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Auktionsarchiv: Los-Nr. 22

Ed Ruscha

Schätzpreis
800.000 $ - 1.200.000 $
Zuschlagspreis:
842.500 $
Auktionsarchiv: Los-Nr. 22

Ed Ruscha

Schätzpreis
800.000 $ - 1.200.000 $
Zuschlagspreis:
842.500 $
Beschreibung:

Ed Ruscha Long, Stormy 1995 Acrylic on canvas. 20 x 159 in. (50.8 x 403.9 cm). Signed and dated “Ed Ruscha 1995” on the reverse. This work will be included in Edward Ruscha: Catalogue Raisonné of the Paintings, Volume 5: 1993-1997, edited by Robert Dean and Lisa Turvey (forthcoming, 2010)
Provenance Leo Castelli, New York; Gagosian Gallery, New York; Private collection, Brookline, Massachusetts; Gagosian Gallery, New York Exhibited New York, Leo Castelli Gallery, Anamorphic Paintings, 1995; Denver Art Museum, Ed Ruscha The End, 1995; Milwaukee Art Museum, Ed Ruscha Spaghetti Westerns, 1997; Cambridge, Carpenter Center for the Visual Arts, Harvard University, Landmark Pictures: Ed Ruscha/Andreas Gursky, 2000 Literature L. Wei, “Ed Ruscha at Castelli,” Art in America, 1995, p. 120; Milwaukee Art Museum, ed., Ed Ruscha Spaghetti Westerns, Milwaukee, 1997, p. 5 (illustrated) Catalogue Essay Ed Ruscha delineates the norm in the present lot, a tantalizing 1995 painting entitled Long, Stormy. Upon first view, the text underlying the title is hidden from first appearance. What presents itself first and foremost instead is Ruscha’s dignified landscape, creating a surreal and tantalizing hybrid of signage and the American west. Ruscha subterfuges the final score of an old Hollywood movie, the words “The End” within his version of the American landscape: “The horizontality is even more extreme in Ruscha’s 1995 ‘Long, Stormy,’ an image of the words ‘The End’ stretched to the breaking point and set against a sullen gray ground, like the finale of a Hollywood film completely distorted,” (C. Temin, “At Harvard, it’s about space carpenter center returns to its purpose- with a twist”, The Boston Globe, July 12, 2000). Within Long, Stormy, Ruscha references the apogee of old-school Hollywood and therefore American film, all within his alluring and text referential manner made famous through his long career of painting words, phrases, and nuances. The English language becomes for him the very material he chooses to use in the form of paint, brush and canvas. Long, Stormy captures Ruscha at his finest: altering the reality with finesse and clever panache. Read More Artist Bio Ed Ruscha American • 1937 Quintessentially American, Ed Ruscha is an L.A.-based artist whose art, like California itself, is both geographically rooted and a metaphor for an American state of mind. Ruscha is a deft creator of photography, film, painting, drawing, prints and artist books, whose works are simultaneously unexpected and familiar, both ironic and sincere. His most iconic works are at turns poetic and deadpan, epigrammatic text with nods to advertising copy, juxtaposed with imagery that is either cinematic and sublime or seemingly wry documentary. Whether the subject is his iconic Standard Gas Station or the Hollywood Sign, a parking lot or highway, his works are a distillation of American idealism, echoing the expansive Western landscape and optimism unique to postwar America. View More Works

Auktionsarchiv: Los-Nr. 22
Auktion:
Datum:
13.05.2010
Auktionshaus:
Phillips
13 May 2010 New York
Beschreibung:

Ed Ruscha Long, Stormy 1995 Acrylic on canvas. 20 x 159 in. (50.8 x 403.9 cm). Signed and dated “Ed Ruscha 1995” on the reverse. This work will be included in Edward Ruscha: Catalogue Raisonné of the Paintings, Volume 5: 1993-1997, edited by Robert Dean and Lisa Turvey (forthcoming, 2010)
Provenance Leo Castelli, New York; Gagosian Gallery, New York; Private collection, Brookline, Massachusetts; Gagosian Gallery, New York Exhibited New York, Leo Castelli Gallery, Anamorphic Paintings, 1995; Denver Art Museum, Ed Ruscha The End, 1995; Milwaukee Art Museum, Ed Ruscha Spaghetti Westerns, 1997; Cambridge, Carpenter Center for the Visual Arts, Harvard University, Landmark Pictures: Ed Ruscha/Andreas Gursky, 2000 Literature L. Wei, “Ed Ruscha at Castelli,” Art in America, 1995, p. 120; Milwaukee Art Museum, ed., Ed Ruscha Spaghetti Westerns, Milwaukee, 1997, p. 5 (illustrated) Catalogue Essay Ed Ruscha delineates the norm in the present lot, a tantalizing 1995 painting entitled Long, Stormy. Upon first view, the text underlying the title is hidden from first appearance. What presents itself first and foremost instead is Ruscha’s dignified landscape, creating a surreal and tantalizing hybrid of signage and the American west. Ruscha subterfuges the final score of an old Hollywood movie, the words “The End” within his version of the American landscape: “The horizontality is even more extreme in Ruscha’s 1995 ‘Long, Stormy,’ an image of the words ‘The End’ stretched to the breaking point and set against a sullen gray ground, like the finale of a Hollywood film completely distorted,” (C. Temin, “At Harvard, it’s about space carpenter center returns to its purpose- with a twist”, The Boston Globe, July 12, 2000). Within Long, Stormy, Ruscha references the apogee of old-school Hollywood and therefore American film, all within his alluring and text referential manner made famous through his long career of painting words, phrases, and nuances. The English language becomes for him the very material he chooses to use in the form of paint, brush and canvas. Long, Stormy captures Ruscha at his finest: altering the reality with finesse and clever panache. Read More Artist Bio Ed Ruscha American • 1937 Quintessentially American, Ed Ruscha is an L.A.-based artist whose art, like California itself, is both geographically rooted and a metaphor for an American state of mind. Ruscha is a deft creator of photography, film, painting, drawing, prints and artist books, whose works are simultaneously unexpected and familiar, both ironic and sincere. His most iconic works are at turns poetic and deadpan, epigrammatic text with nods to advertising copy, juxtaposed with imagery that is either cinematic and sublime or seemingly wry documentary. Whether the subject is his iconic Standard Gas Station or the Hollywood Sign, a parking lot or highway, his works are a distillation of American idealism, echoing the expansive Western landscape and optimism unique to postwar America. View More Works

Auktionsarchiv: Los-Nr. 22
Auktion:
Datum:
13.05.2010
Auktionshaus:
Phillips
13 May 2010 New York
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