One of the best-known examples of Edward Rusha’s early works is the painting Actual Size (1962). Like his contemporaries in New York, Pop ArtistsAndy Warhol and Roy Lichtenstein, Ruscha focused on subjects that relate to mass production and consumer culture. Actual Size focuses on a can of Spam, a staple in American society during the Cold War era. The top half of the painting depicts the giant brand name from the can of Spam, while the lower half shows the actual can of spam in its true size. The can of Spam seems to be shooting into space like a comet or a cannonball. In small print behind the can, Ruscha wrote ‘Actual Size’. The written text and the title refer to a phrase borrowed from the world of advertising, used to refer to the accuracy of the depiction.

Like other figures in Pop Art, Ruscha monumentalized the common object: he challenged the traditional notions of fine art by painting mundane objects like the mass produced can of spam. Actual Size highlights consumerism and the strong presence of these commodities in popular culture. The contrast between the top and the bottom of the painting highlighted the mechanisms of advertising: the top half shows an oversized and flashy brand name while the bottom that depicts the product in its actual size. The rapid rise of outdoor advertising changed the visual landscapes of American cities in the 1960s, and artists like Ruscha were reacting to these social and cultural shifts. Actual Size can be viewed as a critique of the superficial and shallow nature of American popular culture that often encourages the glorification of junk. However, as is the case with many Pop Artists, Ruscha’s stance toward popular culture is ambiguous. The artist has often commented about his fondness of the artificial and superficial elements of American mass culture. Actual Size also demonstrates this ambiguity: the monumental depiction of the can of spam is humorous and ironic, but at the same time, the choice of subject shows the dominance of commercial imagery in popular culture.

Still, Actual Size is more than just an ironic depiction of advertising and consumer culture imagery. In the painting, the artist deals with fundamental questions of composition and scale. Actual Size invites a comparison between the top and bottom half, and the painting draws the viewer close to canvas since one has to be near the canvas to read the words ‘actual size’ written in pencil. The viewer needs to observe the painting both from close and from afar to fully appreciate all of its elements. Other early paintings like Flash, L.A Times (1963) and Large Trademark with Eight Spotlights (1962) also explored issues of scale and proportion. Therefore, while Ruscha’s early paintings commented on American consumer culture, they also touched upon subjects fundamental to issues of composition and painting.