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Wednesday, September 28, 2011

Ed Ruscha: Standard Station, Amarillo, Texas

Ed Ruscha - Standard Station, Amarillo, Texas
oil on canvas, 1963
(courtesy of the Hood Museum of Art)

Anytime I see the image of a work created by Ed Ruscha I am amazed by the elegance of this synthesis of Minimalistic restraint and Photorealistic precision. The painting in the image above will be seen at the Pacific Standard Time (announced in the last Artlog bulletin): an exhibition hosted by the J. Paul Getty Museum in L.A., October 1 through April 30.

(Contemporary Art)

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Monday, May 25, 2009

Ed Ruscha - Gunpowder on Paper




Ed Ruscha is associated with the Pop-Art, but his works amaze me by their elegance in stunning simplicity. He has the distinguished restraint of Minimalists and Conceptualists.










(Hirshhorn Museum)

(Contemporary Art)

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Thursday, September 11, 2008

September Eleven - The Homage of Ed Ruscha

Ed Ruscha
photo published in NY Times, courtesy of Gagosian Gallery


Seven years have passed since the tragedy that hit the city I love so much. I was there, in Manhattan, and I will never forget what my eyes witnessed.

Here is an Op-Art by Ed Ruscha, published in today's NY Times:

LOST HORIZON

When the 9/11 attacks took place, I thought of this photograph. I’d taken it many years before — on my first visit to New York, in 1961, in fact — but I looked for it anyway. It reminded me of Lower Manhattan, the twin towers, and then, of course, of their absence.

The view is from the back of the Staten Island Ferry. I remember it as the first all-American moment of my life, looking at the Statue of Liberty while eating a hot dog. I also remember the Financial District skyline, which appeared to me to be forlorn and empty, as if you could feel the buildings that were supposed to be there but weren’t.

I’d come to the city from Oklahoma and I was on my way to Europe. Then, as now, New York seemed a delicious place to visit, but not somewhere I could live. It was too big, too expensive, too accelerated. There was no way I could carry a two-by-four across town.

But it was an inspiration. I walked around with my Yashica camera, filled with black and white film, shooting whatever interested me: bricks, the street in front of my hotel on 34th Street, the old-fashioned scissor fence in this picture.

For me, it’s that scissor-gate on the back of the ferry that dates the image. It comes from another time. A slice of history that goes way back.

But everything else seems modern, up-to-date. When I look at the picture, which is over my desk in Los Angeles, I look for the towers, even though I know it’s impossible for them to be there. It’s hard to look at a photograph of that part of the city, no matter when it was taken, and not want to see them.


(New York, New York)

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Thursday, July 24, 2008

Ed Ruscha: Where Photorealism and Minimalism Meet in Elegance


Ed Ruscha - ACE, 1962
oil on canvas
Hirshhorn Museum, Washington




Ed Ruscha - Five Past Eleven, 1989
oil on canvas
Hirshhorn Museum, Washington



Look also at these two photographs, aren't they amazing?




Ed Ruscha - Gas Station
gelatin silver print
Galerie Trabant, Vienna


Ed Ruscha, Pool
9 ektacolor prints
Galerie Trabant, Vienna




(Hirshhorn Museum)

(Contemporary Art)

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