Thoughts and discussions on exhibitions and the permanent collection.

There is the road and there is the studio: personal fascination and physical manifestation

For Ruscha the road began as a means and became an end. The road took the young artist from Oklahoma to California. Before that, it took him...

...a voice from nowhere

The story of a young Ruscha having a eureka moment after seeing reproductions of Target with Four Faces (1955) by Jasper Johns and Robert Rauschenberg’s “combine” Odalisk (1955/58)...

One side viewed from the other—or—Why the artist crossed the road…

Did the metaphor of crossing the road occur to Ruscha when he realized that to photograph one side of the street he had to be on the opposite side?

A view from a moving vehicle

Scale is everything. A speck in the distance looms large as it is approached and for a second, just before one whips by, it becomes its actual size. Even though this is a repeated experience...

From Here to Everywhere and Nowhere

The first gallery in the exhibition Ed Ruscha: Road Tested introduces us to the artist and sets the stage for his ongoing relationship with the road...

Why Did the Artist Cross the Road?

Why did the artist cross the road?

To see the other side

To see from the other side...

Changing Spaces: Ruscha's "Real Estate Opportunities" and the Modern

In the fall of 2009, I began working at the Modern as an intern where I did my blogging from a cozy little nook next to the PR offices. Now I work at the Museum as the online media coordinator and over the past few weeks I have been organizing the “intern nook” into an office.

The "Eterniday" of Growing Up

The Modern’s "Untitled (Medici Boy)", 1953, by Joseph Cornell is a small wooden box with a front glass pane tinted blue...

Language and Location: Lawrence Weiner's "One Lump, Two Lumps..."

Although he loathes the designation, pioneering conceptual artist Lawrence Weiner has given much to art. His text-based works...

The Up and Down, Back and Forth of Gallery Five

While sitting at my desk, thinking of a passage in William Faulkner’s "As I Lay Dying" concerning the horizontal and vertical in life, death, and art, I conjured up a mental image of the space and art in the fifth gallery...

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