words in motion evoke the experience of the current moment.

Andy Warhol cover design for the magazine Aspen 1, no. 3.

Artists’ Magazines

Gwen Allen recounts her discovery of cutting-edge artists’ magazines from the 1960s and 1970s and explores the roots and implications of these singular publications.

A painting with gold frame by Louis Michel Eilshemius. Landscape with single figure.

Eilshemius and Me: An Interview with Ed Ruscha

Ed Ruscha tells Viet-Nu Nguyen and Leta Grzan how he first encountered Louis Michel Eilshemius’s paintings, which of the artist’s aesthetic innovations captured his imagination, and how his own work relates to and differs from that of this “Neglected Marvel.”

River Café menu with illustration by Ed Ruscha.

The River Café Cookbook

London’s River Café, a culinary mecca perched on a bend in the River Thames, celebrated its thirtieth anniversary in 2018. To celebrate this milestone and the publication of her cookbook River Café London, cofounder Ruth Rogers sat down with Derek Blasberg to discuss the famed restaurant’s allure.

The cover of the Fall 2019 Gagosian Quarterly magazine. Artwork by Nathaniel Mary Quinn

Now available
Gagosian Quarterly Fall 2019

The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.

The artist Ed Ruscha discussing his work.

Ed Ruscha: A Long Way from Oklahoma

In conjunction with his exhibition VERY at Louisiana Museum of Modern Art in Humlebæk, Denmark, Ed Ruscha sat down with Kasper Bech Dyg to discuss his work.

Rachel Whiteread, Untitled (Notre-Dame), 2019.

For Notre-Dame

An exhibition at Gagosian, Paris, is raising funds to aid in the reconstruction of the Cathédrale Notre-Dame de Paris following the devastating fire of April 2019. Gagosian directors Serena Cattaneo Adorno and Jean-Olivier Després spoke to Jennifer Knox White about the generous response of artists and others, and what the restoration of this iconic structure means across the world.

Anselm Kiefer, Maginot, 1977–93.

Veil and Vault

An exhibition at the Broad in Los Angeles prompts James Lawrence to examine how artists give shape and meaning to the passage of time, and how the passage of time shapes our evolving accounts of art.

Course of Empire

Course of Empire

Ed Ruscha sat down with Tom McCarthy and Elizabeth Kornhauser, curator at the Metropolitan Museum of Art, to discuss the nineteenth-century artist Thomas Cole, whose Course of Empire paintings inspired a series of works by Ruscha more than a century later.

Gagosian Quarterly Winter 2018

Gagosian Quarterly Winter 2018

The Winter 2018 issue of Gagosian Quarterly is now available. Our cover this issue comes from High Times, a new body of work by Richard Prince.

Fairs, Events & Announcements

Jennifer Guidi, Into the Expanse of the Sky, 2024 © Jennifer Guidi

Auction

Iovine and Young Center for High School Education Benefit Auction

Online auction: February 13–27, 2024
Live auction: February 27, 2024

This online benefit auction, hosted by Sotheby’s for the Iovine and Young Center for High School Education, features eleven donated works by contemporary artists including Jennifer Guidi and Ed Ruscha. The Iovine and Young Center is part of the Los Angeles Unified School District, and all proceeds from the sale will directly support its educational programming and contribute to the advancement of its impactful initiatives.

Jennifer Guidi, Into the Expanse of the Sky, 2024 © Jennifer Guidi

Gagosian’s booth at ART SG 2024. Artwork, left to right: © ADAGP, Paris, 2024, © Jonas Wood, © Rick Lowe Studio. Photo: Ringo Cheung

Art Fair

ART SG 2024

January 19–21, 2024, booth BC06
Marina Bay Sands Expo and Convention Centre, Singapore
artsg.com

Gagosian is pleased to participate in the second edition of ART SG, with a selection of works by international contemporary artists including Harold Ancart, Georg Baselitz, Ashley Bickerton, Amoako Boafo, Dan Colen, Edmund de Waal, Nan Goldin, Lauren Halsey, Hao Liang, Keith Haring, Damien Hirst, Tetsuya Ishida, Alex Israel, Donald Judd, Y.Z. Kami, Emily Kame Kngwarreye, Rick Lowe, Takashi Murakami, Takashi Murakami & Virgil Abloh, Nam June Paik, Ed Ruscha, Jim Shaw, Alexandria Smith, Spencer Sweeney, Stanley Whitney, Jonas Wood, and Zeng Fanzhi. The works on view, which embrace a wide variety of subjects and approaches, find artists infusing traditional genres such as history painting, portraiture, and landscape with new and surprising ideas that traverse cultural and temporal boundaries. 

Gagosian’s booth at ART SG 2024. Artwork, left to right: © ADAGP, Paris, 2024, © Jonas Wood, © Rick Lowe Studio. Photo: Ringo Cheung

Gagosian’s booth at West Bund Art & Design 2023. Artwork, left to right: © Zeng Fanzhi; © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2023; © Spencer Sweeney; © Yayoi Kusama. Photo: Alessandro Wang

Art Fair

West Bund Art & Design 2023

November 9–12, 2023, booth A102
West Bund Art Center, Shanghai
www.westbundshanghai.com

Gagosian is pleased to participate in West Bund Art & Design with an extensive group presentation. The gallery will exhibit works by Harold Ancart, Georg Baselitz, Glenn Brown, Urs Fischer, Katharina Grosse, Hao Liang, Damien Hirst, Thomas Houseago, Alex Israel, Jia Aili, Anish Kapoor, Yayoi Kusama, Takashi Murakami, Takashi Murakami & Virgil Abloh, Albert Oehlen, Nam June Paik, Ed Ruscha, Alexandria Smith, Spencer Sweeney, Cameron Welch, Jonas Wood, and Zeng Fanzhi.

Gagosian’s booth at West Bund Art & Design 2023. Artwork, left to right: © Zeng Fanzhi; © Katharina Grosse and VG Bild-Kunst, Bonn, Germany 2023; © Spencer Sweeney; © Yayoi Kusama. Photo: Alessandro Wang

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Museum Exhibitions

Ed Ruscha, Honey . . . . I Twisted Through More Damned Traffic to Get Here, 1984, The Broad, Los Angeles © Ed Ruscha

On View

Desire, Knowledge, and Hope (with Smog)

Through April 7, 2024
The Broad, Los Angeles
www.thebroad.org

Desire, Knowledge, and Hope (with Smog) is drawn entirely from the Broad collection and showcases works by Los Angeles–based artists. Titled after a work by John Baldessari, the exhibition includes reflections on Los Angeles as a city in flux and turmoil, and on societal issues that extend far beyond the city. Featuring more than sixty works made from 1969 to 2023, it brings together photorealistic painting, photography, sculpture, and political signage by twenty-one artists across varying generations. Work by Mark Grotjahn, Alex Israel, Ed Ruscha, and Jonas Wood is included.

Ed Ruscha, Honey . . . . I Twisted Through More Damned Traffic to Get Here, 1984, The Broad, Los Angeles © Ed Ruscha

Ed Ruscha, Victory, 1987, Carnegie Museum of Art, Pittsburgh © Ed Ruscha

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The Milton and Sheila Fine Collection

November 18, 2023–March 17, 2024
Carnegie Museum of Art, Pittsburgh
carnegieart.org

Milton and Sheila Fine have been longtime advocates and supporters of the arts in their philanthropy throughout the Pittsburgh region. Promised to Carnegie Museum of Art in 2015, their collection of contemporary painting, sculpture, photography, and drawing reflects their interest in American and German art from the 1980s to the 2000s. This exhibition, which is presented as a celebration and remembrance of Milton Fine, who passed away in 2019, foregrounds the importance and impact of the gift. Work by Richard Artschwager, Georg Baselitz, Mark Grotjahn, Donald Judd, Brice Marden, David ReedEd Ruscha, Richard SerraJeff Wall, and Christopher Wool is included.

Ed Ruscha, Victory, 1987, Carnegie Museum of Art, Pittsburgh © Ed Ruscha

Franz West, Paravents, 2010, Museum für Moderne Kunst, Frankfurt am Main, Germany © Archiv Franz West, © Estate Franz West. Photo: Wolfgang Günzel

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Paraventi
Folding Screens from the 17th to 21st Centuries

October 26, 2023–February 22, 2024
Fondazione Prada, Milan
www.fondazioneprada.org

This exhibition investigates the histories and semantics of folding screens by tracing trajectories of cross-pollination between the East and the West, processes of hybridization between different art forms and functions, collaborations between designers and artists, and the emergence of new works. Paraventi presents more than seventy folding screens as well as a selection of contemporary projects, commissioned specifically for this show, by more than fifteen international artists. Work by Francis Bacon, Man Ray, Pablo PicassoJean Prouvé, Ed RuschaCy Twombly, and Franz West is included.

Franz West, Paravents, 2010, Museum für Moderne Kunst, Frankfurt am Main, Germany © Archiv Franz West, © Estate Franz West. Photo: Wolfgang Günzel

Rudolf Stingel, Untitled, 2001–02, Museo Jumex, Mexico City © Rudolf Stingel

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Colección Jumex
Todo Se Vuelve Más Ligero

November 18, 2023–February 11, 2024
Museo Jumex, Mexico City
www.fundacionjumex.org

To celebrate its tenth anniversary, Museo Jumex has invited Lisa Phillips, director of the New Museum, New York, to curate an exhibition drawn entirely from the Jumex collection and occupying the whole building. Featuring work by more than seventy international artists, the exhibition, whose title translates to Everything Gets Lighter, brings together diverse works in a poetic meditation on the meaning of light and manifestations of lightness. Work by Damien Hirst, Steven Parrino, Ed Ruscha, and Rudolf Stingel is included.

Rudolf Stingel, Untitled, 2001–02, Museo Jumex, Mexico City © Rudolf Stingel

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Press

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