Two Takes on Hollywood

Ed Ruscha and Christian Marclay seemingly don't have much in common. Both could be said to loosely diverge off a pop aesthetic and Rosalind Krauss has connected the two as utilizing "medium as a form of remembering" and working in what she terms the "post-medium condition" (Krauss, Under Blue Cup, 2011, MIT Press).

This condition of overcoming the material and aesthetic limits, through the artists' obsession with a particular typology of object, actively imbues meaning onto the subject. Whether recording every gas station on the street or making a systematic document of cinematic time, both artists probe the logical boundaries and push the study of mundane into a higher trope of conceptual play.