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

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ARW
Artsy x Rago/Wright

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

Dimensions:
Image: 20.25 x 40.125 in. (514 x 1019 mm.)
Sheet: 26.625 x 46 in. (676 x 1168 mm.)

Condition Notes: No apparent condition issues. Framed, dimensions: 29.5 x 49 in. Work not examined unframed.

The condition noted …

Medium
Signature
Signed, dated and numbered in pencil under image with printer's blindstamp, lower left
Publisher
Printed by Steven Anderson, Akasha, Minneapolis

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

Sin-Without, 2002

Lithograph on wove paper
26 3/4 × 46 in
67.9 × 116.8 cm
Edition 37/60 + 12AP
.
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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 under image with printer's blindstamp, lower left
Publisher
Printed by Steven Anderson, Akasha, Minneapolis

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)
More from this series
View series
Other works by Ed Ruscha
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