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Ed Ruscha | Jonas Wood

Notepads, Holograms and Books

March 30–June 17, 2017
San Francisco

Installation view Artwork, left to right: © Jonas Wood, © Ed Ruscha. Photo: Johnna Arnold

Installation view

Artwork, left to right: © Jonas Wood, © Ed Ruscha. Photo: Johnna Arnold

Installation view Artwork © Ed Ruscha. Photo: Johnna Arnold

Installation view

Artwork © Ed Ruscha. Photo: Johnna Arnold

Installation view Artwork © Ed Ruscha. Photo: Johnna Arnold

Installation view

Artwork © Ed Ruscha. Photo: Johnna Arnold

Installation view Artwork © Ed Ruscha. Photo: Johnna Arnold

Installation view

Artwork © Ed Ruscha. Photo: Johnna Arnold

Installation view Artwork, left to right: © Ed Ruscha, © Jonas Wood. Photo: Johnna Arnold

Installation view

Artwork, left to right: © Ed Ruscha, © Jonas Wood. Photo: Johnna Arnold

Installation view Artwork © Ed Ruscha. Photo: Johnna Arnold

Installation view

Artwork © Ed Ruscha. Photo: Johnna Arnold

Installation view Artwork © Ed Ruscha. Photo: Johnna Arnold

Installation view

Artwork © Ed Ruscha. Photo: Johnna Arnold

Installation view Artwork, front to back: © Ed Ruscha, © Jonas Wood. Photo: Johnna Arnold

Installation view

Artwork, front to back: © Ed Ruscha, © Jonas Wood. Photo: Johnna Arnold

Installation view Artwork, left to right: © Ed Ruscha, © Jonas Wood. Photo: Johnna Arnold

Installation view

Artwork, left to right: © Ed Ruscha, © Jonas Wood. Photo: Johnna Arnold

Installation view Artwork © Jonas Wood. Photo: Johnna Arnold

Installation view

Artwork © Jonas Wood. Photo: Johnna Arnold

Installation view Artwork © Jonas Wood. Photo: Johnna Arnold

Installation view

Artwork © Jonas Wood. Photo: Johnna Arnold

Installation view Artwork © Jonas Wood. Photo: Johnna Arnold

Installation view

Artwork © Jonas Wood. Photo: Johnna Arnold

Installation view Artwork © Jonas Wood. Photo: Johnna Arnold

Installation view

Artwork © Jonas Wood. Photo: Johnna Arnold

Installation view Artwork © Ed Ruscha. Photo: Johnna Arnold

Installation view

Artwork © Ed Ruscha. Photo: Johnna Arnold

Installation view Artwork, left to right: © Jonas Wood, © Ed Ruscha. Photo: Johnna Arnold

Installation view

Artwork, left to right: © Jonas Wood, © Ed Ruscha. Photo: Johnna Arnold

Installation view Artwork © Jonas Wood. Photo: Johnna Arnold

Installation view

Artwork © Jonas Wood. Photo: Johnna Arnold

Installation view Artwork, left to right: © Ed Ruscha, © Jonas Wood. Photo: Johnna Arnold

Installation view

Artwork, left to right: © Ed Ruscha, © Jonas Wood. Photo: Johnna Arnold

Installation view Artwork, left to right: © Ed Ruscha, © Jonas Wood. Photo: Johnna Arnold

Installation view

Artwork, left to right: © Ed Ruscha, © Jonas Wood. Photo: Johnna Arnold

Installation view Artwork © Ed Ruscha. Photo: Johnna Arnold

Installation view

Artwork © Ed Ruscha. Photo: Johnna Arnold

Works Exhibited

Ed Ruscha, The End #1–#4, 1998–2016 Holograms, set of 4, each: 11 × 14 inches (27.9 × 35.6 cm), edition of 23 + 2 PP© Ed Ruscha. Photo: Fredrik Nilsen

Ed Ruscha, The End #1–#4, 1998–2016

Holograms, set of 4, each: 11 × 14 inches (27.9 × 35.6 cm), edition of 23 + 2 PP
© Ed Ruscha. Photo: Fredrik Nilsen

Ed Ruscha, The End #1–#4, 1998–2016 (detail) Holograms, set of 4, each: 11 × 14 inches (27.9 × 35.6 cm), edition of 23 + 2 PP© Ed Ruscha. Photo: Fredrik Nilsen

Ed Ruscha, The End #1–#4, 1998–2016 (detail)

Holograms, set of 4, each: 11 × 14 inches (27.9 × 35.6 cm), edition of 23 + 2 PP
© Ed Ruscha. Photo: Fredrik Nilsen

Ed Ruscha, The End #1–#4, 1998–2016 (detail) Holograms, set of 4, 11 × 14 inches (27.9 × 35.6 cm), edition of 23 + 2 PP© Ed Ruscha. Photo: Fredrik Nilsen

Ed Ruscha, The End #1–#4, 1998–2016 (detail)

Holograms, set of 4, 11 × 14 inches (27.9 × 35.6 cm), edition of 23 + 2 PP
© Ed Ruscha. Photo: Fredrik Nilsen

Ed Ruscha, Oh No, 2011 Hand-drilled intaglio on gilt-edged book (The New Lexicon Webster’s Dictionary of the English Language, 1988 edition), 11 × 8 ⅝ × 3 ⅛ inches (27.9 × 21.9 × 7.9 cm)© Ed Ruscha. Photo: Paul Ruscha

Ed Ruscha, Oh No, 2011

Hand-drilled intaglio on gilt-edged book (The New Lexicon Webster’s Dictionary of the English Language, 1988 edition), 11 × 8 ⅝ × 3 ⅛ inches (27.9 × 21.9 × 7.9 cm)
© Ed Ruscha. Photo: Paul Ruscha

Ed Ruscha, Baby Jet, 2010 Acrylic on book cover (Geschichten und Marchen, 1929 edition), 7 ⅜ × 5 ⅛ × ¾ inches (18.7 × 13 × 1.9 cm)© Ed Ruscha. Photo: Paul Ruscha

Ed Ruscha, Baby Jet, 2010

Acrylic on book cover (Geschichten und Marchen, 1929 edition), 7 ⅜ × 5 ⅛ × ¾ inches (18.7 × 13 × 1.9 cm)
© Ed Ruscha. Photo: Paul Ruscha

Ed Ruscha, Starbrats Open Book, 2003 Acrylic on linen, 18 × 24 inches (45.7 × 61 cm)© Ed Ruscha. Photo: Paul Ruscha

Ed Ruscha, Starbrats Open Book, 2003

Acrylic on linen, 18 × 24 inches (45.7 × 61 cm)
© Ed Ruscha. Photo: Paul Ruscha

Jonas Wood, Untitled (V), 2017 Colored pencil on paper, 9 × 6 ¼ inches (22.9 × 15.9 cm)© Jonas Wood

Jonas Wood, Untitled (V), 2017

Colored pencil on paper, 9 × 6 ¼ inches (22.9 × 15.9 cm)
© Jonas Wood

Jonas Wood, Untitled Drawing, 2016 Colored pencil on paper, 9 ⅛ × 6 ⅛ inches (23.3 × 15.6 cm)© Jonas Wood

Jonas Wood, Untitled Drawing, 2016

Colored pencil on paper, 9 ⅛ × 6 ⅛ inches (23.3 × 15.6 cm)
© Jonas Wood

Jonas Wood, Larry Cicada, 2016 Pen on paper, 9 ¼ × 6 ⅛ inches (23.5 × 15.6 cm)© Jonas Wood

Jonas Wood, Larry Cicada, 2016

Pen on paper, 9 ¼ × 6 ⅛ inches (23.5 × 15.6 cm)
© Jonas Wood

Jonas Wood, Untitled Drawing 2, 2016 Colored pencil on paper, 6 ½ × 4 ½ inches (16.5 × 11.4 cm)© Jonas Wood

Jonas Wood, Untitled Drawing 2, 2016

Colored pencil on paper, 6 ½ × 4 ½ inches (16.5 × 11.4 cm)
© Jonas Wood

Jonas Wood, Untitled (2 Tennis Balls), 2016 Colored pencil on paper, 6 ½ × 4 ½ inches (16.5 × 11.4 cm)© Jonas Wood

Jonas Wood, Untitled (2 Tennis Balls), 2016

Colored pencil on paper, 6 ½ × 4 ½ inches (16.5 × 11.4 cm)
© Jonas Wood

Jonas Wood, Untitled (P131), 2011 Pen on paper, 6 ½ × 4 ½ inches (16.5 × 11.4 cm)© Jonas Wood

Jonas Wood, Untitled (P131), 2011

Pen on paper, 6 ½ × 4 ½ inches (16.5 × 11.4 cm)
© Jonas Wood

Jonas Wood, Untitled (Seated Male Figure), 2009 Pen on paper, 6 ½ × 4 ½ inches (16.5 × 11.4 cm)© Jonas Wood

Jonas Wood, Untitled (Seated Male Figure), 2009

Pen on paper, 6 ½ × 4 ½ inches (16.5 × 11.4 cm)
© Jonas Wood

Jonas Wood, Untitled (Greek Spirals), 2007 Pen on paper, 6 ½ × 4 ½ inches (16.5 × 11.4 cm)© Jonas Wood

Jonas Wood, Untitled (Greek Spirals), 2007

Pen on paper, 6 ½ × 4 ½ inches (16.5 × 11.4 cm)
© Jonas Wood

Jonas Wood, LG NPP #1, 2017 Screenprint and oil on canvas, 93 × 61 inches (236.2 × 154.9 cm)© Jonas Wood. Photo: Brian Forrest

Jonas Wood, LG NPP #1, 2017

Screenprint and oil on canvas, 93 × 61 inches (236.2 × 154.9 cm)
© Jonas Wood. Photo: Brian Forrest

Jonas Wood, LG NPP #2, 2017 Screenprint and oil on canvas, 93 × 61 inches (236.2 × 154.9 cm)© Jonas Wood. Photo: Brian Forrest

Jonas Wood, LG NPP #2, 2017

Screenprint and oil on canvas, 93 × 61 inches (236.2 × 154.9 cm)
© Jonas Wood. Photo: Brian Forrest

Jonas Wood, Maritime NPP #2, 2017 Screenprint and oil on canvas, 76 × 52 inches (193 × 132.1 cm)© Jonas Wood. Photo: Brian Forrest

Jonas Wood, Maritime NPP #2, 2017

Screenprint and oil on canvas, 76 × 52 inches (193 × 132.1 cm)
© Jonas Wood. Photo: Brian Forrest

Jonas Wood, WKS NPP #3, 2017 Screenprint on oil and canvas, 76 × 52 inches (193 × 132.1 cm)© Jonas Wood. Photo: Brian Forrest

Jonas Wood, WKS NPP #3, 2017

Screenprint on oil and canvas, 76 × 52 inches (193 × 132.1 cm)
© Jonas Wood. Photo: Brian Forrest

Jonas Wood, Maritime NPP #1, 2017 Screenprint and oil on canvas, 76 × 52 inches (193 × 132.1 cm)© Jonas Wood. Photo: Brian Forrest

Jonas Wood, Maritime NPP #1, 2017

Screenprint and oil on canvas, 76 × 52 inches (193 × 132.1 cm)
© Jonas Wood. Photo: Brian Forrest

Jonas Wood, GG London NPP #1, 2017 Screenprint and oil on canvas, 93 × 61 inches (236.2 × 154.9 cm)© Jonas Wood. Photo: Brian Forrest

Jonas Wood, GG London NPP #1, 2017

Screenprint and oil on canvas, 93 × 61 inches (236.2 × 154.9 cm)
© Jonas Wood. Photo: Brian Forrest

Jonas Wood, WKS NPP #2, 2017 Screenprint and oil on canvas, 76 × 52 inches (193 × 132.1 cm)© Jonas Wood. Photo: Brian Forrest

Jonas Wood, WKS NPP #2, 2017

Screenprint and oil on canvas, 76 × 52 inches (193 × 132.1 cm)
© Jonas Wood. Photo: Brian Forrest

Jonas Wood, Maritime NPP #3, 2017 Screenprint and oil on canvas, 76 × 52 inches (193 × 132.1 cm)© Jonas Wood. Photo: Brian Forrest

Jonas Wood, Maritime NPP #3, 2017

Screenprint and oil on canvas, 76 × 52 inches (193 × 132.1 cm)
© Jonas Wood. Photo: Brian Forrest

Jonas Wood, WKS NPP #1, 2017 Screenprint and oil on canvas, 76 × 52 inches (193 × 132.1 cm)© Jonas Wood. Photo: Brian Forrest

Jonas Wood, WKS NPP #1, 2017

Screenprint and oil on canvas, 76 × 52 inches (193 × 132.1 cm)
© Jonas Wood. Photo: Brian Forrest

Jonas Wood, GG London NPP #2, 2017 Screenprint and oil on canvas, 93 × 61 inches (236.2 × 154.9 cm)© Jonas Wood. Photo: Brian Forrest

Jonas Wood, GG London NPP #2, 2017

Screenprint and oil on canvas, 93 × 61 inches (236.2 × 154.9 cm)
© Jonas Wood. Photo: Brian Forrest

Jonas Wood, GG HK NPP #1, 2017 Screenprint and oil on canvas, 93 × 61 inches (236.2 × 154.9 cm)© Jonas Wood. Photo: Brian Forrest

Jonas Wood, GG HK NPP #1, 2017

Screenprint and oil on canvas, 93 × 61 inches (236.2 × 154.9 cm)
© Jonas Wood. Photo: Brian Forrest

About

Gagosian is pleased to present Notepads, Holograms and Books, an exhibition of works by Ed Ruscha and Jonas Wood, two artists who explore the nature of the real and the represented, language and image, writing and typography. The exhibition includes paintings, holograms, and hand-modified books by Ruscha, and new paintings by Wood.

In Ruscha’s work, the traditions and techniques of graphic design and the restrained artistry of typesetting serve as vehicles for the commutation between picture and word, sign and signifier. He superimposes text and image across media: from billboards to books, from screens to paintings and holograms. With the reverence and technical mastery of a trompe l’oeil painting, Fanned Book (2012) depicts the turning pages of a bound volume with marbled endpapers. Elsewhere, Ruscha’s text paintings of phrases such as “OH NO” migrate to the spines and fore edges of actual books. Small works on canvas show granular, individual typeset alphabetic letters—examining the form, as much as the emblematic function, of the phoneme—and a hologram proclaims “THE END” in stylized letters on what appears to be vellum, making light projection resemble an archaic art. Through a shifting exchange of abstraction and figuration, the book in all its forms pervades Ruscha’s investigations of the nature of language and the distribution of information.

For Wood, shifts in scale push the limits of traditional painting genres. The still life, a recurring theme in his work, has been the subject of abstracted enlargement before. In public commissions, he has covered the facades of buildings with vivid paintings of potted plants, the overlapping leaves, shelves, and cylindrical vases taking on the grandeur of a rainforest or cityscape. In Notepads, Holograms and Books, logotyped and trademarked desk notepads are enlarged to become wall-covering canvases, which act as backdrops for paintings. Typographic emblems, such as “Gagosian Gallery” and “Maritime Hotel,” are silk-screened onto canvas, mimicking the original format of the signature-branded notepads. The impulse for these works originates in Wood’s habit of drawing on hotel and office stationery. Transposed from small drawings to large-scale compositions, the subjects of the paintings range from foliage and drawings his child made to abstract jottings that record running poker debts. The works thus straddle private and commercial zones through disorienting compressions of space and a deep attunement to patterning and color. Wood’s visual language finds a new iteration, playing between the portable and the monumental, between traditions of print and of paint, between inventions of his own and oblique responses to Ruscha’s peerless precedents.

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.

News

Photo: Kate Simon

Artist Spotlight

Ed Ruscha

September 16–22, 2020

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. Ruscha’s formal experimentations and clever use of the American vernacular have evolved in form and meaning as technology alters the essence of human communication.

Photo: Kate Simon

Installation view, Ed Ruscha: Drum Skins, Blanton Museum of Art, Austin, Texas, January 11–October 4, 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.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. 

Installation view, Ed Ruscha: Drum Skins, Blanton Museum of Art, Austin, Texas, January 11–October 4, 2020. Artwork © Ed Ruscha