Displaying items by tag: ed ruscha

At nearly 78, American artist Ed Ruscha has promised to donate to London’s Tate museum one impression of all future prints he makes for the rest of his life. The initiative launched with the inaugural group of prints that includes “Jet Baby,” 2011, “Wall Rocket,” 2013, and “Sponge Puddle,” 2015, along with 15 other works reflecting the artist’s interest in signs, language, and the landscape of Los Angeles.

The allure of the Western frontier has been a central part of Ed Ruscha’s biography and mythology ever since he drove his black Ford from Oklahoma City to Los Angeles in 1956, following Route 66 most of the way to the school now known as Cal Arts. It is also the concept for a show organized by the De Young Museum in San Francisco set to open in July 2016: "Ed Ruscha and the Great American West."

The exhibition, divided into nine parts, stars with a focus on landscapes by Ruscha that stretch across our field of vision in the same sort of aspect ratio as a car windshield.

Phillips will sell a $35-million contemporary art collection at its New York auction house this May, featuring works by artists such as Alighiero Boetti, John Chamberlain, Brice Marden, Giuseppe Penone, Ed Ruscha, and Robert Ryman. The consignment represents a coup for the house and a sign of the clout and art world connections of new chairman and CEO Edward Dolman. The longtime Christie's CEO took over the lead role at Phillips this past summer. The house has salesrooms in New York and London and plans to expand to Hong Kong.

Though Phillips typically holds much smaller contemporary art sales than Sotheby's and Christie's, it has nonetheless carved out a niche and become well known for selling art by younger artists like Alex Israel, Oscar Murillo, and Sterling Ruby.

Sotheby’s has announced that its upcoming spring auctions of Contemporary Art in New York will feature a selection of works donated by artists in support of the Museum of Contemporary Art (MOCA) in Los Angeles. While the list of donations has not yet been finalized, approximately 35 works will be offered in Sotheby’s evening and day sales on May 12, 2015, and May 13, 2015. Proceeds from the auction will benefit MOCA’s endowment.

All of the artists who have donated works to the sale, including John Baldessari, Mark Bradford, Mark Grotjahn, Jeff Koons, Barbara Kruger, and Ed Ruscha, have strong ties to MOCA.

The Los Angeles County Museum of Art (LACMA) is kicking off its 50th anniversary with a major gift of contemporary art. Local collectors Jane and Marc Nathanson have promised the institution eight works created  over four decades, including seminal pieces by Damien Hirst, Roy Lichtenstein, Frank Stella, and Andy Warhol. The bequest marks the beginning of a campaign, chaired by LACMA trustees Jane Nathanson and Lynda Resnick, to encourage additional promised gifts of art in honor of the institution’s anniversary. The Nathansons’ donation is estimated to be worth around $50 million.

Well known for their philanthropic endeavors in the Los Angeles area, the Nathansons have made several contributions to LACMA’s collection, including supporting the acquisition of a set of Ed Ruscha prints in honor of the museum's 40th anniversary.

Ed Ruscha’s art exudes humor and honesty. What you see is what you get. Subsequent viewings won’t reveal hidden depths in it. And they make you feel really good.

Perhaps, that’s the reason why Parisian art dealer Thomas Bompard asked several international art dealers to lend Galerie Gradiva works by Ruscha from their private collections to be displayed ‘just like at home,’ on the walls of an 18th-century private mansion opposite the Louvre. Larry Gagosian, Dominique Lévy, Enrico Navarra, Almine Rech and Paolo Vedovi accepted to play along.

The Centre Pompidou in Paris is currently hosting Frank Gehry’s first major retrospective in Europe. Gehry, who is best known for his expressive, sculptural buildings, is one of the most influential figures in contemporary architecture. Since opening his first office in Los Angeles in the early 1960s, Gehry has revolutionized architecture’s aesthetics, its social and cultural role, and its relationship to urban environments.

Shortly after opening his own office, Gehry fell in with the California art scene, befriending important artists such as Ed Ruscha, Richard Serra, and Claes Oldenburg. Gehry’s relationships with these artists helped him develop his unique ability to bridge the gap between art and architecture. Additionally, Gehry’s encounter with the works of Robert Rauschenberg and Jasper Johns paved the way for a reconfiguration of his style all together.

The Hammer Museum will fete Los Angeles visual artist Mark Bradford and singer Joni Mitchell at its annual gala scheduled for Oct. 11. The Gala in the Garden is a key fundraiser for the Westwood museum, which raised $2 million at last year's event.

Hammer officials said that the couple Emily Blunt and John Krasinski will serve as co-chairs of the gala. The event is also being chaired by Danna and Ed Ruscha, and Tomas Maier. Proceeds from the gala will support museum exhibitions and public programming.

Conceived as a challenge to long-standing conventional wisdom, "Creating the Future: Art and Los Angeles in the 1970s" (on-sale September 9th, 2014) examines the premise that the progress of art in Los Angeles ceased during the 1970s—after the decline of the Ferus Gallery, the scattering of its stable of artists (Robert Irwin, Ed Kienholz, Ed Moses, Ed Rusha and others), and the economic struggles throughout the decade—and didn’t resume until sometime around 1984 when Mark Tansey, Alison Saar, Judy Fiskin, Carrie Mae Weems, David Salle, Manuel Ocampo, among others, became stars in an exploding art market. However, this is far from the reality of the L.A. art scene in the 1970s.

The passing of those fashionable 1960s-era icons, in fact, enabled the development of a chaotic array of outlandish and independent voices, marginalized communities, and energetic, sometimes bizarre visions that thrived during the stagnant 1970s. Fallon’s narrative describes and celebrates, through twelve thematically arranged chapters, the wide range of intriguing artists and the world they created.

“I didn’t read a lot,” Dennis Hopper (1936-2010) once confessed, “but the idea of the decisive moment, catching something at a given moment, was very interesting to me.” Consequently, an unexpected presence presides over “The Lost Album,” an exhibition of Hopper photographs at the Royal Academy, London (through October 19). As you walk around, you keep being reminded of Henri Cartier-Bresson. The great Frenchman was obviously Hopper’s principle influence when he picked up a camera.

Hopper’s best images are at once formally perfect and utterly fleeting. Take his picture of Ed Ruscha — his friend and fellow artist — in 1964, for example. Ruscha, looking almost ridiculously handsome in the James Dean manner, is standing on the street in Los Angeles. Behind him is a window through which a neon sign reads “TV Radio Services.” Mirrored in the glass of the window are the road and the buildings on the other side of the street.