Leo Castelli Gallery, New York
Stephen Mazoh & Co., New York
Christie's, New York, Contemporary Art Part II, November 2, 1984, lot 193
Collection of the artist
Anthony d'Offay Gallery, London
James R. Hedges, IV
CRG Gallery, New York
New York, Leo Castelli Gallery, Ed Ruscha: Drawings, February 3 - 17, 1973
San Francisco, San Francisco Museum of Modern Art, The Works of Edward Ruscha, March 25 - May 23, 1982, then traveled to New York, Whitney Museum of American Art (July 8 - September 5, 1982), Vancouver, Vancouver Art Gallery (October 4 - November 28, 1982), San Antonio, San Antonio Museum of Art (December 27, 1982 - February 20, 1983), Los Angeles, Los Angeles County Museum of Art (March 17 - April 17, 1983)
London, Anthony d'Offay Gallery, Ed Ruscha: New Paintings and a Retrospective of Works on Paper, June 26 - July 30, 1998
Aspen, Aspen Art Museum, Powder, February 25 - April 11, 1999
E. Ruscha, Guacamole Airlines and Other Drawings by Edward Ruscha, New York: Abrams, 1980, pl. 29 (illustrated)
P. Plagens, D. Hickey, The Works of Edward Ruscha, exh. cat., San Francisco Museum of Modern Art, San Francisco, 1982, pl. 62 (illustrated)
N. Wakefield, D. Hickey, Ed Ruscha: New Paintings and a Retrospective of Works on Paper, exh. cat., Anthony d'Offay Gallery, London, 1998, p. 31 (illustrated)
F. Bonami, Powder, exh. cat., Aspen Art Museum, Aspen, 1999, p. 39 (illustrated)
R.D. Marshall, Ed Ruscha, London: Phaidon, 2003, p. 146 (illustrated)
L. Turvey, Edward Ruscha: Catalogue Raisonné of the Works on Paper, Volume 1: 1956-1976, Gagosian Gallery, New York & Yale University Press, New Haven, 2014, p. 320, no. D1972.45 (illustrated)
American • 1937
Quintessentially American, Ed Ruscha is an L.A.-based artist whose art, like California itself, is both geographically rooted and a metaphor for an American state of mind. Ruscha is a deft creator of photography, film, painting, drawing, prints and artist books, whose works are simultaneously unexpected and familiar, both ironic and sincere.
His most iconic works are at turns poetic and deadpan, epigrammatic text with nods to advertising copy, juxtaposed with imagery that is either cinematic and sublime or seemingly wry documentary. Whether the subject is his iconic Standard Gas Station or the Hollywood Sign, a parking lot or highway, his works are a distillation of American idealism, echoing the expansive Western landscape and optimism unique to postwar America.
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