Gagosian is pleased to present Custom-Built Intrigue: Drawings 1974–1984, an exhibition of key text drawings by Ed Ruscha. Many of these historical gems have been brought together thanks to generous loans from private and institutional collections.
Throughout decades of formal experimentation, Ruscha has explored the role of language in painting, drawing, photography, printmaking, and bookmaking through a singular, sometimes oblique use of words. From the mid-1970s to the mid-1980s, he honed his distinctive drawing practice to create some of the most compelling works of his career. The text drawings from this period, exquisitely rendered in pastel, dry pigment, and various edible substances, from spinach to carrot juice, bridge the spirited Pop art for which Ruscha first gained renown with the cerebral Conceptualism to which his work was essential.
The exhibition features a decade of drawings (1974–1984) towards the end of which Ruscha reintroduces the element of imagery. With the inclusion of one work on paper from 1986, we can see a clear shift to another stage of his drawing practice.
Drawing has long been considered the most direct process by which thought is transferred into image, but Ruscha almost completely conceptualizes his images prior to making them. Using a reverse-stenciling graphic technique, Ruscha cuts out stencils in the shape of letters and places them on paper. He then applies pigment around the covered area with unconventional tools, such as cotton puffs and Q-tips, to create his typography utilizing negative space rather than line. Selectively trawling words and phrases from the American vernacular with little regard to their prescribed meaning or intention, Ruscha subverts the symbolic system of language altogether. Words and phrases severed from specific time, location, or context resonate with just as much vitality and pathos as when the drawings were created.
Custom-Built Intrigue (1981) combines vibrant colors and dynamic lingo with a flare of California cool, fusing the mythic cars of LA’s hot-rod culture (custom-built) with the complex plots of the silver screen (intrigue). In this drawing, Ruscha additionally describes his own creative process of combining words as reusable parts, producing a complex and enigmatic composite of meanings. In two drawings from 1976, Find Contact Lens at Bottom of Swimming Pool and Thick Blocks of Musical Fudge, richly sensorial words emerge from almost palpable hues. Find Contact Lens at Bottom of Swimming Pool evocatively describes a nearly impossible task: the dappled aquamarine surface conjures sunlight striking water, beneath which the missing contact lens supposedly lurks. Thick Blocks of Musical Fudge exemplifies Ruscha’s formal and linguistic mastery, whereby sound and taste are conflated in a sumptuous synesthetic experience. The words coax the textures and smells of rich confectionery out of the deep brown pastel ground. He Enjoys the Co. of Women is classic Ruscha; its droll use of colloquial and abbreviated language creates an open narrative with an economy of means.
Ruscha’s protean drawings have a renewed potency in an era when talking heads, Internet memes, and 140-character tweets corrode and constrict social channels of imagination, communication, and interpretation.
A fully illustrated catalogue with an essay by Lisa Turvey, editor of the Ed Ruscha Catalogue Raisonné of the Works on Paper, will be published to accompany the exhibition.
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
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.
Ed Ruscha and Joanne Northrup
Ed Ruscha sat down with JoAnne Northrup of the Nevada Museum of Art to discuss the exhibition Unsettled, which the two co-curated.
Art and Food
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.
Ed Ruscha | Jonas Wood
Notepads, Holograms and Books
March 30–June 17, 2017
Extremes and In-betweens
October 5–December 17, 2016
Grosvenor Hill, London
Books & Co.
July 28–September 9, 2016
Prints and Photographs
July 28–September 9, 2016