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Ed RuschaOLD SMOBILE (Hand signed and inscribed to famous California native Stan Smith)1989
1989
About the Item
Ed Ruscha
OLD SMOBILE (Hand signed and inscribed to famous California native Stan Smith), 1989
Limited Edition Softcover monograph (Hand signed and inscribed to famous California native Stan Smith)
Hand signed and inscribed to famous California native Stan Smith-former American professional tennis player, by Ed Ruscha on the title page; Edition of 3000 (the present book is an exceptional hand signed and inscribed example)
10 1/2 × 8 3/4 × 5 inches
Hand signed and inscribed to famous California native Stan Smith - former American professional tennis player, once ranked #1 in the world, and two-time major singles champion (both Wimbleton and US Open). This monograph was published for the touring exhibition Edward Ruscha at Musee national d'art moderne, Paris; Museum Boymans-van Bueningen, Rotterdam; Centre Cultural de la Fundacio Caixa de Pensions, Barcelona; and The Museum of Contemporary Art, Los Angleles, from December 6, 1990 to February 24, 1991.
Book information:
Publisher: Museum Boijmans van Beuningen, Rotterdam, Netherlands, 1989
English and Dutch; Softcover; 156 pages with color illustration 51; bn illustration 10.
About Ed Ruscha:
"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
- Creator:Ed Ruscha (1937, American)
- Creation Year:1989
- Dimensions:Height: 10.5 in (26.67 cm)Width: 8.75 in (22.23 cm)Depth: 5 in (12.7 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:In vintage condition with overall wear to the book; there is some paper loss etc. to the spine (see photos), agewear, etc. but the interior pages are clean and crisp.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745213505352
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