Ruscha, Ed definition of Ruscha, Ed in the Free Online Encyclopedia.

Ruscha, Ed (Edward Ruscha), 1937–, American artist, b. Omaha, Neb. He is closely associated with Los Angeles, where he moved to attend (1956–60) the Chouinard Art Institute. Cooly inventive and extremely influential, Ruscha uses imagery and language familiar from popular media and typically mingles various styles including pop art, pop art, a movement that first emerged in Great Britain at the end of the 1950s as a reaction against the seriousness of abstract expressionism . British and American pop artists employed a common imagery found in comic strips, soup cans, and Coke bottles to express
..... Click the link for more information. surrealism, surrealism (sərē`əlĭzəm)
..... Click the link for more information. photorealism, photorealism, international art movement of the late 1960s and 70s that stressed the precise rendering of subject matter, often taken from actual photographs or painted with the aid of slides.
..... Click the link for more information. and conceptual art. He became known for his paintings of roadside buildings (e.g., Standard Station, Amarillo, Texas, 1963) and Southern California icons (e.g., the 20th Century Fox logo and Hollywood sign) executed in a hard-edged commercial style and for his painted words isolated from context and floating in deep space. He also produced a number of books, the earliest a series of affectless photographs of such architectural banalities as gas stations, apartment buildings, and parking lots. An accomplished draftsman and printmaker, he often incorporates food, blood, grease, gunpowder, or other unusual materials in his graphic works. Many of his later images feature archetypal American landscapes overlaid with apparently unrelated words and phrases.

Bibliography

See A. Schwartz, ed., Leave Any Information at the Signal: Writings, Interviews, Bits, Pages (2004); studies by S. Engberg, ed. (1999), N. Benezra et al. (2000), R. D. Marshall (2003), P. Poncy, ed. (2004), M. Rowell (2004), and S. Wolf (2004).