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After Hours: Allen Ruppersberg

Dancing at an After Hours Preview Party. (Photo: Angela Jimenez, ©Walker Art Center)

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From street posters and comics to pulp novels and records, American artist Allen Ruppersberg has been collecting, rearranging, and retelling real life for more than 50 years. Preview the new exhibition Allen Ruppersberg: Intellectual Property 1968–2018 and celebrate with live music by Frankie Lee, DJs Bill DeVille and Cyn Collins, a drop-in bookmaking workshop, late-night bites, cocktails, and more.

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Allen Ruppersberg:

Intellectual Property 1968–2018
Man sitting in front of Ruppersberg artworks

Allen Ruppersberg:

Intellectual Property 1968–2018

Related articles

Collector’s Paradise: Greil Marcus on Allen Ruppersberg’s Rock ’n’ Roll Chronology

Greil Marcus

Visual Arts

Collector’s Paradise: Greil Marcus on Allen Ruppersberg’s Rock ’n’ Roll Chronology

From collaborations with musicians like Terry Allen to his El Segundo Record Club, music has played a vital role in Allen Ruppersberg's art. A keen observer of this thread in his work is critic Greil Marcus, author of music histories including Lipstick Traces: A Secret History of the 20th Century (1989) and The History of Rock 'n' Roll in Ten Songs (2014). Here Marcus zeroes in on Ruppersberg's passion through Collector's Paradise, a 2012 book that traces rock history through some 1,500 recordings in the artist's collection, from Gipsy Smith's "Saved By Grace" (1909) to Al Green's "Full of Fire" (1975).
Allen Ruppersberg: The Torn-Apart Book

Jan Tumlir

Visual Arts

Allen Ruppersberg: The Torn-Apart Book

In 1978, Allen Ruppersberg offered his friends and supporters a chance to be in a novel he aimed to write: $300 would buy a “leading character,” $150 a “major character,” and so on. As the work progressed, he had the Colby poster company make posters listing the names of those who had signed up for the project, which served as gifts to his donors, coming attractions–type announcements, and works of art in their own right. The novel was never completed, but as Jan Tumlir writes in this essay from Rupperserg's The Novel That Writes Itself, "something clicked," and from this point onward the iconic Colby posters became a regular feature in his work.

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