In Ed Ruscha's Work, A City Sits For Its Portrait

Ed Ruscha'€™s first artist book Twentysix Gasoline Stations featured simple black-and-white snapshots of gas stations that he photographed along Route 66 on his road trips from Los Angeles to Oklahoma City. The book would go on to influence a generation of artists with its industrial style and casual look. i i

Ed Ruscha'€™s first artist book Twentysix Gasoline Stations featured simple black-and-white snapshots of gas stations that he photographed along Route 66 on his road trips from Los Angeles to Oklahoma City. The book would go on to influence a generation of artists with its industrial style and casual look. Ed Ruscha/Courtesy of the J. Paul Getty Museum, Los Angeles hide caption

itoggle caption Ed Ruscha/Courtesy of the J. Paul Getty Museum, Los Angeles
Ed Ruscha'€™s first artist book Twentysix Gasoline Stations featured simple black-and-white snapshots of gas stations that he photographed along Route 66 on his road trips from Los Angeles to Oklahoma City. The book would go on to influence a generation of artists with its industrial style and casual look.

Ed Ruscha'€™s first artist book Twentysix Gasoline Stations featured simple black-and-white snapshots of gas stations that he photographed along Route 66 on his road trips from Los Angeles to Oklahoma City. The book would go on to influence a generation of artists with its industrial style and casual look.

Ed Ruscha/Courtesy of the J. Paul Getty Museum, Los Angeles
Twentysix Gasoline Stations is a small, thin paperback book resembling an old industrial manual — just 26 black-and-white photos of gas stations.

Twentysix Gasoline Stations is a small, thin paperback book resembling an old industrial manual — just 26 black-and-white photos of gas stations. Ed Ruscha/Courtesy of the artist and Gagosian Gallery hide caption

itoggle caption Ed Ruscha/Courtesy of the artist and Gagosian Gallery

For a seminal work of art, Twentysix Gasoline Stations doesn't look like much. It's a small, thin paperback book resembling an old industrial manual — just 26 black-and-white photos of gas stations that Los Angeles artist Ed Ruscha self-published 50 years ago, when he was 26.

"If I showed the book to somebody who worked in a gas station, they might be genuinely interested in it, saying, 'Oh yeah, I remember that place out on the highway.' "

The intellectual establishment, however, wasn't convinced. One critic described the book as "doomed to oblivion." The Library of Congress refused to put it in its stacks.

"People who were in the art world, like, 'What is this you're doing? Are you putting us on?' " Ruscha recalls with a laugh.

Ruscha made his name in the 1960s by taking pictures of the city's most run-of-the-mill non-landmarks: gas stations, apartment houses, vacant lots. As photographs, they may seem unremarkable. Yet they became some of the 20th century's most enduring images. Those photos have since been shown in museums around the world, and they are now on view at the Getty Museum in Los Angeles.

"At that time, the idea of an artist book was a meticulously crafted, limited edition, expensive work," says Virginia Heckert, who helped organize the exhibition "In Focus: Ed Ruscha."

Another image from Twentysix Gasoline Stations: œStandard, Figueroa Street, Los Angeles, taken in 1962. The humble gas station also made an appearance in Ruscha's painted works. i i

Another image from Twentysix Gasoline Stations: œStandard, Figueroa Street, Los Angeles, taken in 1962. The humble gas station also made an appearance in Ruscha's painted works. Ed Ruscha/Courtesy of the J. Paul Getty Museum, Los Angeles hide caption

itoggle caption Ed Ruscha/Courtesy of the J. Paul Getty Museum, Los Angeles
Another image from Twentysix Gasoline Stations: œStandard, Figueroa Street, Los Angeles, taken in 1962. The humble gas station also made an appearance in Ruscha's painted works.

Another image from Twentysix Gasoline Stations: œStandard, Figueroa Street, Los Angeles, taken in 1962. The humble gas station also made an appearance in Ruscha's painted works.

Ed Ruscha/Courtesy of the J. Paul Getty Museum, Los Angeles

Ruscha, however, got a commercial printer to mass produce 400 copies — which he sold at $3 a pop. Heckert says the crude, almost anonymous quality of Ruscha's pictures represented a shift from the highly personalized art of the 1940s and '50s.

"They're all reactions to the sort of, chest-thumping, soul-baring Abstract Expressionists, and the drama and emotion of creating paintings that are very physical," Heckert says.

But the photos nonetheless provide a glimpse into where the artist was coming from. The son of an insurance auditor, Ruscha was raised in Oklahoma City, but moved to L.A. in 1956. The gas stations he photographed all sat on Route 66, the highway he rode on his regular visits home.

"I just had a personal connection to that span of mileage between Oklahoma and California," Ruscha explains. "It just, it kind of spoke to me."

So did the stark black-and-white cinematography of John Ford's 1940 film adaptation of The Grapes of Wrath, which told the story of Oklahoma migrants fleeing the Dust Bowl in the 1930s. They traveled Route 66, too.

The Getty Museum's exhibit includes rarely seen contact sheets from Ruscha'€™s photographic archive, including this continuous take of the Pacific Coast Highway, from 1974-75. i i

The Getty Museum's exhibit includes rarely seen contact sheets from Ruscha'€™s photographic archive, including this continuous take of the Pacific Coast Highway, from 1974-75. Ed Ruscha/Courtesy of the Getty Research Institute, Los Angeles hide caption

itoggle caption Ed Ruscha/Courtesy of the Getty Research Institute, Los Angeles
The Getty Museum's exhibit includes rarely seen contact sheets from Ruscha'€™s photographic archive, including this continuous take of the Pacific Coast Highway, from 1974-75.

The Getty Museum's exhibit includes rarely seen contact sheets from Ruscha'€™s photographic archive, including this continuous take of the Pacific Coast Highway, from 1974-75.

Ed Ruscha/Courtesy of the Getty Research Institute, Los Angeles

Twentysix Gasoline Stations was also pioneering in the way that it captured an essential aspect of modern American life: the car. Ruscha is a gear head. He keeps a mint-condition 1933 Ford pickup behind his sprawling L.A. studio.

Car culture makes its way into another of Ruscha's seminal photographic works: Every Building on the Sunset Strip. In the '60s, the Strip — a commercial stretch of Sunset Boulevard in West Hollywood — was the place to hang out in L.A. Ruscha saw The Doors play at the Whiskey a Go Go and he dug the street's flamboyant signage.

"It just had a wavy, windy sort of look to it that I liked," he says. "And I just said, 'Well, I'll start here.' "

What he started was another reinvention of the artist book. Published in 1966, Every Building on the Sunset Strip is an accordion pamphlet consisting of a 25-foot-long panorama of the entire two-mile Strip. Reading it feels like cruising Sunset in third gear.

The Getty currently holds the archive for all of Ruscha'€™s Los Angeles street shoots (his negatives are estimated to number in the millions), including this hand-made mock-up of his iconic 1966 book, Every Building on the Sunset Strip. i i

The Getty currently holds the archive for all of Ruscha'€™s Los Angeles street shoots (his negatives are estimated to number in the millions), including this hand-made mock-up of his iconic 1966 book, Every Building on the Sunset Strip. Ed Ruscha/Courtesy of the Getty Research Institute, Los Angeles hide caption

itoggle caption Ed Ruscha/Courtesy of the Getty Research Institute, Los Angeles
The Getty currently holds the archive for all of Ruscha'€™s Los Angeles street shoots (his negatives are estimated to number in the millions), including this hand-made mock-up of his iconic 1966 book, Every Building on the Sunset Strip.

The Getty currently holds the archive for all of Ruscha'€™s Los Angeles street shoots (his negatives are estimated to number in the millions), including this hand-made mock-up of his iconic 1966 book, Every Building on the Sunset Strip.

Ed Ruscha/Courtesy of the Getty Research Institute, Los Angeles

Ruscha's books have been widely influential among artists, who have adopted their disaffected look. But their influence also extends to architects: Denise Scott Brown, Robert Venturi and Frank Gehry, who has known Ruscha since the 1960s.

Ruscha published numerous artist books in the 1960s and '70s, most of them focused on mundane aspects of the urban landscape. Shown here: 1018 S. Atlantic Blvd, an image from Some Los Angeles Apartments, published in 1965. i i

Ruscha published numerous artist books in the 1960s and '70s, most of them focused on mundane aspects of the urban landscape. Shown here: 1018 S. Atlantic Blvd, an image from Some Los Angeles Apartments, published in 1965. Ed Ruscha/Courtesy of the J.Paul Getty Museum, Los Angeles hide caption

itoggle caption Ed Ruscha/Courtesy of the J.Paul Getty Museum, Los Angeles
Ruscha published numerous artist books in the 1960s and '70s, most of them focused on mundane aspects of the urban landscape. Shown here: 1018 S. Atlantic Blvd, an image from Some Los Angeles Apartments, published in 1965.

Ruscha published numerous artist books in the 1960s and '70s, most of them focused on mundane aspects of the urban landscape. Shown here: 1018 S. Atlantic Blvd, an image from Some Los Angeles Apartments, published in 1965.

Ed Ruscha/Courtesy of the J.Paul Getty Museum, Los Angeles

"I love the guy," Gehry says. "He's been a great inspiration to me."

As a young designer, Gehry was obsessed with ordinary materials such as corrugated steel and chain-link fence. He felt a deep kinship to Ruscha's unromantic view of L.A.

"I thought it was so real," Gehry says. "So laid back, so not in your face, so just: I'm just exploring things and this is how I explore things. I'm fascinated with the streetscape, so I take pictures of every building on the street and look at it."

At 75, Ruscha hasn't stopped looking. But what he sees has changed.

"Buildings are still standing, but the names are gone. They've gone back to something quieter. What's happening? What's happening to our city? Let's worry!" he says with a laugh. When asked if he'd like the L.A. to be a little jazzier he says, "Nah, it can go any way it wants and I'll still be here."

And as long as Ed Ruscha is around, L.A. will get its picture taken.

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