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The L.A. Observer finally gets the Los Angeles retrospective he deserves.

Artist Ed Ruscha talks about his LACMA retrospective 'Now Then.'

The tagline of the magazine in question, Popular Western, was “Complete Quick-Trigger Stories,” which could apply to Ruscha’s photographs but not to his paintings. Even his silliest paintings are stately and brooding, often to a fault. The character of the brooding evolved over time. If the later paintings are—often but not always to their detriment—more explicit about our world on fire, the ’60s work prioritizes pleasure: the laid-back loops of the gas pump hoses, the blocky, confid...

Stan Douglas, Ken Lum, Douglas Coupland and others are helping efforts to raise C$8m for housing for Vancouver’s homeless

There's much to be learned by the juxtaposition of their two approaches in this show in Houston.

A retrospective exhibition at New York's Museum of Modern Art offers an overview of Ed Ruscha's storied career.

The retrospective that MoMA has dedicated to the pop and conceptual work of the veteran artist is a triumph and one of the cultural events of the fall in New York

One of the singular accomplishments of Ed Ruscha’s long and varied career is to bring the hyperbolic image of the American billboard down to its actual size. Whether revealing the ass-end of the Hollywood sign or the lateral sprawl of Manifest Destiny down to its cinematic Sunset end, he’s served as sardonic witness to the country’s love/hate, super/under-sized relationship with itself.

A major, career-spanning retrospective brings together more than 200 works, including the infamous Chocolate Room