Since coming to the Ransom Center in 2008, Margie Rine has significantly contributed to the Center’s development efforts. [Read more…] about Meet the Staff: Q&A with Director of Development Margie Rine
The Edward Ruscha Papers and Art Collection at the Harry Ransom Center includes preliminary layout sheets for Hard Light, a collaborative artist’s book published by Ruscha and Lawrence Weiner in 1978. [Read more…] about Ransom Center conservator treats preliminary layouts for Ed Ruscha’s Hard Light
Visitors to the Ransom Center may now experience the creative work and process of artist Edward Ruscha first hand. The materials in the Edward Ruscha papers and art collection, which opens today, cover a selection of works from the 1960s to the present, and include research material, notebooks, sketches, photographic material, publicity and exhibition material, and final editions for Ruscha’s artist’s books, prints, films, and commissioned works.
Project archivist Anne Kofmehl is cataloging the Edward Ruscha papers and art collection, which the Ransom Center acquired in 2013 and which opens January 20. Kofmehl writes about an interesting photograph she came across while organizing the collection. [Read more…] about Ed Ruscha and the mysterious Rocky II
Ed Ruscha’s Twentysix Gasoline Stations, a thin paperback that resembles an industrial manual of the 1960s, is often considered to be the first modern artist’s book. The book is exactly what the title describes: 26 images of gasoline stations along Route 66 between Los Angeles and Oklahoma City.
Born in Omaha, Nebraska, and raised in Oklahoma City, Ruscha was living and working in Los Angeles in the 1960s and frequently traveled the route between the two cities to visit his family.
“I just had a personal connection to that span of mileage between Oklahoma and California,” Ruscha told NPR earlier this year on the 50th anniversary of the book. “It just, it kind of spoke to me.”
In an interview with Avalanche magazine in 1973 he said, “I’d always wanted to make a book of some kind. 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 stations.”
So, Ruscha documented gas stations along that route in black-and-white photographs and labeled them with their locations, from “Texaco, Sunset Strip, Los Angeles” to “‘Flying A, Kingman, Arizona” to the final image “Fina, Groom, Texas.”
Ruscha published the book at age 26 in a run of 400 numbered copies in April 1963. Though it was the same year as Ruscha’s first solo exhibition at the Ferus Gallery in Los Angeles, the book didn’t initially receive a warm reception. In a 1963 letter, the Library of Congress declined to add a copy to their collection, noting the book’s “unorthodox form and supposed lack of information.”
The book gradually acquired cult status in the 1960s, and a second edition was published in 1967 and a third in 1969. Surviving first editions of the book are rare.
Ruscha’s archive, which was recently acquired by the Ransom Center, includes snapshots of the gas stations, Ruscha’s notes about the project, the Library of Congress letter, and an advertisement with the headline “REJECTED Oct. 2, 1963 by the Library of Congress.”
Four large bins containing the archival material of artist Ed Ruscha arrived at the Ransom Center recently. Packed and carefully layered within were boxes, tubes, and portfolios containing Ruscha’s notable creations on paper. The collection includes his limited edition artist’s books and deluxe suites of prints, photographic publications, colorful exhibition posters, prints of his 16 mm movies, and a rich assortment of papers and journals documenting the creation of his publications and art commissions and referencing his various literary influences. Together, this material represents the achievements of a remarkable artistic career that spans more than half a century.
Born in 1937, Ed Ruscha is considered today to be one of the most important artists of his generation. Words and wry phrases have always played a central role in his artwork, beginning with the West Coast Pop Art phenomena of the 1960s where his roots run deep. For Ruscha, whose background includes commercial art and typesetting, words are visually malleable and can carry multiple meanings. “I like the idea of a word becoming a picture, almost leaving its body, then coming back and becoming a word again,” Ruscha once said.
Arts writer, Calvin Tomkins, summed it up best: “His (Ruscha’s) early paintings are not pictures of words but words treated as visual constructs.”
Single word paintings with odd titles such as Oof (1963) and Boss (1964) were early precursors to more complex works such as the series of rhyming prints titled News, Mews, Pews, Brews, Stews & Dues (1970), which are included in the archive.
Ruscha’s art would evolve and expand intellectually—Marcel Duchamp and Jasper Johns were early influences—to become beautifully crafted and complex conceptual works of art, which have been described over the years as being comedic, deadpan, and elegantly laconic.
West Coast car culture and commutes on Route 66 between Los Angeles and Oklahoma where Ruscha grew up all helped inspire many of his photography-based artist’s books such as Twentysix Gasoline Stations (1962), Royal Road Test (1980), and Parking Lots (1999). All are represented in the archive.
Most recently published is On the Road (2010), Ruscha’s limited edition artist book of the classic novel by Jack Kerouac (1922–1969). The archive includes full-size mockups of the book, annotated copies of the novel, sketches, photographs, correspondence, and business papers. These materials resonate perfectly with the Ransom Center’s own collection of materials related to Beat Generation authors, which includes the journal that Kerouac kept while preparing to write On the Road.
Also included in the archive is Sayings (1995), a folio of ten color lithographs bound in linen that are based on Mark Twain’s novel Pudd’nhead Wilson: A Tale (1894). Ruscha selected phrases written by Twain in a black dialect spoken during the era of slavery. He superimposed the phrases (hand-written in what Ruscha calls his “Boy Scout Utility san serif”) over colorful wood grain patterns, creating a tension that resonates with larger social and racial issues in America today.
Ruscha’s creative distillation of popular American culture over the last half century with its layers of typographical code makes him an exciting artist to explore, and, for the Ransom Center, one of the more compelling if not quintessential to acquire.
Please click on thumbnails to view larger images.