1. West
Coast
Pop
Art
Art
109A:
Art
since
1945
Westchester
Community
College
Fall
2012
Dr.
Melissa
Hall

2. Ferus
Gallery
Los
Angeles
became
a
leading
center
of
Pop
art
in
the
1960’s
The
Ferus
Gallery,
Los
Angeles,
1962
Artnet

3. Ferus
Gallery
The
Ferus
Gallery
showed
Andy
Warhol's
Campbell
Soups
cans
in
1962
Irving
Blum
with
Andy
Warhol’s
Campbell’s
Soup
Cans
at
the
Ferus
Gallery
in
Los
Angeles,
1962.
Photo
by
William
Claxton.
Pacific
Standard
Time,
GeSy
Museum

4. Ferus
Gallery
Walter
Hopps
curated
Common
Objects
at
the
Pasadena
Art
Museum
-­‐-­‐
one
of
the
first
major
Pop
art
exhibiVons
in
the
country.

5. Ed
Ruscha
Ed
Ruscha
began
painVng
commonplace
words
like
“OOF”
and
“HONK”
and
presented
them
on
canvas,
isolated
from
any
context
that
would
give
them
meaning
Ed
Ruscha,
OOF,
1962
(reworked
1963)
Museum
of
Modern
Art

6. Ed
Ruscha
The
words
come
from
the
world
of
comic
books,
where
their
meanings
seem
to
be
simple
and
clear
Ed
Ruscha,
Annie,
1962

7. Ed
Ruscha
But
dislocated
from
their
context
they
become
abstracVons,
like
Jasper
Johns’
Flags
and
Targets
Jasper
Johns,
Target,
1958
Ed
Ruscha,
OOF,
1962
(reworked
1963)
Museum
of
Modern
Art

8. Ed
Ruscha
In
1963
Ruscha
published
a
book
of
photographs
of
gasoline
staVons
taken
along
Route
66
Ed
Ruscha,
Twenty
Six
Gasoline
Sta:ons,
1963

9. Ed
Ruscha
The
photographs
are
idenVfied
simply
by
locaVon
and
are
dispassionate
in
approach
Ed
Ruscha,
Phillips
66,
Flagstaff
Arizona
From
Twenty
Six
Gasoline
Sta:ons,
1963

10. Ed
Ruscha
Completely
lacking
in
poetry
or
aestheVc
value,
the
pictures
operate
like
“found
objects”
They
capture
the
bland
impersonality
of
the
highway
landscape,
and
its
mass-­‐produced
sameness
Ed
Ruscha,
Twenty
Six
Gasoline
Sta:ons,
1963

11. Ed
Ruscha
“The
series
was
meant
to
portray
the
standardizaVon
of
industry
visually
overtaking
the
country:
each
of
the
photographs
was
taken
along
Route
66
on
the
way
from
Los
Angeles
to
Oklahoma
City,
which
Ruscha
traveled
several
Vmes
a
month.
The
myth
Jack
Kerouac
invoked
with
his
novel
"On
the
Road"
crumbled
in
Ruscha’s
uniform
landscapes
populated
by
idenVcal
signs.
Trips
no
longer
seemed
like
adventures,
but
like
an
endlessly
monotonous
repeVVon
of
the
everyday.”
“The
Dark
Side
of
Pop,”
Db
Artmag
hSp://www.db-­‐artmag.de//2004/8/e/ Ed
Ruscha,
Twenty
Six
Gasoline
Sta:ons,
1963
1/279.php

12. Ed
Ruscha
Ruscha
then
began
to
make
painVngs
and
silkscreens
based
on
the
gasoline
staVon
photographs.
Ed
Ruscha,
Standard
StaVon,
Amarillo,
Texas,
1963,
Hood
Museum
of
Art,
Dartmouth
College

13. Ed
Ruscha
In
another
photographic
work
Ruscha
mounted
a
camera
to
his
car
and
drove
up
and
down
Sunset
Boulevard
taking
photographs
Ed
Ruscha
holding
his
book
Every
Building
on
the
Sunset
Strip,
1967.
Pacific
Standard
Time,
GeSy
Museum

14. Ed
Ruscha
The
resulVng
pictures
were
assembled
in
an
accordion-­‐fold
book
Vtled
Every
Building
on
the
Sunset
Strip

15. Ed
Ruscha,
Every
Building
on
Sunset
Strip,
1966
Art
Gallery
of
North
South
Wales

16. “Every
Building
on
the
Sunset
Strip
(1966)
is
a
27-­‐foot
accordion-­‐fold
strip
of
photographs
that
give
you
exactly
what
the
Vtle
promises,
with
one
part
of
each
building
at
the
top
of
the
page
and
the
other
upside
down
at
the
boSom,
as
if
the
middle
is
the
asphalt
along
which
your
eyes
are
driving”
hSp://www.frieze.com/issue/review/ed_ruscha_and_silke_oSo_knapp

17. Ed
Ruscha
The
work
recalls
the
deadpan
approach
of
Warhol’s
Empire,
and
translates
the
cinemaVc
experience
to
the
staVc
format
of
a
book