Images: 8” x 10” (20.5 x 25.5 cm)
Mount: 16” x 20” (40.5 x 51 cm)

Medium
Image rights
©Mark Ruwedel, Courtesy Yossi Milo Gallery, New York

Mark Ruwedel traverses the American and Canadian West, producing intimate, evocative black-and-white photographs of its scars: gashes, craters, and weathered structures evidencing its various (mis)uses in the name of art, war, or progress. In the vein of such 19th-century photographers as Carleton Watkins and Timothy O’Sullivan, Ruwedel’s work reads, in part, as a topographical survey of the Western territories, albeit tinged with a sense of loss rather than unbridled opportunism. In his “Westward the Course of Empire” series (1994-2007), he traces abandoned railway lines, which appear as meandering dirt trails or wooden trestles overrun by vegetation. In other series, focused on more recent interventions into this austerely beautiful and storied landscape, and with a nod to artists like Ed Ruscha, Ruwedel has photographed abandoned desert homes, bomb craters caused by military training, and vinyl records inexplicably strewn across the ground.

Collected by a major museum
Tate
Selected exhibitions
2019
Mapping Space: Recent Acquisitions in FocusJ. Paul Getty Museum
2018
Mark Ruwedel: Rivers Run Through ItGallery Luisotti
2017
HELL and HOMEYossi Milo Gallery
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Wonder Valley Survey, 2013/2014

Fifteen Gelatin Silver Prints Mounted on Individual Archival Rag Boards
8 × 10 in
20.3 × 25.4 cm
Edition of 5 + 2AP
.
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Location
New York
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Images: 8” x 10” (20.5 x 25.5 cm)
Mount: 16” x 20” (40.5 x 51 cm)

Medium
Image rights
©Mark Ruwedel, Courtesy Yossi Milo Gallery, New York

Mark Ruwedel traverses the American and Canadian West, producing intimate, evocative black-and-white photographs of its scars: gashes, craters, and weathered structures evidencing its various (mis)uses in the name of art, war, or progress. In the vein of such 19th-century photographers as Carleton Watkins and Timothy O’Sullivan, Ruwedel’s work reads, in part, as a topographical survey of the Western territories, albeit tinged with a sense of loss rather than unbridled opportunism. In his “Westward the Course of Empire” series (1994-2007), he traces abandoned railway lines, which appear as meandering dirt trails or wooden trestles overrun by vegetation. In other series, focused on more recent interventions into this austerely beautiful and storied landscape, and with a nod to artists like Ed Ruscha, Ruwedel has photographed abandoned desert homes, bomb craters caused by military training, and vinyl records inexplicably strewn across the ground.

Collected by a major museum
Tate
Selected exhibitions (3)
Other works from HELL and HOME
Other works by Mark Ruwedel
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