Artsy x Rago / Wright: Post-War and Contemporary - Artsy x Rago/Wright
In auction

Page 1 of 3
Page 1 of 3
Page 1 of 3
ARW
Artsy x Rago/Wright

This work is sold by a professional seller and ships from Minneapolis, Minnesota, United States

Dimensions:
Image. 8 x 11.875 in. (20.3 x 30.2 cm)
Sheet. 30 x 24 in. (76.2 x 61 cm)

Condition Notes: Vertical crease along top of image; a few soft handling creases throughout sheet including a horizontal crease along the …

Medium
Signature
Signed, dated, and numbered in pencil
Publisher
Published by the Artist for the re-election campaign of Ohio Senator, Howard Metzenbaum and with the blindstamp of the printer, Wasserman …

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.

High auction record
$52.5m, Christie's, 2019
Blue-chip
Represented by internationally recognized galleries.
Collected by major museums
Tate, Museum of Modern Art (MoMA)
Selected exhibitions
2018
Louisiana on Paper: Ed Ruscha - VERYLouisiana Museum of Modern Art
2017
Ed Ruscha: Custom-Built Intrigue: Drawings 1974–1984Gagosian
2016
Ed Ruscha and the Great American Westde Young Museum
View all

Any Town in the U.S.A., 1981

Screenprint in color on white Stonehenge paper
30 1/16 × 24 1/8 in
76.4 × 61.3 cm
Edition 28/150 + 33AP
.
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
ARW
Artsy x Rago/Wright

This work is sold by a professional seller and ships from Minneapolis, Minnesota, United States

Medium
Signature
Signed, dated, and numbered in pencil
Publisher
Published by the Artist for the re-election campaign of Ohio Senator, Howard Metzenbaum and with the blindstamp of the printer, Wasserman …

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.

High auction record
$52.5m, Christie's, 2019
Blue-chip
Represented by internationally recognized galleries.
Collected by major museums
Tate, Museum of Modern Art (MoMA)
Selected exhibitions (3)
Other works by Ed Ruscha
Related works