Ed Ruscha, ‘Sin-Without’, 2002, Sotheby's

Signed in pencil, dated and inscribed 'C.T.P. 1/2', one of two proofs in this tone, part of a group of 18 color trials, aside from the numbered edition of 60 (there were also 12 artist's proofs), on wove paper, with the blindstamp of the printer, Akasha, Minneapolis, framed.

image: 512 by 1020 mm 20 1/8 by 40 1/8 in
sheet: 678 by 1170 mm 26 3/4 by 46 in

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