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Flies and Frog, 1969

Lithograph
23 1/4 × 34 in
59.1 × 86.4 cm
Edition of 40
$8,500
location
New York, Los Angeles
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About the work
Medium
Print
Signature
Signed, dated, and numbered in graphite (lower right recto): COLOR TRIAL PROOF E. Ruscha 1969 PRICE '69
Frame
Not included
Ken Price
American, 1935–2012
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Inspired by the form and dynamism of ocean waves as well as the human body, Ken Price’s painted ceramic shapes are both erotic and cartoonish, with plump forms and gently sloping curves. Price’s work-intensive process involves applying numerous coats of paint and sanding each piece to achieve a glossy surface of variegated color, as seen in the melting contours of Laird (2010). These playful forms often appear in Price’s watercolors as well, undulating against flattened landscapes painted in acidic colors.

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
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view
View in room
share
Share
About the work
Medium
Print
Signature
Signed, dated, and numbered in graphite (lower right recto): COLOR TRIAL PROOF E. Ruscha 1969 PRICE '69
Frame
Not included
Ken Price
American, 1935–2012
Follow

Inspired by the form and dynamism of ocean waves as well as the human body, Ken Price’s painted ceramic shapes are both erotic and cartoonish, with plump forms and gently sloping curves. Price’s work-intensive process involves applying numerous coats of paint and sanding each piece to achieve a glossy surface of variegated color, as seen in the melting contours of Laird (2010). These playful forms often appear in Price’s watercolors as well, undulating against flattened landscapes painted in acidic colors.

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.

Flies and Frog, 1969

Lithograph
23 1/4 × 34 in
59.1 × 86.4 cm
Edition of 40
$8,500
location
New York, Los Angeles
Have a question? Read our FAQ.
Want to sell a work by these artists? Consign with Artsy.
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Other works from Matthew Marks Gallery
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