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Ed Ruscha

MR. RAY, 1975

Offset lithograph in colours
13 4/5 × 20 3/10 in
35 × 51.5 cm
Edition of 100 (there were also 20 artist's proofs)
Contact For Price
location
London
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About the work
Shapero Modern
London
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In the mid 1970s Ruscha began exploring ways to use names or phrases in paintings, drawings and …

Read more

In the mid 1970s Ruscha began exploring ways to use names or phrases in paintings, drawings and prints, set against a variety of unconventional and textured backdrops such as this one. This work was originally commissioned as part of a portfolio of images by contemporary artists in honour of the American modernist May …

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Medium
Print
Signature
Signed in pencil and numbered from the edition of 100 on the reverse
Publisher
L. Anselmino, Torino
Ed Ruscha
American, b. 1937
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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.

Save
Save
view
View in room
share
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Save
Save
view
View in room
share
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About the work
Shapero Modern
London
Follow

In the mid 1970s Ruscha began exploring ways to use names or phrases in paintings, drawings and …

Read more

In the mid 1970s Ruscha began exploring ways to use names or phrases in paintings, drawings and prints, set against a variety of unconventional and textured backdrops such as this one. This work was originally commissioned as part of a portfolio of images by contemporary artists in honour of the American modernist May …

Read more
Medium
Print
Signature
Signed in pencil and numbered from the edition of 100 on the reverse
Publisher
L. Anselmino, Torino
Ed Ruscha
American, b. 1937
Follow

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.

Ed Ruscha

MR. RAY, 1975

Offset lithograph in colours
13 4/5 × 20 3/10 in
35 × 51.5 cm
Edition of 100 (there were also 20 artist's proofs)
Contact For Price
location
London
Have a question? Read our FAQ.
Want to sell a work by this artist? Consign with Artsy.
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