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 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
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
Artwork © Ed Ruscha. Photo: Joanna Fernandes
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
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.
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.”
Gillian Pistell writes on the loaded symbol of the American flag in the work of postwar and contemporary artists.
Jacoba Urist profiles the legendary collector.
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.
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.
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.
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 Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
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.
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.
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.
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.
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.
The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.
Ed Ruscha sat down with JoAnne Northrup of the Nevada Museum of Art to discuss the exhibition Unsettled, which the two co-curated.
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.
The High Line Art Program’s Cecilia Alemani discusses Ed Ruscha’s mural.
