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Auktionsarchiv: Los-Nr. 198

Ed Ruscha

Schätzpreis
200.000 $ - 300.000 $
Zuschlagspreis:
193.000 $
Auktionsarchiv: Los-Nr. 198

Ed Ruscha

Schätzpreis
200.000 $ - 300.000 $
Zuschlagspreis:
193.000 $
Beschreibung:

Ed Ruscha (S) 1974 Pastel on paper. 14 1/4 x 22 3/4 in. (36.2 x 57.8 cm). Signed and dated “Edward Ruscha 1974” and numbered “D-208” on the reverse.
Provenance Leo Castelli Gallery, New York; Jan-Erik Lowenadler, Stockholm Literature This work will be included in the forthcoming Edward Ruscha Catalogue Raisonné of Works on Paper, Volume II 1970-1979, edited by Dr. Rainer Crone and Dr. Petrus Schaesberg Catalogue Essay Perhaps more than any other contemporary painter, Ruscha’s work defies the traditional expectations and the developments in the recent history of the medium. Having grown up in a culture dominated by vernacular imagery and commercial art rather than painting and the fine arts, Ruscha struggled early in his career to find a place within a tradition that was not his own. Beyond its intrinsic value, the nontraditional, non-painterly work he completed from 1963-1975 allowed Ruscha to keep an open mind about the types of activity in which an artist might legitimately engage. As he noted in 1982, “I like the idea that an artist should never be questioned about what he does, because he actually deserves this right of artistic license…. I’ve always felt like the number one rule is that there are no rules.” By insisting on this freedom and for many years rejecting the career path of a pure painter, Ruscha was able to liberate himself from a weighty and at times oppressive tradition. And in fact Ruscha’s prodigious activity with books, films, graphic design, and prints during these years all nourished his later work as a painter. Ironically, by eluding characterization as a painter Ruscha was able to free himself both from the tradition of recent painting and, eventually, from his own early work. It is often argued that the most important art of the contemporary period has been made by nonpainters, and that sculpture, photography, installation, and media-based work have provided broader and more productive avenues for invention. And yet painting maintains its special hold on the visual arts, in large measure because several of the best artists of our time have discontinued the formalist dialogue with the medium of painting.That direction in contemporary painting began, of course, with Johns and Rauschenberg, and it has been pursued with great wit and critical self-consciousness by Pop artists such as Roy Lichtenstein and Andy Warhol and by European artists such as Sigmar Polke and Gerhard Richter Like them, Ed Ruscha has defied old assumptions by pressing painting into dialogue with diverse aspects of culture and not merely the culture of painting, thereby extending the medium beyond its former boundaries. Ruscha has become a painter of historical importance by channeling his frustration with the medium and its weighty tradition into work of the first order. K. Brougher, ed., Ed Ruscha Washington D.C., 2002, pp. 154-155 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. 198
Auktion:
Datum:
16.11.2007
Auktionshaus:
Phillips
16 Nov 2007, 10am 2pm New York
Beschreibung:

Ed Ruscha (S) 1974 Pastel on paper. 14 1/4 x 22 3/4 in. (36.2 x 57.8 cm). Signed and dated “Edward Ruscha 1974” and numbered “D-208” on the reverse.
Provenance Leo Castelli Gallery, New York; Jan-Erik Lowenadler, Stockholm Literature This work will be included in the forthcoming Edward Ruscha Catalogue Raisonné of Works on Paper, Volume II 1970-1979, edited by Dr. Rainer Crone and Dr. Petrus Schaesberg Catalogue Essay Perhaps more than any other contemporary painter, Ruscha’s work defies the traditional expectations and the developments in the recent history of the medium. Having grown up in a culture dominated by vernacular imagery and commercial art rather than painting and the fine arts, Ruscha struggled early in his career to find a place within a tradition that was not his own. Beyond its intrinsic value, the nontraditional, non-painterly work he completed from 1963-1975 allowed Ruscha to keep an open mind about the types of activity in which an artist might legitimately engage. As he noted in 1982, “I like the idea that an artist should never be questioned about what he does, because he actually deserves this right of artistic license…. I’ve always felt like the number one rule is that there are no rules.” By insisting on this freedom and for many years rejecting the career path of a pure painter, Ruscha was able to liberate himself from a weighty and at times oppressive tradition. And in fact Ruscha’s prodigious activity with books, films, graphic design, and prints during these years all nourished his later work as a painter. Ironically, by eluding characterization as a painter Ruscha was able to free himself both from the tradition of recent painting and, eventually, from his own early work. It is often argued that the most important art of the contemporary period has been made by nonpainters, and that sculpture, photography, installation, and media-based work have provided broader and more productive avenues for invention. And yet painting maintains its special hold on the visual arts, in large measure because several of the best artists of our time have discontinued the formalist dialogue with the medium of painting.That direction in contemporary painting began, of course, with Johns and Rauschenberg, and it has been pursued with great wit and critical self-consciousness by Pop artists such as Roy Lichtenstein and Andy Warhol and by European artists such as Sigmar Polke and Gerhard Richter Like them, Ed Ruscha has defied old assumptions by pressing painting into dialogue with diverse aspects of culture and not merely the culture of painting, thereby extending the medium beyond its former boundaries. Ruscha has become a painter of historical importance by channeling his frustration with the medium and its weighty tradition into work of the first order. K. Brougher, ed., Ed Ruscha Washington D.C., 2002, pp. 154-155 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. 198
Auktion:
Datum:
16.11.2007
Auktionshaus:
Phillips
16 Nov 2007, 10am 2pm New York
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