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Ed Ruscha

Prints and Photographs

July 28–September 9, 2016
Beverly Hills

Installation video Play Button

Installation video

Installation view Photo: Jeff McLane

Installation view

Photo: Jeff McLane

Installation view Photo: Jeff McLane

Installation view

Photo: Jeff McLane

Installation view Photo: Jeff McLane

Installation view

Photo: Jeff McLane

Works Exhibited

Ed Ruscha, Periods, 2013 Lithograph, 28 ¾ × 28 inches (73 × 71.1 cm), edition of 60© Ed Ruscha

Ed Ruscha, Periods, 2013

Lithograph, 28 ¾ × 28 inches (73 × 71.1 cm), edition of 60
© Ed Ruscha

Ed Ruscha, Parking Lots (Dodgers Stadium, 1000 Elysian Park Ave.), 1967/1999 One of thirty gelatin silver prints, archival artist's crate, image: 15 ½ × 15 ½ inches (39.4 × 39.4 cm), edition of 35© Ed Ruscha

Ed Ruscha, Parking Lots (Dodgers Stadium, 1000 Elysian Park Ave.), 1967/1999

One of thirty gelatin silver prints, archival artist's crate, image: 15 ½ × 15 ½ inches (39.4 × 39.4 cm), edition of 35
© Ed Ruscha

Ed Ruscha, clockwise from top left: Standard Station, 1966; Cheese Mold Standard with Olive, 1969; with Mason Williams, Double Standard, 1969; and Mocha Standard, 1969 Screenprints on paper; clockwise from top left: 25 ⅝ × 40 inches (65.1 × 101.6 cm), 25 ¾ × 40 ⅛ inches (65.4 × 101.9 cm), 25 ¾ × 40 inches (65.4 × 101.6 cm), and 24 ⅞ × 40 inches (63.2 × 101.6 cm); edition of 50, 150, 40, and 100© Ed Ruscha

Ed Ruscha, clockwise from top left: Standard Station, 1966; Cheese Mold Standard with Olive, 1969; with Mason Williams, Double Standard, 1969; and Mocha Standard, 1969

Screenprints on paper; clockwise from top left: 25 ⅝ × 40 inches (65.1 × 101.6 cm), 25 ¾ × 40 ⅛ inches (65.4 × 101.9 cm), 25 ¾ × 40 inches (65.4 × 101.6 cm), and 24 ⅞ × 40 inches (63.2 × 101.6 cm); edition of 50, 150, 40, and 100
© Ed Ruscha

About

Gagosian is pleased to present Ed Ruscha Prints and Photographs, a survey of Ruscha’s prints over forty years, together with rarely seen photographs produced since 1959. It is organized by Gagosian director Bob Monk and follows earlier iterations at Gagosian New York and Paris during the last two years. The exhibition will be presented in conjunction with Ed Ruscha Books & Co.

Ranging freely across materials both traditional and unconventional, Ruscha’s printmaking is a fluid forum for his spirited investigation of what a limited-edition artwork can be. Attracted to the reproducibility and happy accidents specific to the medium, Ruscha began making lithographic editions in the early 1960s, infusing the Pop and Conceptual sensibilities of the time with vernacular wit and melancholy. His exquisitely refined prints engage a breadth of formal themes, from text and typography to still life and quotidian architecture, played out in a spirit of rigorous yet restless experimentation.

The quartet of gas station prints—Standard Station, Mocha Standard, Cheese Mold Standard with Olive, and Double Standard (1966–69)—merges Euclidean space with Renaissance perspective and wordplay, while depictions of the Hollywood sign and its surrounding hills convey an attitude about the region’s landscape, at once scientific and romantic, natural and artificial. “‘Hollywood’ is like a verb to me,” Ruscha once commented. “It’s something you can do to any subject or anything.” His prints of the past four decades are random yet refined expressions of this unrestricted approach.

In the screenprint portfolio News, Mews, Pews, Brews, Stews, Dues (1970), rhyming words appear in Gothic type, printed in edible substances such as pie fillings, Bolognese sauce, caviar, and chocolate syrup. Each word alludes to Ruscha’s impressions of England: “News” symbolizes “a tabloid-minded country,” while “Stews,” made from baked beans, strawberries, chutney, and other foodstuffs, sums up British cooking. During the production of his second short film Miracle (1975), Ruscha used photography as the basis for prints for the first time: the incongruously titled Tropical Fish series of the same year presents banal tabletop still lifes against lustrous fabrics, from Air, Water, Fire—featuring a bicycle pump, seltzer bottle, and Satan statuette—to the chocolates, raw cuts, and bedsheets of Sweets, Meats, Sheets.

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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–October 4, 2020. Artwork © Ed Ruscha

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Ed Ruscha
Drum Skins

May 28–June 30, 2020

Gagosian is pleased to present recent paintings by Ed Ruscha online for galleryplatform.laFifty 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–October 4, 2020. Artwork © Ed Ruscha