Ed Ruscha & The Two-Sided Coin of Influence

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Written & Photographed by Kenn Sava (*- Unless otherwise credited.).

This is the third and final part of my look at Ed Ruscha/Now Then. Part 1  is here. Part 2 is here.

1- Heads

One door closed, another opened. Los Angeles County Museum on Fire, 1965-8, Oil on canvas, seen at MoMA. Ed Ruscha/Now Then is now open there. Pictures in this piece are thumbnails. Click any for full size.

Ed Ruscha/Now Then is a memory for those of us who saw it at MoMA from September 10, 2023 to January 15th of this year. It’s a memory in the making for those who are seeing it now at LACMA, seen above in Ed Ruscha’s 1965-8 nebulous “portrait” of it (which I discussed in Part 1), or will be seeing it until it closes there on October 6th. They’ll be pleased to know it’s a show with staying power, a show I continue to relive and think about on a daily basis, six months after it closed here. After following the trail of his devlopment in Part 1, “Ed Ruscha’s Head Scratchers,” seeing some echoes of the work of Artists past, I began to wonder… Every Artist I’ve come across has had influences. Who influenced Ed Ruscha? As the show was up, and now after it ended here, that question lingered.

Marcel Duchamp, L.H.O.O.Q., 1919, or later. One Artist Ed Ruscha has repeatedly expressed his admiration for is Duchamp, who he met in the early 1960s. There are numerous version of L.H.O.O.Q. since the 1919 original. I chose this one because t contains all the elements of the original, which I cannot find (if you have  let me know)- the mustache, the goatee, and the famous letters all of which Duchamp added to a Mona Lisa postcard. Duchamp once said that L.H.O.O.Q. means “there is fire down below,” though I’ve seen other definitions.  *- Photographer unknown.

“Duchamp had quite a sizable influence on me from a pictorial standpoint and from an emotional standpoint,” Ed Ruscha (Ed Ruscha, Leave Any Information After the Signal, P.324).

Ed Ruscha has not written an autobiography, so his book, Leave Any Information After the Signal, a collection of “Writings, Interviews, Bits, Pages” from 1960 to 2000 is the closest thing we have to a primary written source. In addition to just looking, I turned to it, along with the numerous other interviews he’s given over his six-decade plus career, for insights.

As seen in Part 1– Encountering Johns’s  Target with Four Faces in a black & white reproduction in a 1957 magazine was, he said, an ‘atomic bomb’ in his training, ‘a stranger fruit’ that he ‘saw as something that didn’t seem to follow the history of art. My teachers said it was not art. ‘I didn’t need to see the colors or the size…’ ‘I was especially taken with the fact that it was symmetrical, which was just absolutely taboo in art school- you didn’t make anything symmetrical…Art school was modernism, it was asymmetry, it was giant brush strokes…it was all these other things that were gestural rather than cerebral. So I began moving to things that had more of a premeditation1.’” Jasper Johns, Target with Four Faces, 1955, Encaustic on newspaper and cloth over canvas surrounded by four tinted-plaster faces in wood box with hinged front. Seen in Jasper Johns: Mind/Mirror at the Whitney in 2021.

Besides naming Duchamp, Jasper Johns and his counterpart Robert Rauschenberg, Ed Ruscha hasn’t addressed the subject of influences all that often.

René Magritte, The Treachery of Images (This is Not a Pipe), 1929, Oil on canvas. (Not in the show.) *-LACMA Photo

Pondering the visual evidence, the first name that came to mind was Rene Magritte, 1898-1967, a well-known Belgian Artist who also had a long career and touched on a number of subjects Ed Ruscha has, while sharing his fondness for taking the familiar out of context (which Mr. Ruscha does with words, objects and places). He also incorporated words. Though often labelled a “Surrealist,” his work touches on any number of other realms and styles of Painting, which made him ahead of his time. As a result, his influence is extraordinary and ongoing. Time and again, I’d look at an Ed Ruscha, or a section of one, and think “Magritte,” beginning with Actual Size, 1962, which I showed in Part 1, which echoes Magritte’s The Treachery of Images, 1929 better known by the famous words it includes, “This is Not a Pipe2.” The Magritte seems to echo his contemporary, Duchamp’s L.H.O.O.Q., from 1919.

Salvador Dalí, Open Field with Ball in Centre and Mountains in  Rear, Study for the Walt Disney film Destino, 1948, Oil on masonite, left. Ed Ruscha, Painkillers, Tranquilizers, Olive, 1969, right. (*- Dali from the Dalí & Film MoMA catalog. Ed Ruscha as I saw it in the show.)3.

Of him, Mr. Ruscha said, “Yes, Magritte did influence me, but it came the other way around—what I call 360-degree influence. That’s influence from a person’s thoughts and force and not from his pictures, which the person being influenced has not seen, until later on. The same with Dalí. I’ve been influenced by Dalí, but it’s been through other sources. Because I’ll go back, and I’ll be working on something and I’ll see a picture of Dalí’s I’ve never seen before, and there is my work. (P.56).” I wrote about seeing Dalí in Rauscha in Part 1– before I found that quote.

Surrealism Soaped and Scrubbed, Ed Ruscha’s cover design for Artforum 5, No. 1, Special Issue: Surrealism, September, 1966. 

What about “Surrealism’s” influence, that of the group of European Artists so labelled?

Ed Ruscha was Art Director for Artforum Magazine from 1966-19724. His cover for the September, 1966 “Surrealism” Special Edition I find fascinating, particularly in regards to Ed Ruscha’s Art, overall. While this image has almost nothing to do with “historical Surrealism,” I find it ripe with the “kind” of surrealism (small “s,” which he also uses here) I see in Ed Ruscha’s work, while also being another of his trademarked play on words. There is nothing in “historical Surrealism” that influenced this (as far as I know), and so it’s another work that makes me wonder what, if anything, inspired it. On page 349 of Leave Any Information After the Signal, Mr. Ruscha denies the influence of the Surrealists handling of light on his work. That’s all he has to say about it.

The Back of Hollywood, 1977, Oil on canvas. Was Ed Ruscha the first to Paint words backwards? Probably not.

What about influences on his Word Painting? In After the Signal, he said,  “Well, there’ve been so many artists who have used words throughout the centuries really, but the ones I enjoy are mostly from the twentieth century. Say, Kurt Schwitters. [. . .] 5” On page 115, Paul Karlstrom directly asks Mr. Ruscha,  “Who were your heroes then, your role models?” He replied, “Well, I guess de Kooning was, and Franz Kline. Franz Kline had a lot to say at that particular time, and so they were more or less the passwords. You just emulated them, almost automatically. Then if you couldn’t emulate them you weren’t really on the right track. I still think that. But the work of Johns and Rauschenberg marked a departure in the sense that their work was premeditated.” It sounds like he was referring to his early days as a student under the Abstract Expressionist influenced Chouinard faculty in the late 1950s, as once again, it’s hard for me to see the influence of de Kooning or Kline in Ed Ruscha’s work.

Joan Miró, Photo: This is the Color of My Dreams 1925, Oil on canvas. *- Met Museum Photo

The Surrealists began as a literary “movement,” that experimented with “automatic writing.” Later, their influence spread to Painting. In Miró’s Photo: This is the Color of My Dreams, it comes full circle. Part of the Artist’s “peinture-poésie” (painting-poetry) series, this strikes me as a forerunner or precursor to the Word Paintings of Ed Ruscha. Yet, I have no idea if he saw it, or other works in Mirós series,  or when.

America’s Future, 1977, Oil on canvas. The title is shown in the next picture.

The feeling I’m left with is that these Artists “effected” him in ways outside of a direct visual influence. They are, what I call, “echoes.” What Ed Ruscha called “360 degree” influences. As for the stated influences, in Part 2, I mentioned that Thomas Cole was the influence on Mr. Ruscha’s Course of Empire series, from who he borrowed the name of the series. It seems to me the rest of his influences, if any, remain up for conjecture. Still, taking him at his work on possible influences would leave Ed Ruscha remarkably original.

Detail. Though Painted 18 years before he began his Course of Empire series I showed in Part 2, seeing this made me wonder if this work should be appended to the end of the series, i.e. the final outcome of it.

2- Tails

Turning the influence coin over, however, 67 years, and counting, into one of the most remarkable careers in American Art history, at this moment in time it’s hard to think of another Modern & Contemporary Artist, let alone an American Artist, who is more influential than Ed Ruscha is. In fact, it’s impossible for me to list here all the realms in which his influence can be seen. Those that come to mind the quickest include-

-His role in furthering the breaking of the strangle hold of Abstract Expressionism in Painting in the early 1960s.

-His unique way of incorporating words and typography into his Art.

-His Paintings of L.A. and the American West6.

No place on the planet has more Artist’s books than NYC’s Printed Matter, home of 15 ,000 books they’ve created. How many are/were inspired in part or wholly by Ed Ruscha? I don’t know the total but I keep finding more every time I go in. May 6, 2024.

-His ground-breaking Artist’s books/PhotoBooks. (Is it a stretch to say he’s played a defining role in the Contemporary Artist’s Book & PhotoBook phenomenon? I don’t think so.)

-His style of nonjudgmental roadside and aerial Photography.

-Entire genres of Painting, Photography and books have sprung up around his work.

Jeff Brouws, Various Small Books Referencing Various Small Books by Ed Ruscha, 2013. 288 pages of books, and just books, by other Artists influenced by Ed Ruscha, and it’s now 11 years old!

To this point, at least two substantial books, including the book above, have been published focused solely on his influence! All of this is even more impressive (or mind-boggling) when you consider Ed Ruscha is still with us and going strong at 86. Usually, the influence of Artists is something referred to in the past tense.

-His unique way of incorporating words and typography into his Art.

Ed Ruscha’s presence is so pronounced at Printed Matter, they even have a well-worn box just for books he’s influenced. ‘Nuff said. No, that’s not a copy of Mr. Ruscha’s very rare Twentysix Gasoline Stations. It’s Michalis Pincher’s 2009 homage to it, which “borrows” Ruscha’s cover verbatim.

All of this, also, makes it harder to fathom that Ed Ruscha/Now Then was the first large Ed Ruscha show here in 41 years7, and his first show at MoMA! That makes the extent of his influence that much more impressive. Suffice it to say it’s a lot easier to see Ed Ruscha’s influence than it might be to see the influence of others on his work.is so pronounced.

The saddest moment of the entire 4 month run of Ed Ruscha/ Now Then: the show’s entrance, moments after it closed for the last time on January 15, 2024. I saw it on its first preview day, and I was there when it closed for good. Shows are fugacious events. The ending of a great show is always sad; like saying “goodbye” to a friend. One you’ll never see again.

-Takeaways

In addition to providing an opportunity to ponder the scope of his influence, Now Then provides the chance to assess his achievement and his place among the important Artists of both the 20th and 21st centuries. Ed Ruscha strikes me as an Artist who is continually moving forward to the point that he is a seemingly endless innovator. Ed Ruscha/Now Then provided a rare chance to see the craft behind the mystery his work evokes; to watch the Artist move on an almost step-by-step basis from his beginnings though each of his phases, with a focus on his recurring themes and his innovations.

Yet, he’s also an Artist who’s extremely aware of his, and our, pasts, and his Art stays in touch with it often in surprising ways. Ed Ruscha has never stood still long enough to have any box his work gets put in fit for very long. The Ed Ruscha box is the only one that fits an Artist as extraordinarily diverse as Mr. Ruscha has been and continues to be. Ed Ruscha/Now Then is a show that will live long in memory, and no doubt, influence.

Part 1 of my look at Ed Ruscha/Now Then is here. Part 2 is here.

*- Soundtrack for this piece is  “Goodnight My Love,” as performed by Paul Anna. In 2017, MOCA commissioned a short documentary on two themes in Ed Ruscha’s work (the text of which is here). In the resulting piece, Ed Ruscha says, “I’m gonna play this tune called ‘Goodnight My Love’ and this represents everrything I felt about California when I first came out here…” Because he doesn’t specify which recording he’s going to play, I chose the Paul Anka version from 1969.

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  1. Alexandra Schwartz, Ed Ruscha’s Los Angeles, P.15
  2. I cannot think of Rene Magritte without thinking of the singular Photographer, Duane Michals. When I met him, I quickly shifted the chat from Photography to Painting. He rightly gloated over the fact that he had met and Photographed his three favorite Painters- Balthus, Giorgio de Chirico, and Rene Magritte, with who he did a terrific PhotoBook, that he graciously signed for me. All three are under-appreciated in my book, and remain among my favorites, too.
  3. In spite of being among the best known, in my view, Dalí may be the most under-appreciated Artist of the 20th century, as anyone who saw the incredible Salvador Dalí Centennial Exhibition at the Philadelphia Museum in 2005 knows. It’s partially his own fault, as the endless fantastic stunts he put on overshadows the appreciation of his Art in my opinion. History will eventually fix that, I believe.
  4. Alexandra Schwartz, P.35
  5. Ed Ruscha, Leave Any Information After the Signal, P. 324
  6. Along with those of, and quite different from,Georgia O’Keeffe.
  7. As I mentioned in Part 1, the last big Ed Ruscha show here was the traveling retrospective, The Works of Ed Ruscha, which came to the Whitney Museum in 1982!

Ed Ruscha’s Wall Rockets

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Written & Photographed by Kenn Sava.

This is Part 2 of my look at Ed Ruscha/Now Then at MoMA. Part 1 is here, Part 3 is here.

From the late 1950s, through the early 1960s Ed Ruscha made regular trips back and forth between Oklahoma City, where he grew up, and L.A., his adopted home since the late 1950s. In 19621, he Photographed the gas stations that caught his eye on these journeys with his trusty Yashika Twin-reflex camera, taking 60 or 70 Photographs2. In an interview in 1973 he said, “What used to belong to the Navaho and Apache Indians now belongs to the white man and he’s got gas stations out there. So, I started seeing it as cultural curiosities.”

“I’d always wanted to make a book of some kind.”

He continues. “When I was in Oklahoma I got a brainstorm in the middle of the night to do this little book called Twentysix Gasoline Stations. I knew the title. I knew it would be photographs of twenty-six gasoline stations3.” “The first book came out of a play with words. The title came before I even thought about the pictures. I like the word ‘gasoline’ and I like the specific quality of ‘twenty-six4.'”  “Months went into the planning of that. I could have saved myself a lot of trouble by loosening up. You know, not gotten so concerned with how I wanted the thing to look. I changed the form about fifty times at the printer’s5.” He self-published Twentysix Gasoline Stations in 1963 (although the title page states 1962).

You’re looking at a revolution. Twentysix Gasoline Stations, 1963, revolutionized the Artist book, the PhotoBook, and street-side Phtography, with unique design, turning gas station Photography into a genre in the process. This copy was hanging for visitors to peruse, which was somewhat surprising as it’s now a rare book- even this second edition copy is worth hundreds of dollars. Knowing all of it from reproductions, this was the first time I was able to page through an actual copy of it. Pictures in this piece are thumbnails. Click on any for full size.

It’s an Artist’s book/PhotoBook whose influence is now incalculable.

Published in an edition of 400 copies, a case can be made that it ‘s the most influential PhotoBook of the contemporary period after Robert Frank’s The Americans (which the Artist acknowledges as an influence). Twentysix Gasoline Stations, with its “industrial” look and feel stood at odds with the frequently hand-made Artist’s book norm to the time. Virtually every aspect of the Artist’s book was reimagined, from the typography and text layout on the cover to the sparseness of the interior contents, with a lack of text save for image titles.

Believe it or not, this is one of the most influential Photographs in Modern & Contemporary Photography. STANDARD, ARMADILLO, TX, perhaps the key image in Twentysix Gasoline Stations, went on to have multiple lives of its own, inspiring numerous Ed Ruscha Paintings, Drawings & Prints, as well as the work of other Artists.

Speaking of the end result, he said-

“I realized that for the first time this book had an inexplicable thing I was looking for, and that was a kind of a “Huh?” That‘s what I’ve always worked around. All it is is a device to disarm somebody with my particular message5.”

Having immersed myself in PhotoBooks for the past 7 years, and Art books most of my life, it’s impossible for me to overstate the influence Twentysix Gasoline Stations has had, and continues to have, on the Art world. It turned Art & PhotoBook creation and publishing on its head, rewriting what a book could be and who could make one. He’s said he meant the pictures to be “like a collection of readymades7,” a term and genre Marcel Duchamp put on the Art map. Still, it received a mixed reaction when it was released, including famously being rejected by the Library of Congress.

Standard Station, Amarillo, TX, 1963, Oil on canvas, 64 15/16 x 121 13/16 inches. The “locomotive” compositional device, seen in Large Trademark with Eight Spotlights, 1962, in Part 1, returns, splitting the composition in two, just the beginning of what’s fascinating about this.

“I would say I came to painting through photography,” Ed Ruscha8

The STANDARD, ARMADILLO, TX, Photograph begat the Standard Station, Amarillo, TX Painting in 1963. Obviously, the Photo just shown has been reworked, reimagined, or he based this on another Photo. Whatever the case may be, the resulting composition seen here would subsequently take many forms and become iconic. Standard Station, Ten Cent Western Being Torn in Half, below, followed a year later.The Paintings begat Standard Station, Amarillo, TX Prints, with Standard Station, Amarillo, TX Drawings being created along the way. So ubiquitous did they become that gas station Paintings and gas station Photography are now, basically, his genres. Sooner or later, everyone who shoots or Paints a gas station is going to be compared to Ed Ruscha. Many, like Vik Muniz, openly acknowledge the influence.

What strikes me are the abstract elements, like the selective detailing- you can read the prices on the gas pumps, but detail disappears on everything behind them, creating a surreal experience (the “realistic” gas pumps offset against the featureless building behind them), under that big red sign whose white lettering, offset against the engulfing darkness, feels bold.

Standard Station, Ten Cent Western Being Torn in Half, 1964, Oil on canvas, 65 x 121 1/2 inches. Mr. Ruscha has likened  the comic flying off the canvas to the upper right to a “coda” in Music. For me, it looks like debris, garbage, pollution. In this piece, the featureless building has light and shadows added to it. Once again, the numbers and text on the gas pumps are very legible.

At the time, Ed Ruscha shot them, gas stations were bastions of the new found freedom of the open road and the catalyst of the massive post-war westward exodus that the Artist, himself, became a part of. Over time, gas stations would be seen differently as the toll of pollution and environmental decay mounted.

Ed Ruscha’s second most famous Artist book/PhotoBook. A copy of the legendary Every Building on the Sunset Strip, 1966, published in one long accordion fold. Ed Ruscha put a tripod on the back of a truck and went up and down Sunset Strip taking one Photo after another until he had shot every building on both sides of the street. Here, we get one direction on the top of the page, with what’s across the street synchronized and mirrored along the bottom.

Further books followed- 14 more to 1972, the most famous of which is Every Building on the Sunset Strip, 1966, another ground-breaking work. Ed Ruscha has stated that part of the reason he went west after high school, instead of east, was because of the glamour of L.A. Here, he shows the “glamour” of the famous Sunset Strip in all its “glory.” Then, in 1973, he shot all 12 miles of Hollywood Blvd. In 2004, he reshot Hollywood Blvd in color, and paired with the 1972 images, they became the book THEN & NOW in 2005. It’s one example of Ed Ruscha combining his love of the effects of time with revisiting his past subjects.

In all the acclaim he receives I almost never hear credit given the Artist for his exceptional Painting technique- the equal of anyone else’s of his time. Right from the start, Painting after Painting reveals sublime subtlety and under-appreciated skill.  Then Now provided a glorious chance to study his, often large, Paintings up close and marvel at his skill and taste. It also provides the extremely rare chance to see works of the same subject side by side, particularly two of his famous Standard Gasoline Station Paintings.

Shows present once-in-a-lifetime opportunities to see great works united from distant parts of the globe for a brief time. That’s why I waited over an hour for the crowds to part to get this shot. More than likely, I’ll never see these two great Standard Stations together again. Both of these also feature the “speeding locomotive” compositional device seen in the Large Trademark Painting, which adds to the somewhat surreal overall effect, wonder and mystery.

Further to the Large Trademark Painting, Ed Ruscha also began Painting the sights of L.A., which again seems to be his domain to the point that I can’t think of anyone who Painted the city before he did. (I’m sure there were. Right?)

“Being in Los Angeles has had little or no effect on my work. I could have done it anywhere.” Ed Ruscha, Leave Any Information at the Signal, Statement in “West Coast Style”

Los Angeles County Museum on Fire, 1965-8, 53 1/2 x 133. 1/2 inches. Fun fact- Guess where Ed Ruscha/Now Then reopened on April 7, 2024 after closing at MoMA? You’re looking at it.

Los Angeles County Museum on Fire, 1965-8, like most of Ed Ruscha’s work, has been the subject of endless conjecture. Over the years, the Artist has made a few statements about it, including this one, “… There’s no great message here. It’s just a picture to look at9.” That might be hard to believe. After graduating college, he took that trip to Europe I mentioned in Part 1, and came away disappointed at the lack of Contemporary Art on view in the museums. Back home, things weren’t much better. Contemporary Art was slow to gain admission to the hallowed halls of institutions here. Is it a stretch to think this was somewhere on his mind when he Painted this? I tend to think it was in there somewhere. The Watts riots had recently taken place. The Now Then Catalogue has this to say about it-

“Ruscha’s characteristic denial of content ignores the fact that not far from his studio in mid-August 1965, just a few months after the inauguration of the Los Angeles County Museum of Art, the city of Los Angeles was burning10.”

Ed Ruscha said, “The plain truth behind the Watts riots is that the riots themselves were good and beneficial and healthy regardless of loss of life. The Watts riots nationalized sympathy for a gigantic racial injustice11.”

He soon set a number of other sites on fire in his Paintings, including the an Amarillo Standard Station (which wasn’t in the show), and Norm’s, which was.

Norm’s, La Cienega, on Fire, 1964, Oil and pencil on canvas. The work features a complete lack of detail, save for the letters “ORMS” on the sign.  It’s interesting how the flames follow the “locomotive” line. Without those letters (which themselves are meaningless without the title), this Painting would be a completely abstract composition of shapes and lines.

For someone who’s so closely associated with L.A., and has been for over 60 years, it’s strange that some of his most well-known work shows L.A. landmarks being destroyed or in ruins. For example, he has continued to “destroy” the Hollywood sign, in different ways, over and over again throughout his career. Still, his fame continued to rise as did his association with the city. In spite of all this (and possibly because of it), in 1978, a six-story(!) tall mural (also referred to as the “Ed Ruscha Monument”) of the Artist was created by the Artist Kent Twitchell, for who Ed Ruscha was “the unorthodox hero of the art world.” Would anyone else be able to “destroy” a city’s landmarks and then become seen as the figurehead of that city’s Art community with a monument created for them? It didn’t happen for Nero. Unlike the emperor, Ed Ruscha didn’t actually destroy anything, except maybe in his mind and on some large canvases.

Rancho, 1968, Oil on canvas, which looks like it was made with a liquid, surrounded by Fire, Sin, Rustic Pines, each 1967, Gunpowder on paper, from left to right.

This calls to mind another thing Ed Ruscha doesn’t get enough credit for: innovation. In the 3rd, 4th and 5th galleries we see pieces made out of strange and unprecedented materials. Unhappy with the possibilities of paint or pencil, the Artist began exploring the possibilities of Drawing with gunpowder! The results, as seen above, are incredible. He found he had more control with it. In 1969, the Artist began going further, using unconventional materials in his Stains Portfolio of seventy-five substances ranging from L.A. tap water to egg yolk.

Installation view of Chocolate Room, 1971/2023, Chocolate on paper sheets.

His Chocolate Room for the United States Pavilion at the 1970 Venice Biennale, and recreated in a room of its own in Now Then, followed. After that, he began using a number of these “other” materials in his Word and Phrase Paintings.

Cotton Puffs, 1974. Egg yolk on moiré fabric, 36 × 40″

Along with this constant experimentation came the inevitable failure, like the egg yokes in Cotton Puffs, 1974, fading quickly. Ed has been remarkably cool with these. Accepting them for what they are12. (And probably learning in the process.) Each has its place in his oeuvre, with all the examples on view seeming to hold up remarkably well over the years given they are experiments. By the mid-70s, he had gone back to pastel on paper13. Though the materials experiments were short-lived, it led me to peruse the 7 volumes of the Ed Ruscha: Catalogue Raisonne of the Paintings, published by Steidl (which is a bit ironic- or fitting- because Steidl has published the work of any number of Photographers who include gas stations in their work, including the entirety of the 3-volume set, Gas Stop, by David Freund), which revealed that this insatiable exploration of materials was only the tip of his creativity iceberg. Paging through it (which only goes up to 2011 at this point), I was amazed to discover that though he has created a number of works with ostensibly the same subject, no two are identical. The differences are obvious or subtle. Still, this speaks to Ed Ruscha’s seemingly endless powers of invention and refusal to repeat himself verbatim. I was stunned when I discovered this, which was completely unexpected (though I should have been tipped off by what his STANDARD STATION, ALBUQUERQUE Photograph became). Seeing this range and variety gave me a glimpse of insight into just what may be keeping him going and creating since the late 1950s.

Wall Rockets, 2000, Acrylic on canvas

Perhaps THE highlight of Ed Ruscha/Now Then at MoMA for me was the chance to see 6 of the 10 Paintings from the Artist’s Course of Empire series. As I’ve looked at his work over the past 24 years of this century, these have fascinated me as much as any other work by Mr. Ruscha. Created for, and then debuted, at the 2005 Venice Biennalle, they subsequently travelled to NYC where they were on display at the Whitney in a show of the same name, the last important (though small) Ed Ruscha show in NYC until Now Then. Somehow, I missed them there, so seeing 6 might be as close as I get to seeing them all.

3 works from Ed Ruscha’s Blue Collar series, 1993, on the 3 facing walls.

Occupying the large, penultimate gallery of the show, the Course of Empire Paintings strike me as serving as a touchstone for a number of Ed Ruscha themes. They also eerily presage what has been going on in much of NYC (and perhaps elsewhere) this decade, with a number of stores and businesses closing due to Covid, then more closing due to the realities of our post-Covid (if we are post-Covid) economy, many have changed hands in a short time. Others remain for rent. The shape, perspectives and lack of detailing on the one-story  buildings I find reminiscent of Standard Station, Ten Cent Western Being Torn in Half, seen earlier. In each, our point of view is the same, and the same as in that Standard Station Painting- they are seen from below.

At the opposite end of the gallery, the same scenes reappear in his Course of Empire series, 2005, now in color, though right and left are flipped. (The scene on the right wall is that depicted on the left wall in Blue Collar Photo, above this one. The scene on the left wall is the scene shown on the right wall of the Blue Collar series above this one.)

The series evolved over a period of 13 years, with Ed Ruscha Painting the 5 black & white pieces, titled Blue Collar, in 1992-

Blue Collar Trade School, 1992, Acrylic on canvas. The only multi-story structure in the series.

Returning to the subject and the same sites  in 2005, this time in color and showing the effects of time passing.

The Old Trade School Building, 2005, Acrylic on canvas

Perhaps, his most subtly powerful series, their under-stated compositions lead to open-ended interpretations.

Installation view of the complete Course of Empire, by Thomas Cole, 1834-36, as seen at The Met’s Thomas Cole’s Journey in 2018. The rise and fall of civilization as seen from the same place, with the same distinctive mountain peak appearing in each Painting.

Based on, and in homage to, Thomas Cole’s legendary Course of Empire series, 1834-6, (which I wrote about here), they are another instance of Ruscha revisiting earlier work, his Blue Collar series from 1992. These also highlight that alongside the humor in any number of his pieces, running parallel, is a real depth of concern. Concern for the country, the world, the environment.

Psycho Spaghetti Western #7, 2010-11, Acrylic on canvas

“It’s all just rape of the land for profit these days. It’s fairly sick. Southern California is all just one big city now. But what do you say about progress? … So something’s got to give, and the landscape’s the first thing that gives….There is a certain flavor of decadence that inspires me. And when I drive into some sort of industrial wasteland in America, with the themeparks and warehouses, there’s something saying something to me. It’s a mixture of those things that gives me some sense of reality and moves me along as an artist,” Ed Ruscha 14.

Taking full advantage of having such a long career, the Artist has revisited past themes, and places, fairly often to the point that it’s a running theme in his work. Change over time…for the better, or worse, is left to the viewer to decide. Ostensibly set in L.A., the structures in Blue Collar/Course of Empire could be literally anywhere. As such they have a universality to them (as do a number of other 21st century Ruscha’s) that sets them apart from his purely L.A. work, like his Hollywood sign pieces.

Our Flag, 2017, Acrylic on canvas. The last work in the show.

Thomas Cole influencing Ed Ruscha’s Blue Collar & Course of Empire series started me thinking about other possible influences on his work. I touched on some in Part 1. In Part 3, I’ll take a closer look at them, and then flip that coin over.

Part 3 is here

*- Soundtrack for this piece is “L.A. Woman” by The Doors, one of the ultimate L.A. bands, from the 1971 album of the same name. (Narrowly beating out “California Girls” by the Beach Boys from Summer Days (And Summer Nights), 1965.) Ed Ruscha was into “car culture” before moving to L.A., and after, among other things he has in common with the #1 L.A. band of its time. Notice the gas station Jim Morrison, “another lost angel,” to quote his lyric, stops in to about half way through-

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  1. Ed Ruscha: Catalogue Raisonne of the Paintings, Vol 7, P.476
  2. E.R., Tate, P.30
  3. Willoughby Sharp, ‘“… a kind of a Huh?”, An Interview with Edward Ruscha’, Avalanche, no.7, Winter/ Spring 1973, p.30.
  4. ER, Tate, P. 31
  5. https://www.tate.org.uk/art/artists/edward-ruscha-1882/ed-ruscha-and-art-everyday
  6. https://www.tate.org.uk/art/artists/edward-ruscha-1882/ed-ruscha-and-art-everyday
  7. Reading Ed Ruscha, P.50
  8. Ed Ruscha, Photographer, P.7
  9. Ed Ruscha quoted in Ed Ruscha/Now Then Exhibition Catalog, P.21
  10. Ed Ruscha/Now Then Exhibition Catalog, P.21
  11. Ed Ruscha, Leave Any Information at the Signal, P.5
  12. E.R., Tate, P.65
  13. Ed Ruscha/Now Then, P.170
  14. Leave Any Information at the Signal, P.18