American artist associated with West Coast Pop art, whose works provided a new way of looking at and thinking about the American landscape and connecting the verbal with the visual.

Ruscha was raised in Oklahoma City, and in 1956 he made his way to Los Angeles. There he attended Chouinard Art Institute (now CalArts), where he studied painting, photography, and graphic arts. He worked as a commercial artist, painting signs and creating graphic designs. As a result, he began to apply commercial techniques and visual styles to his own artwork. Initially, he experimented with Abstract Expressionism, but he soon turned to the found words and images drawn from vernacular culture that would come to inform all his work. He began to render words and images in the hard-edged style of advertising design. Later he experimented with painting words as if they had been written using poured liquids. His signature works of dark humour include The Los Angeles County Museum of Art on Fire (1965–68), a painting depicting the institution in flames; Actual Size (1962), an image of a flying can of Spam (a canned and precooked luncheon meat) beneath the Spam logo; and Large Trademark with Eight Spotlights (1962), a dramatic representation of the Twentieth Century-Fox logo.

Between 1963 and 1978 Ruscha systematically photographed southern California's built environments—including vacant parking lots, swimming pools, gasoline stations, and nightspots—which he made into wordless books, such as Every Building on the Sunset Strip. The 16 artist's books he created in this manner were widely influential among a younger generation of artists. During this period, Ruscha also made two short films, Premium (1969–70) and Miracle (1975), and in 1978 he collaborated with Lawrence Weiner on Hard Light, a film in book format.

In the 1980s Ruscha made work in grisaille in which the images and texts, often silhouette-like, were softened and blurred. In the '90s he featured the rugged mountain scenery so often used in contemporary advertising for motor vehicles. Throughout the decades, his work has continued to exhibit a deadpan viewpoint of consumerism in life and art.