Abstract
Ed Ruscha's paintings and books of photographs are often interpreted as images of Los Angeles seen through the car windshield or read as billboards and movie screens. An examination of the material and spatial complexities of his work revealed by the viewer's encounter with it as an object illuminates the connection between Ruscha's practice and modes of spectatorship crucial to the art of the 1960s. Ruscha responded to the spatial experience of Los Angeles by experimenting with size and scale in his work in a way that also gives the viewer a new approach to the city itself.
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