Flags
Gillian Pistell writes on the loaded symbol of the American flag in the work of postwar and contemporary artists.
Gagosian, in conjunction with Steidl Verlag, is pleased to present Ed Ruscha: Then & Now, a set of photographic prints that documents Hollywood Boulevard, first in 1973 and then thirty-one years later in 2004. This exhibition also marks the ten-year anniversary of Gagosian Beverly Hills.
Between 1962 and 1978, Ed Ruscha produced seventeen influential artist’s books, usually self-published and in small print runs. Perhaps the most well known of these books is Every Building on the Sunset Strip, published in 1966, which shows a famous stretch along Sunset Boulevard in Los Angeles. In 1973, Ruscha followed the same procedure, this time documenting Hollywood Boulevard, producing two continuous panoramic views of the north and south sides of the street. Loading a continuous strip of black-and-white 35mm film into his motor-drive Nikon F2 and then mounting it on a tripod in the bed of a pickup truck, Ruscha drove back and forth across the entire length of the street, shooting it frame by frame. The negatives were developed, but never published.
In 2004, the artist reshot Hollywood Boulevard. The same type of camera equipment was used to rephotograph the street, but this time on 35mm color-negative film. In Then & Now, the original 1973 panoramic images run parallel to their 2004 versions, documenting the changes that have occurred over three decades.
This time the photos are in color, but that is a small difference compared with the many buildings which have changed, been altered, disappeared. The famous Grauman’s Chinese Theatre with its sidewalk of movie stars’ hand and footprints is now a large complex with a giant archway; parking lots lay where buildings once rose; mom and pop shops are now chains. Hollywood Boulevard’s sedate, old-style glamour of 1973 has a new facade of uniformity and tourist amnesia.
—Karen Marta, Domus, September 2005
This Ed Ruscha multiple is a set of 142 photographic prints housed in a handmade wooden crate signed and numbered in an edition of 10 (with 6 AP).
Gillian Pistell writes on the loaded symbol of the American flag in the work of postwar and contemporary artists.
Jacoba Urist profiles the legendary collector.
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.
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.
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.
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.”
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 Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
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.
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.
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.
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.
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.
The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.
Ed Ruscha sat down with JoAnne Northrup of the Nevada Museum of Art to discuss the exhibition Unsettled, which the two co-curated.
Mary Ann Caws and Charles Stuckey discuss the presence of food and the dining table in the history of modern art.
Diana Widmaier Picasso, curator of the exhibition Desire, reflects on the history of eroticism in art.
Ed Ruscha’s Burning Gas Station (1965–66) was a game changer. Text by Larry Gagosian.
The High Line Art Program’s Cecilia Alemani discusses Ed Ruscha’s mural.