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Standard Station. 1966 | MoMA. An influential Los Angeles painter, printmaker, and photographer, Edward Ruscha developed a vibrant signature style of combining words, images, objects, and landscapes in deadpan ways—sometimes humorous, sometimes sinister—that associated him first with Pop art in the 1960s and then with Conceptual art in the ...
- Edward Ruscha. Standard Station, Ten-Cent Western Being Torn ...
Curator, Ana Torok: In Standard Station, Ten-Cent Western...
- Edward Ruscha | MoMA
In a move typical for Ruscha, whose motifs often migrate...
- Edward Ruscha. Standard Station, Ten-Cent Western Being Torn ...
Oct 14, 2016 · ARCHEUS/POST-MODERN. Oct 14, 2016 1:51PM. From its first appearance in his artist's book Twentysix Gasoline Stations and its subsequent translation into a masterpiece of American painting in 1964 as Standard Station, Amarillo, Texas, the Standard gasoline station is arguably Ruscha's most iconic image. Its stations ubiquitous across 20th ...
Curator, Ana Torok: In Standard Station, Ten-Cent Western Being Torn in Half, we see the service station from Amarillo, Texas. You’re looking at the gas station almost from below. This strong diagonal composition elevates this humble roadside architecture into something monumental. Ruscha would use the gas station motif again and again.
In a move typical for Ruscha, whose motifs often migrate across mediums, one of the Texas gas stations became the subject of a large painting and several prints. Standard Station, for instance, depicts this example of roadside architecture against a vibrant gradated sky, the outsized brand name transforming the structure into signage.
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During the late 1950s and into the 1960s, Los Angeles artist Edward Ruscha repeatedly drove US Route 66 to visit his family in Oklahoma City. These trips inspired a series of photographs, Twenty-Six Gasoline Stations, which celebrated the ubiquitous, if banal, roadside gas stations along his way. Standard Station, Amarillo, Texasalso emerged from h...
FREN 7, French Graphic Novels, Annabelle Cone, Spring 2013 ENVS 80, Writing Our Way Home: The Writing That Sustains Us, Terry Tempest Williams, Spring 2013
Acquisitions 1974-1978, Jaffe-Friede, Strauss and Barows Galleries, Hopkins Center Art Galleries, Dartmouth College, Hanover, New Hampshire, December 8, 1978-January 21, 1979. Amerikanische Malerei 1930-1980, Haus der Kunst, Munich, West Germany, November 14, 1981-January 31, 1982, no. 44. Art in Los Angeles: Seventeen Artists in the Sixties, Los A...
Barnaby Conrad III, John Register: Persistant Observer, San Francisco: Modernism Books c/o Barnaby Conrad III, 1998, 192 pp., ill. H. H. Arnason,-4th ed./Marla F. Prather, revising author, History of Modern Art, New York: Harry N. Abrams, Inc., 1998, p. 545, ill.p. 533, color plate 318. Aaron Betsky, editor, Icons: Magnets of Meaning, San Francisco...
Ferus Gallery, Los Angeles, California; Collection of Dennis and Brooke H. Hopper, Los Angeles, California; James J. Meeker, Oakland, California; given to present collection, 1976.
Feb 26, 2024 · “Standard Station” by Edward Ruscha is a clear illustration of how the artist was able to find profound meaning and create widespread impact in the most ordinary subjects. In Ruscha’s unique visual language and topics, viewers are encouraged to ponder the intricacies of American life and culture, and to stretch their minds to see beyond ...
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Nov 2, 2023 · Standard Station elevates a quotidian locale to the status of landmark, and at roughly 5 by 10 feet, it also marks Ruscha’s use of the panoramic format that regularly appears in his work. Image ...
