Acrylic on lithograph, framed
16 x 28 inches
24 x 35 ½ inches framed
40.64 x 71.12 centimeters
60.96 x 90.17 centimeters framed
Selma and Vine St, 1999
Acrylic on canvas
22 x 17 1/4 inches
Yes Tree, 1983-1986
Oil and enamel on canvas
50 x 40 inches
127 x 101.6 centimeters
Sunset De Longpre, 2001
Acrylic on linen
16 x 24 inches
40.64 x 60.96 centimeters
Automatic Study, 1963
Pencil on tracing paper
16 7/8 x 12 inches
20 5/8 x 27 5/8 x 1 1/2 inches framed
42.86 x 30.48 centimeters
52.38 x 70.16 x 3.81 centimeters framed
Signed lower right: "Edw Ruscha 1963"
Magic Isle, 1982
Pastel on paper
30 x 40 inches
39 1/2 x 52 1/2 x 2 inches framed
76.2 x 101.6 centimeters
100.33 x 130.81 x 5.08 centimeters framed
The World, 1977
Carrot juice on paper
23 x 29 inches
28 1/2 x 34 5/8 x 1 1/2 inches framed
58.42 x 73.66 centimeters
72.39 x 87.94 x 3.81 centimeters framed
Signed and dated 'Edward Ruscha 1977' on the reverse
Pencil on paper
7 3/8 x 34 inches
17 x 43 x 1 1/2 inches framed
18.73 x 86.36 centimeters
43.18 x 109.22 x 3.81 centimeters framed
Signed and dated 'Ed Ruscha 1979' (bottom right)
Casterline|Goodman Gallery is proud to present Rooms with Words by Ed Ruscha, on view from July 25th to September 25th, 2017.
Casterline|Goodman has been collecting Ed Ruscha’s work for years, and the gallery continues to be an expert on Ruscha’s market. Casterline|Goodman’s collection features many significant works including Ruscha’s Yes Tree, Magic Isle and Fly Proof.
Ed Ruscha is an American artist that emerged as a Pop Artist in the 1960s. He was born in 1937 in Nebraska and studied at the California Institute for the Arts from 1956 to 1960 under Robert Irwin and Emerson Woelffer. After graduating, he traveled around Europe before taking a job as a layout artist in Los Angeles. Ruscha became a part of the Ferus Gallery Group, which represented artists as John McCracken and Larry Bell. It also held Andy Warhol’s first solo exhibition of his Campbell's Soup Cans.
By the 1960s, Ruscha was well-known for his prints, collage and paintings. He denies being influenced by his Southern California upbringing, but his use of large, catchy Hollywood-inspired text and California themes seem to be an homage to his roots. His first public work was installed in 2014 on New York City’s High Line featuring Honey, I Twisted Through More Damn Traffic Today, taken from a pastel drawing he created in 1977.
Ruscha’s works can be described as stylized representations of American pop culture combined with words and phrases that play with the image and its linguistic meaning. Ruscha works with unconventional media as graphite, gunpowder and pastel to create his word and slogan works. He applies the media with his “drawing tools,” which consist of cotton puffs and Q-Tips. These help him create his renowned smoky and illusive effects. By giving his phrases a “physical voice,” he created a deadpan humor that is now synonymous with his work.