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Ed RuschaGOD (signed and numbered from the limited edition of 50, in Artist's Frame)2010
2010
About the Item
Ed Ruscha
GOD, 2010
Digital Light Jet Print in Artist-Designed Frame
Edition 48/50
Hand-signed by artist, Signed, numbered and dated 48/50 by Ed Ruscha in ink on the back
Provenance: Ed Ruscha
Frame included (artist's own frame)
California artist Ed Ruscha works with a variety of media to document symbols of American life, architecture, and urban landscape. Ruscha's 2010 photograph "God" - a minimalistic image of a car part presented without context - is typical of the artist's sensibility. It is certainly consistent with the artist's lifelong preoccupation with the theme of the decline of American civilization - slyly referencing the deification of the automobile in American culture. In 2020, the National Catholic Reporter published an article entitled "Ed Ruscha, the most famous Catholic artist few Catholics know", on the occasion of the artist's exhibition at his home state of Oklahoma, excerpted here: .."Catholic ceremony and visual icons have affected him subtly and appear occasionally in his work, but there are no direct references to the Catholic Church, according to responses the museum provided from Ruscha. "I am a confirmed atheist today, but the church helped me get where I am." But Schwartz and Jeremiah Matthew Davis, Oklahoma Contemporary's artistic director, think the Catholicism of Ruscha's youth continues to impact his life and work. "You can still see the elements of that religion informing his day-to-day thinking whether or not he describes himself as a practicing Catholic," Davis said. "Catholicism is still with him...""
This hand signed, dated and numbered Ruscha work was originally donated directly by Ed Ruscha to P.S. Arts - a Los Angeles-based charity that works to improve children's lives through arts education. In the original artist's wooden frame. The sale of this work is documented and registered in the artist's archives.
Measurements:
Artwork: 14 x 11 inches
Mat: 15 3/4 x 12 5/8 inches
Frame: 17 5/8 x 14 1/2 x 3/4 inches
Ed Ruscha Biography:
There are things that I’m constantly looking at that I feel should be elevated to greater status, almost to philosophical status or to a religious status. That’s why taking things out of context is a useful tool to an artist. It’s the concept of taking something that’s not subject matter and making it subject matter.
—Ed Ruscha
At the start of his artistic career, Ed Ruscha called himself an “abstract artist ... who deals with subject matter.” Abandoning academic connotations that came to be associated with Abstract Expressionism, he looked instead to tropes of advertising and brought words—as form, symbol, and material—to the forefront of painting. Working in diverse media with humor and wit, he oscillates between sign and substance, locating the sublime in landscapes both natural and artificial.
In 1956, Ruscha moved from Oklahoma City to Los Angeles, where he attended the Chouinard Art Institute. During his time in art school, he had been painting in the manner of Franz Kline and Willem de Kooning, and came across a reproduction of Jasper Johns’s Target with Four Faces (1955). Struck by Johns’s use of readymade images as supports for abstraction, Ruscha began to consider how he could employ graphics in order to expose painting’s dual identity as both object and illusion. For his first word painting, E.Ruscha (1959), he intentionally miscalculated the space it would take to write his first initial and surname on the canvas, inserting the last two letters, HA, above and indicating the “error” with an arrow. After graduation, Ruscha began to work for ad agencies, honing his skills in schematic design and considering questions of scale, abstraction, and viewpoint, which became integral to his painting and photography. He produced his first artist’s book, Twentysix Gasoline Stations—a series of deadpan photographs the artist took while driving on Route 66 from Los Angeles to Oklahoma City—in 1963. Ruscha since has gone on to create over a dozen artists’ books, including the 25-foot-long, accordion-folded Every Building on the Sunset Strip (1966) and his version of Kerouac's iconic On the Road (2009). Ruscha also paints trompe-l’oeil bound volumes and alters book spines and interiors with painted words: books in all forms pervade his investigations of language and the distribution of art and information.
Ruscha’s paintings of the 1960s explore the noise and the fluidity of language. With works such as OOF (1962–63)—which presents the exclamation in yellow block letters on a blue ground—it is nearly impossible to look at the painting without verbalizing the visual. Since his first exhibition with Gagosian in 1993, Ruscha has had twenty-one solo exhibitions with the gallery, including Custom-Built Intrigue: Drawings 1974–84 (2017), comprising a decade of reverse-stencil drawings of phrases rendered in pastel, dry pigment, and various edible substances, from spinach to carrot juice. The first retrospective of Ruscha’s drawings was held in 2004 at the Whitney Museum of American Art. Ruscha continues to influence contemporary artists worldwide, his formal experimentations and clever use of the American vernacular evolving in form and meaning as technology and internet platforms alter the essence of human communication. Ruscha represented the United States at the 51st Venice Biennale (2005) with Course of Empire, an installation of ten paintings. Inspired by nineteenth century American artist Thomas Cole’s famous painting cycle of the same name, the work alludes to the pitfalls surrounding modernist visions of progress. In 2018 Ruscha’s Course of Empire was presented concurrently with Cole’s at the National Gallery in London.
-Courtesy of Gagosian Gallery
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