Ed Ruscha, ‘i) Standard Station; ii) Mocha Standard; iii) Cheese Mold Standard with Olive; iv) Double Standard’, 1966-1969, ARCHEUS/POST-MODERN
Ed Ruscha, ‘i) Standard Station; ii) Mocha Standard; iii) Cheese Mold Standard with Olive; iv) Double Standard’, 1966-1969, ARCHEUS/POST-MODERN
Ed Ruscha, ‘i) Standard Station; ii) Mocha Standard; iii) Cheese Mold Standard with Olive; iv) Double Standard’, 1966-1969, ARCHEUS/POST-MODERN
Ed Ruscha, ‘i) Standard Station; ii) Mocha Standard; iii) Cheese Mold Standard with Olive; iv) Double Standard’, 1966-1969, ARCHEUS/POST-MODERN
Ed Ruscha, ‘i) Standard Station; ii) Mocha Standard; iii) Cheese Mold Standard with Olive; iv) Double Standard’, 1966-1969, ARCHEUS/POST-MODERN

i) Trial Proof (aside from the edition of 50) ii) No.77 from the edition of 100 iii) Artist's Proof (aside from the edition of 150) iv) No.7 from the edition of 40

i) A trial proof dedicated to Ruscha's collaborator Mason Williams, signed by the artist ii) From the edition of 100, signed by the artist iii) An artist's proof aside from the edition of 150, signed by the artist iv) Signed by the artist and Mason Williams

Signature: i) 'Trial Proof 1966' l.l. 'Mase - I love you on Christmas, Eddie Ruscha' l.r. ii) '77/100 E.Ruscha 1969' l.l. iii) 'A.P. E. Ruscha 1969' l.l. iv) '7/40 Edward Ruscha Mason Williams' l.l.

Publisher: i) Audrey Sabol, Villanova, Pennsylvania ii-iv) Published by the artist

Engberg 5; 30; 31; 32

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