Patrick Painter Editions, Hong Kong
Private Collection
Phillips, London, April 3, 2008, lot 36
Acquired at the above sale by the present owner
Kunstmuseum Bonn; Miami, Museum of Contemporary Art, Great Illusions: Demand, Gursky, Ruscha, June 17 - November 28, 1999, pp. 71-75 (other examples of Pool #1 – Pool #9 exhibited and illustrated)
Paris, Galerie Daniel Templon, Ed Ruscha: Parking Lots and Swimming Pools, December 13, 2003 - January 21, 2004 (other examples of Pool #1 – Pool #9 exhibited)
New York, Whitney Museum of American Art, Ed Ruscha and Photography, June 24 - September 26, 2004, nos. 174, 175, p. 282 (other examples of Pool #7 and Pool #5 exhibited and illustrated, pp. 156, 157)
New York, Yancey Richardson Gallery, Ed Ruscha: Pools, Parking Lots, Gasoline Stations, and Sunset Strip, September 22 - November 5, 2005 (other examples of Pool #1 – Pool #9 exhibited)
Paris, Jeu de Paume; Kunsthaus Zürich; Cologne, Museum Ludwig, Ed Ruscha, Photographer, January 31 – November 26, 2006, nos. 124 - 127, p. 164 (other examples of Pool #6, Pool #7, Pool #8, and Pool #9 exhibited and illustrated, p. 122)
Fine Arts Museum of San Francisco, Ed Ruscha and the Great American West, July 16 – October 9, 2016, nos. 85 – 93, p. 227 (other examples of Pool #1 – Pool #9 exhibited and illustrated, pp. 101, 226)
Siri Engberg and Clive Phillpot, eds., Edward Ruscha, Editions 1959-1999, Catalogue Raisonné, Volume I, Minneapolis, 1999, nos. 261-269, pp. 68 - 70 (other examples of Pool #1 – Pool #9 illustrated)
Siri Engberg and Clive Phillpot, eds., Edward Ruscha, Editions 1959-1999, Catalogue Raisonné, Volume 2, Minneapolis, 1999, nos. 261-269, pp. 46, 118 (other examples of Pool #4, Pool #5, Pool #6 and Pool #7 illustrated, p. 47)
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.
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