b. 1937
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.
In 1956, Ruscha moved from Oklahoma City to Los Angeles, where he attended the Chouinard Art Institute. During his time in art school, he had been painting in the manner of Franz Kline and Willem de Kooning, and came across a reproduction of Jasper Johns’s Target with Four Faces (1955). Struck by Johns’s use of readymade images as supports for abstraction, Ruscha began to consider how he could employ graphics in order to expose painting’s dual identity as both object and illusion. For his first word painting, E.Ruscha (1959), he intentionally miscalculated the space it would take to write his first initial and surname on the canvas, inserting the last two letters, HA, above and indicating the “error” with an arrow.
After graduation, Ruscha began to work for ad agencies, honing his skills in schematic design and considering questions of scale, abstraction, and viewpoint, which became integral to his painting and photography. He produced his first artist’s book, Twentysix Gasoline Stations—a series of deadpan photographs the artist took while driving on Route 66 from Los Angeles to Oklahoma City—in 1963. Ruscha since has gone on to create over a dozen artists’ books, including the 25-foot-long, accordion-folded Every Building on the Sunset Strip (1966) and his version of Kerouac's iconic On the Road (2009).
Ruscha’s paintings of the 1960s explore the noise and the fluidity of language. With works such as OOF (1962–63)—which presents the exclamation in yellow block letters on a blue ground—it is nearly impossible to look at the painting without verbalizing the visual. Ruscha continues to influence contemporary artists worldwide, his formal experimentations and clever use of the American vernacular evolving in form and meaning as technology and internet platforms alter the essence of human communication.
Among his many honors, Ruscha was awarded the J. Paul Getty Medal in 2019 in honor of his work as a painter, draftsman, photographer, and bookmaker.
In 1956, Ruscha moved from Oklahoma City to Los Angeles, where he attended the Chouinard Art Institute. During his time in art school, he had been painting in the manner of Franz Kline and Willem de Kooning, and came across a reproduction of Jasper Johns’s Target with Four Faces (1955). Struck by Johns’s use of readymade images as supports for abstraction, Ruscha began to consider how he could employ graphics in order to expose painting’s dual identity as both object and illusion. For his first word painting, E.Ruscha (1959), he intentionally miscalculated the space it would take to write his first initial and surname on the canvas, inserting the last two letters, HA, above and indicating the “error” with an arrow.
After graduation, Ruscha began to work for ad agencies, honing his skills in schematic design and considering questions of scale, abstraction, and viewpoint, which became integral to his painting and photography. He produced his first artist’s book, Twentysix Gasoline Stations—a series of deadpan photographs the artist took while driving on Route 66 from Los Angeles to Oklahoma City—in 1963. Ruscha since has gone on to create over a dozen artists’ books, including the 25-foot-long, accordion-folded Every Building on the Sunset Strip (1966) and his version of Kerouac's iconic On the Road (2009).
Ruscha’s paintings of the 1960s explore the noise and the fluidity of language. With works such as OOF (1962–63)—which presents the exclamation in yellow block letters on a blue ground—it is nearly impossible to look at the painting without verbalizing the visual. Ruscha continues to influence contemporary artists worldwide, his formal experimentations and clever use of the American vernacular evolving in form and meaning as technology and internet platforms alter the essence of human communication.
Among his many honors, Ruscha was awarded the J. Paul Getty Medal in 2019 in honor of his work as a painter, draftsman, photographer, and bookmaker.
