Alternate Meanings in Film and Video
You’re only as young as the last time you changed your mind.
Gagosian is pleased to present Broadcast: Alternate Meanings in Film and Video, an online exhibition of artists’ films and videos viewable exclusively on gagosian.com. The exhibition will be organized into a series of “chapters,” each lasting two weeks. The first chapter begins on Tuesday, May 19, 2020.
Broadcast: Alternate Meanings in Film and Video employs the innate immediacy of time-based art to spark reflection on the here and now, taking the words of famed psychologist and countercultural icon Timothy Leary as its starting point.
Adam McEwen, Escape from New York, 2014 (still from “Battery Tunnel”) © Adam McEwen
Thursday, March 5, 2020, 6:30pm
Gagosian, Britannia Street, London
Join Gagosian for a tour of the group exhibition American Pastoral. The show juxtaposes modern and contemporary works with historical American landscapes ranging from Albert Bierstadt’s depiction of the sublime in Sunset over the River (1877) to Edward Hopper’s tranquil seaside scene, Gloucester Harbor (1926). Gagosian’s Alice Godwin will focus on a select grouping of exhibited works that seek to challenge the idealized vision of the American Dream that has long been a rich topic of inquiry for artists in the United States. To attend the free event, RSVP to email@example.com. Space is limited.
Installation view, American Pastoral, Gagosian, Britannia Street, London, January 23–March 14, 2020. Artwork, left to right: © Theaster Gates, © Adam McEwen, Thomas Moran, © Richard Prince, © Banks Violette, © Ed Ruscha. Photo: Lucy Dawkins
The Extreme Present
Opening reception: Tuesday, December 3, 5–8pm
December 4–8, 2019
Moore Building, Miami
Gagosian is pleased to announce The Extreme Present, the fifth in a series of annual exhibitions at the Moore Building in the Miami Design District during Art Basel Miami Beach, presented by Gagosian and Jeffrey Deitch. The Extreme Present will explore artists’ reactions to the conditions of our accelerating and increasingly complex world. The title is inspired by The Age of Earthquakes: A Guide to the Extreme Present, a book by Shumon Basar, Douglas Coupland, and Hans Ulrich Obrist, published in 2015. Their provocative thesis addresses the rapidly evolving digital era, half a century after Marshall McLuhan’s groundbreaking study on technology’s influence on culture, Understanding Media: The Extensions of Man, in which he coined the phrase “the medium is the message.” Works in this exhibition explore concepts of media, communication, togetherness, and isolation.
The Extreme Present
Gagosian at Galeries Lafayette Champs-Élysées
Opening reception: Saturday, October 12, 6:30–8pm
October 12–20, 2019
Galeries Lafayette Champs-Élysées, Paris
In celebration of FIAC in Paris, Gagosian is pleased to collaborate with Galeries Lafayette Champs-Élysées on a two-floor pop-up takeover featuring products related to Gagosian artists. On the first floor, the Coin Culture section will feature catalogues, posters, apparel, and audio productions. The second floor, the Library, will house an additional selection of limited-edition books, publications, and catalogues raisonnés.
Gagosian at Galeries Lafayette Champs-Élysées, Paris, 2019
Screening and Talk
Friday, February 15, 2019, 6:30–8pm
Paramount Theatre, Los Angeles
As part of the curated film program for Frieze Los Angeles, Tom Sachs’s Paradox Bullets (2018), directed by Van Neistat and narrated by Werner Herzog, will be screened in the historic Paramount Theatre. The short film follows a man, played by Ed Ruscha, who loses his keys in the Mojave Desert and has to use nine bullets, or rules, to get home. The screening will be followed by a conversation between Sachs, Herzog, and Neistat, moderated by Frieze editorial director, Jennifer Higgie. The event is free with fair admission.
Tom Sachs, Paradox Bullets, 2018 (still) © Tom Sachs
January 14–18, 2019, 10am–6pm
USC School of Architecture, University of Southern California, Los Angeles
The five-day pop-up screening showcases Premium (1971) and Miracle (1975), two rare films made by Ed Ruscha. Both films, featuring Ruscha’s signature deadpan humor and keen translation of the contemporary American condition, offer an exploration of storytelling and the conventional narrative codes of Hollywood. The event is free and open to the public.
Ed Ruscha, Miracle, 1975 (still) © Ed Ruscha
Ed Ruscha has created a limited-edition print and an accompanying poster, titled EE-NUF!, to support the People for the American Way’s (PFAW) campaign ENOUGH of Trump. The design features a “fast track” display at how Trump has worked to destroy our democracy. PFAW is a progressive advocacy organization founded to fight right-wing extremism and build a democratic society that implements the ideals of freedom, equality, opportunity, and justice for all.
Ed Ruscha, EE-NUF!, 2020 © Ed Ruscha
Ed Ruscha will be presented with the 2019 J. Paul Getty Medal in honor of his work as a painter, draftsman, photographer, and bookmaker. The event will take place at the Getty Center in Los Angeles on September 16, 2019.
Photo: Sten Rosenlund
Words Have No Size
In this January 2016 interview for the Louisiana Channel, Ed Ruscha speaks about how his interests led him away from Abstract Expressionism and Minimalism to work with common objects and words.
Buildings and Words
Commissioned by the Museum of Contemporary Art, Los Angeles, and narrated by the actor Owen Wilson, this mini documentary chronicles the trajectory of Ed Ruscha’s oeuvre.
John Baldessari and Ed Ruscha on Richard Artschwager
John Baldessari and Ed Ruscha sit down to discuss the work of Richard Artschwager on the occasion of his 2013 retrospective at the Hammer Museum, Los Angeles. Gagosian director Bob Monk moderates this conversation.
In this episode of weekly web series TateShots, Ed Ruscha discusses his interest in words and letters, and his use of backgrounds as “stage settings.”
Through October 4, 2020
Blanton Museum of Art, Austin, Texas
This show features more than a dozen new works by Ed Ruscha painted on found drum heads. Ruscha sourced the paintings’ visual iconography and language from the American vernacular.
Ed Ruscha, I Don’t Hardly Disbelieve It, 2018 © Ed Ruscha
Opened November 1, 2018
The Broad, Los Angeles
An installation of sixteen works by Ed Ruscha is on view at the Broad.
Ed Ruscha, Angry Because It’s Plaster, Not Milk, 1965 © Ed Ruscha
July 26, 2019–April 19, 2020
Tate Modern, London
This display reflects the range of Ed Ruscha’s practice, including paintings, prints, and photographic books, through artworks spanning sixty years of the artist’s career. Full of irony and humor, his works can often be interpreted as commentaries on American society.
Installation view, Ed Ruscha: Artist Rooms, Tate Modern, London, July 26, 2019–April 19, 2020. Artwork © Ed Ruscha. Photo © Tate (Oliver Cowling)
Edward Hopper and the American Hotel
October 26, 2019–February 23, 2020
Virginia Museum of Fine Arts, Richmond
Edward Hopper and the American Hotel explores the artist’s images of hospitality settings showcasing more than sixty of the artist’s paintings, drawings, watercolors, and illustrations. Also included are thirty-five works by American artists that similarly explore the visual culture of hotels, travel, and mobility from the early twentieth century to the present, including work by Gregory Crewdson, Ed Ruscha, and Cindy Sherman.
Ed Ruscha, Hotel, 1962 © Ed Ruscha
The Foundation of the Museum
May 19, 2019–January 20, 2020
Geffen Contemporary at MOCA, Los Angeles
To mark the museum’s fortieth anniversary, this exhibition presents a selected topography of artworks that speak to the diversity of MOCA’s collecting over the past four decades. With special emphasis on works associated with the museum’s remarkable history of exhibitions, The Foundation of the Museum: MOCA’s Collection shows the institution’s holdings as shaped by a changing landscape of developments in contemporary art and curatorial focus, as well by as the social and cultural backdrops that inform them. Work by Chris Burden, Mike Kelley, Bruce Nauman, Albert Oehlen, Nancy Rubins, and Ed Ruscha is included.
Chris Burden, Exposing the Foundation of the Museum, 1986 © 2019 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Squidds and Nunns
Ed Ruscha in
Life Is a Highway: Art and American Car Culture
June 15–September 15, 2019
Toledo Museum, Ohio
Life Is a Highway brings together a diverse selection of artists to showcase how the automobile reshaped the twentieth-century American landscape and cultural attitudes of self-expression. Work by Ed Ruscha is included.
Production still for Ed Ruscha, Miracle, 1975 © Ed Ruscha
October 27, 2018–April 30, 2019
Palm Springs Art Museum, California
Unsettled, cocurated by JoAnne Northrup and Ed Ruscha, amasses two hundred artworks by eighty artists spanning two thousand years to explore the geography of frontiers characterized by vast expanses of open land, rich natural resources, diverse indigenous peoples, colonialism, and the ongoing conflicts that inevitably arise when these factors coexist. This exhibition originated at the Nevada Museum of Art, Reno. Work by Chris Burden and Ed Ruscha is included.
Chris Burden, All the Submarines of the United States of America, 1987 © 2019 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York. Photo: Benoit Pailley
Peindre la nuit
October 13, 2018–April 15, 2019
Centre Pompidou-Metz, France
This exhibition explores the night in modern and contemporary painting, music, literature, photography, and video. With a focus on the perception of night rather than its iconography, the exhibition intends to be a nocturnal experience. Work by Francis Bacon, Helen Frankenthaler, Roy Lichtenstein, Man Ray, Pablo Picasso, and Ed Ruscha is included.
Helen Frankenthaler, Star Gazing, 1989, collection of Helen Frankenthaler Foundation © 2019 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York
A Journey That Wasn’t
June 30, 2018–February 10, 2019
The Broad, Los Angeles
This exhibition explores complex representations of time and its passage. The show includes more than fifty works drawn from the museum’s collection of postwar and contemporary art and features more than twenty artists, including Richard Artschwager, Gregory Crewdson, Andreas Gursky, Anselm Kiefer, and Ed Ruscha.
Ed Ruscha, Azteca/Azteca In Decline, 2007, Broad Art Foundation © Ed Ruscha
West by Midwest
November 17, 2018–January 27, 2019
Museum of Contemporary Art Chicago
West by Midwest tells a story that illuminates the ways that contemporary art practices spread and develop by tracing the intersecting lives of artists who have migrated from the American Midwest to the West Coast since the mid-twentieth century. Lured by career opportunities, warmer weather, and the prospect of a better life promised by the postwar boom, those artists who were able to migrate attended art schools together, shared studios, exhibited work in the same galleries, collaborated on projects, engaged in activism, and dated one another. Work by Mike Kelley, Bruce Nauman, Sterling Ruby, and Ed Ruscha is included.
Ed Ruscha and Billy Al Bengston, Business Cards, 1968, Museum of Contemporary Art Chicago © Ed Ruscha and Billy Al Bengston. Photo: Nathan Keay © MCA Chicago
November 16, 2018–January 20, 2019
An installation of works by Ed Ruscha that source visual iconography and language from the American vernacular is on view at the Secession in Vienna.
Ed Ruscha, Nobody Denied Nothing, 2018 © Ed Ruscha
Archaeology and Romance
August 11, 2018–January 6, 2019
Harry Ransom Center, University of Texas, Austin
This exhibition features more than 150 objects and presents Ed Ruscha’s celebrated books, photographs, drawings, and prints alongside unpublished archival production materials, layout sketches, and studio notebooks. The exhibition also examines the stages of conception, design, and production leading to the publication of his groundbreaking artist’s books, and provides audiences with an unprecedented look into Ruscha’s creative process.
Ed Ruscha, Pool #2, 1968 (printed 1997), Harry Ransom Center, University of Texas at Austin © Ed Ruscha