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Despite his resistance to the characterization, Ed Ruscha has a reputation as a quintessential Los Angeles artist. So it’s not surprising that a new documentary short about his career is narrated by a Hollywood star. In “Ed Ruscha: Buildings and Words,” actor Owen Wilson chronicles the artist’s six decades of making bold Pop paintings, photographs, books, and prints influenced by the sun-drenched architecture and signage of the American West. Written and directed by Felipe Lima and commissioned by the Museum of Contemporary Art, Los Angeles, the just-over-seven-minute video juxtaposes archival footage from Ruscha’s life with a mini retrospective of his work, from his painting of the word “jelly” spelled out in jelly to photographs of flaming gas stations.
For those who dismiss Ruscha’s work as shticky or don’t get what the onomatopoeic “OOF” in big yellow letters on a blue background is doing at MoMA, the documentary makes a strong case for the artist’s irreverent style and conceptual depth. “I think he came from a different place,” says artist Ed Moses in the film. “He had a different source — a direct source of a reality. Like a person from another planet would come in here and see this stuff directly.”
It also touches on Ruscha’s “coolness.” “When [people] talk about Ed they describe him as cool,” says Wilson, who started collecting Ruscha’s work in 1996, after coming across one of his paintings while filming scenes for Wes Anderson’s debut feature, Bottle Rocket. “And yes, he’s cool.” To prove it, the documentary’s commentators include not just art world figures like gallerist Irving Blum and artist Larry Bell, but also actor Ed Begley Jr. and Sonic Youth bassist–cum–artist Kim Gordon, whose drippy word paintings might be seen as punk-inflected derivatives of Ruscha’s experiments in oversize type.
From commissions to residencies and fellowships for artists, curators, and teachers, a list of opportunities that artists, writers, and art workers can apply for each month.
It is one thing to be a visionary and another to be one whose work holds your attention for a sustained period of time.
“Following Sonorous Bodies” is available online. The journal also seeks guest editors for themed issues, books, and more, as well as contributors for Issue 8, “Birds & Language.” Proposals are due December 15.
Regardless of which way the camera is pointing, Wearing shows a lively — and altogether merciless — interest in how people choose to tell their own stories.
Feldschuh understands that the actions and interactions of particles can be formulated mathematically but not illustrated visually.
These multimedia works debuting on Voice include a “Death Mechanism” and allow fans to collect the artist’s origin story, told specifically for the metaverse.
Shellyne Rodriguez and Danielle De Jesus powerfully respond to the continued attacks on their neighborhoods with works that validate and uplift elements of everyday urban Latinx life that are usually devalued.
This week, I’ve included a lot of humor because with the recent news on the coronavirus variant, we can all use it.
On December 13, learn about the Sam Fox School’s graduate programs in Visual Art and Illustration & Visual Culture, as well as the university’s competitive financial aid packages.
So legendarily precious and complex are the Fabergé eggs that they have become a byword for insane expenditure.
While performing a piece for Satellite Art Show, Xxavier Edward Carter was approached by a group of officers who threatened him with ten years in prison.
Gerke Dunkhase estimates that only half of the Benin bronzes in Germany are logged on the portal so far, calling the current database a “prototype” of what’s to come.