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Ed Ruscha

Books & Co.

March 5–April 27, 2013
980 Madison Avenue, New York

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Installation video

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Installation view Photo: Rob McKeever

Installation view

Photo: Rob McKeever

Works Exhibited

Ed Ruscha, Twentysix Gasoline Stations, 1970 Lithograph on white Arches paper with torn and deckle edges, 16 × 20 inches (40.6 × 50.8 cm), edition of 30© Ed Ruscha

Ed Ruscha, Twentysix Gasoline Stations, 1970

Lithograph on white Arches paper with torn and deckle edges, 16 × 20 inches (40.6 × 50.8 cm), edition of 30
© Ed Ruscha

About

I want to be the Henry Ford of book making.
—Ed Ruscha

Gagosian is pleased to present an exhibition of Ed Ruscha’s legendary artist’s books together with books and works of art by more than a hundred contemporary artists that respond directly and diversely to Ruscha’s original project. Organized by Bob Monk, Ed Ruscha Books & Co. has been drawn from private collections, including Ruscha’s own. Most of the books are installed so that viewers can interact with them and browse their pages.

Inspired by the unassuming books that he found on street stalls during a trip to Europe, in 1962 Ruscha published his first artist’s book, Twentysix Gasoline Stations, under his own imprint, National Excelsior Press. A slim, cheaply produced volume, then priced at $3.50, Twentysix Gasoline Stations did exactly what its title suggests, reproducing twenty-six photographs of gasoline stations next to captions indicating their brand and location. All of the stations were on Route 66, the road mythologized by the eponymous TV series and in John Steinbeck’s The Grapes of Wrath. Ruscha’s book traveled more or less west to east, from the first service station in Los Angeles, where he moved as a young man, back to Oklahoma City, where he grew up.

Initially, the book received a poor reception, rejected by the Library of Congress for its “unorthodox form and supposed lack of information.” However, during the ’60s it acquired cult status, and by the ’80s it was hailed as one of the first truly modern artist’s books. Ruscha followed up Twentysix Gasoline Stations (1962) with a succession of kindred publications, including Some Los Angeles Apartments (1965), Nine Swimming Pools and a Broken Glass (1968), and Real Estate Opportunities (1970), all of which combined the literalness of early California Ppop art with a deadpan photographic aesthetic informed by Minimalist sequence and seriality.

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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 “Neglected Marvel,” Eilshemius.

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.

News

Installation view, Ed Ruscha: Drum Skins, Blanton Museum of Art, Austin, Texas, January 11–July 12, 2020. Artwork © Ed Ruscha

galleryplatform.la

Ed Ruscha
Drum Skins

May 28–June 30, 2020

Gagosian is pleased to present recent paintings by Ed Ruscha online for galleryplatform.la. Fifty years ago, Ruscha purchased a set of vellum drum skins from a leather shop in Los Angeles. He has continued to collect these vintage objects, and since 2011 he has used them as canvases for the works on view in his solo exhibition Drum Skins at the Blanton Museum of Art in Austin, Texas. Due to the ongoing health crisis, the museum is currently closed.

Installation view, Ed Ruscha: Drum Skins, Blanton Museum of Art, Austin, Texas, January 11–July 12, 2020. Artwork © Ed Ruscha