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“SFMOMA hosted Ed Ruscha’s first major museum retrospective in 1982 and we now hold his work in great depth,” says Benezra. SFMOMA’s trustees are advocates for the museum within the larger community, seeking out opportunities to expand audiences and contributing to the institution’s stability and vitality while sharing a long-term vision to ensure its excellence.

“Given his long history with SFMOMA and his exceptional knowledge of and great influence in the art world, his input will be invaluable as we dramatically expand to become an international showcase for the best in contemporary culture.” Of his appointment, Ruscha says, “Assuming a role on SFMOMA’s board at this vital time in the institution’s history promises to be an exceptionally rewarding experience. A complete list of SFMOMA’s Board is available online.

I had some pretty good instructors there, but I think I learned more from the people I went to school with.

There was a competitive spirit going on there; I picked up on that and that seemed to really have an effect on me. And I had no TV so I didn’t know what Gunsmoke was—all these programs that were on the air, I never saw them.

Despite his resistance to the characterization, Ed Ruscha has a reputation as a quintessential Los Angeles artist.

So it’s not surprising that a new documentary short about his career is narrated by a Hollywood star.

“He had a different source — a direct source of a reality.

Along the trail I took an advertising design course, and I took editing design and fine arts courses, painting, drawing, all that kind of stuff, and I eventually drifted toward fine arts.

So then I thought maybe my being forced into this other school is going to do me some good.

Art Center School had industrial design and all of that appealed to me, but finally Chouinard turned out to be better.

In “Ed Ruscha: Buildings and Words,” actor Owen Wilson chronicles the artist’s six decades of making bold Pop paintings, photographs, books, and prints influenced by the sun-drenched architecture and signage of the American West.

Written and directed by Felipe Lima and commissioned by the Museum of Contemporary Art, Los Angeles, the just-over-seven-minute video juxtaposes archival footage from Ruscha’s life with a mini retrospective of his work, from his painting of the word “jelly” spelled out in jelly to photographs of flaming gas stations.