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Ed Ruscha

Eilshemius & Me

June 18–August 2, 2019
Davies Street, London

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Installation video

Installation view with work by Ed Ruscha (left, center, right) and Louis Michel Eilshemius Artwork, left, center, and right: © Ed Ruscha. Photo: Joanna Fernandes

Installation view with work by Ed Ruscha (left, center, right) and Louis Michel Eilshemius

Artwork, left, center, and right: © Ed Ruscha. Photo: Joanna Fernandes

Installation view with work by Ed Ruscha (left, center, right) and Louis Michel Eilshemius Artwork, left, center, and right: © Ed Ruscha. Photo: Joanna Fernandes

Installation view with work by Ed Ruscha (left, center, right) and Louis Michel Eilshemius

Artwork, left, center, and right: © Ed Ruscha. Photo: Joanna Fernandes

Installation view with work by Louis Michel Eilshemius (left, right) and Ed Ruscha Artwork, center: © Ed Ruscha. Photo: Joanna Fernandes

Installation view with work by Louis Michel Eilshemius (left, right) and Ed Ruscha

Artwork, center: © Ed Ruscha. Photo: Joanna Fernandes

Installation view with work by Louis Michel Eilshemius (left) and Ed Ruscha Artwork, right: © Ed Ruscha. Photo: Joanna Fernandes

Installation view with work by Louis Michel Eilshemius (left) and Ed Ruscha

Artwork, right: © Ed Ruscha. Photo: Joanna Fernandes

Installation view Photo: Joanna Fernandes

Installation view

Photo: Joanna Fernandes

Installation view with work by Louis Michel Eilshemius (left, center) and Ed Ruscha Artwork, right: © Ed Ruscha. Photo: Joanna Fernandes

Installation view with work by Louis Michel Eilshemius (left, center) and Ed Ruscha

Artwork, right: © Ed Ruscha. Photo: Joanna Fernandes

Installation view Photo: Joanna Fernandes

Installation view

Photo: Joanna Fernandes

Installation view Photo: Joanna Fernandes

Installation view

Photo: Joanna Fernandes

Installation view Artwork © Ed Ruscha. Photo: Joanna Fernandes

Installation view

Artwork © Ed Ruscha. Photo: Joanna Fernandes

Works Exhibited

Louis Michel Eilshemius, Untitled (Nude in a Landscape), c. 1909–13 Oil on canvas board, 12 × 11 ½ inches (30.5 × 29.3 cm), collection of Ed and Danna Ruscha

Louis Michel Eilshemius, Untitled (Nude in a Landscape), c. 1909–13

Oil on canvas board, 12 × 11 ½ inches (30.5 × 29.3 cm), collection of Ed and Danna Ruscha

Ed Ruscha, Spied Upon Scene, 2017 Acrylic on museum board paper, 40 × 60 inches (101.6 × 152.4 cm)© Ed Ruscha. Photo: Jeff McLane

Ed Ruscha, Spied Upon Scene, 2017

Acrylic on museum board paper, 40 × 60 inches (101.6 × 152.4 cm)
© Ed Ruscha. Photo: Jeff McLane

About

The important mission of the artist is to portray scenes which the layman neglects to see in nature; to show beauties which the public never think of beholding; and to imbue his paintings with a thought that is not commonplace. In short, he must uplift the spectator’s mind to higher planes.
Louis Michel Eilshemius

It’s not to create a picture frame, but to create an idea, to focus on a trapped vision. . . . 
Ed Ruscha

Gagosian is pleased to present Ed Ruscha: Eilshemius & Me, an exhibition of works by Ed Ruscha and Louis Michel Eilshemius (1864–1941).

In 2017, Ruscha began Spied Upon Scene, a series depicting majestic mountainscapes that resemble the idyllic ranges of travel books, postcards, adventure movies, or the Paramount Pictures logo. The series descends from his earlier Mountain Paintings, in which inscrutable phrases, laid over the mountain images, become a wry and physical presence in the landscape. The mountains of Spied Upon Scene, however, are partially restricted from view, visible only through oval-shaped lenses or window grids. Like the Mountain Paintings, they seem to refer to the nineteenth-century tradition of the American Sublime; in fact, their lineage includes an obscure American painter from the turn of the century, Louis Michel Eilshemius, whose use of painted frames became an influence on Ruscha’s own approach.

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Artists

Louis Michel Eilshemius
Ed Ruscha

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.”

Black-and-white photograph: Donald Marron, c. 1984.

Donald Marron

Jacoba Urist profiles the legendary collector.

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.

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.

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