Ed Ruscha, ‘000’, 1970, Heritage Auctions
Ed Ruscha, ‘000’, 1970, Heritage Auctions
Ed Ruscha, ‘000’, 1970, Heritage Auctions

Condition Report: Print is mounted and framed. Slight mold growth on recto in lower left. Heavy mold and water damage along the lower edge of the verso; ahesive residue upper right on verso. Frame shows mold growth along lower edge.

Signature: Signed, numbered and dated in pencil lower left

Image rights: Courtesy of Heritage Auctions

Publisher: Published by Cirrus Editions/ Brooke Alexander, Los Angeles

Engberg, 44

About Ed Ruscha

Despite being credited with a Pop sensibility, Ed Ruscha defies categorization with his diverse output of photographic books and tongue-in-cheek photo-collages, paintings, and drawings. Ruscha’s work is inspired by the ironies and idiosyncrasies of life in Los Angeles, which he often conveys by placing glib words and phrases from colloquial and consumerist usage atop photographic images or fields of color. Known for painting and drawing with unusual materials such as gunpowder, blood, and Pepto Bismol, Ruscha draws attention to the deterioration of language and the pervasive cliches in pop culture, illustrated by his iconic 1979 painting I Don’t Want No Retro Spective. “You see this badly done on purpose, but the badly-done-on-purpose thing was done so well that it just becomes, let’s say, profound,” he once said. Equally renowned were his photographic books, in which he transferred the deadpan Pop style into series of images of LA—apartments, palm trees, or Twentysix Gasoline Stations (1962), his most famous work.

American, b. 1937, Omaha, Nebraska, based in Los Angeles, California