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“I had a notion to make pictures by using words and presenting them in some way and it seemed like a mountain was an archetypal stage set. It was a perfect foil for whatever was happening in the foreground.”
—Ed RuschaA master of vernacular and form, Ed Ruscha has been well regarded for his superimposition of text upon landscape since the 1980s, when the artist developed a visual language of juxtaposing the symbolic stimulus of the image with text that generates an atmosphere of speech, sound, and shape. Long associated with the vast flatness of the plains, the buildings cluttered on Sunset Boulevard, or the monumental horizontality of the Hollywood sign, Ruscha’s mountain prints see him embrace a new kind of landscape: glistening, snowcapped summits set against Ruscha’s signature gradated sunsets captured in photorealist detail. While these peaks are based on photographs, Ruscha described them as “mountains of the mind,” elaborating that they function as “anonymous backdrops for the drama of words.”
“Words have temperatures to me. When they reach a certain point and become hot words, then they appeal to me. Sometimes I have a dream that if a word gets too hot and too appealing, it will boil apart, and I won’t be able to read or think of it.”
—Ed RuschaIn his mountain prints, Ruscha’s cryptic and humorously banal phrases rendered in his hallmark “Boy Scout Utility Modern” typeface interrupt the harmony of the scenic backdrop and obfuscate its view. The positioning of these enigmatic words, on square-format paper that accentuates the central placement of the text, is reminiscent of the mundanity of road signage in a picturesque landscape, a reassurance of human presence: “I like the oddity of nature in the background,” Ruscha remarked. At once sublime and absurd, these mountain prints grow from the Romantic canon of mountain scenes, like the canvases of Caspar David Friedrich, the landscapes of the Hudson River School, or the photographs of Ansel Adams; Ruscha undercuts the accustomed spiritualism of these pictures with his punchily “hot” two-word phrases.
Albert Bierstadt, Sunrise on the Matterhorn, after 1875, The Metropolitan Museum of Art, New York. Image: © The Metropolitan Museum of Art, New York, Gift of Mrs. Karl W. Koeniger, 1966, 66.114 After a collaboration over many decades, Ruscha established Hamilton Press in Venice, California with Tamarind master printer Ed Hamilton in 1990, desiring to focus on traditional lithography. Ruscha’s color trial proofs in the present sale suggests the ways in which the open exchange of skills and insights between artist and printer has impacted his striking compositions. Like the partnership between Hamilton and Ruscha, the ultimate achievement of the edition is its expert coalescence of content and technique: the print process augments Ruscha’s distinct landscapes with a graphic tactility and a rich profusion of color, from deep plums to fiery tangerines. The color trial proofs not only illustrate this coalescence, but underline the experimental nature of printmaking, how subtle shifts in an ombre sky can embody an entirely new spirit.
來源
比華利山高古軒畫廊
現藏者於2016年購自上述來源藝術家簡介
艾德．拉斯查
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.
161
《海綿水坑–來自「山脈版畫」》
2015年作
獨版石版畫 Rives BFK 紙本（全包邊）
I. 24 x 24 英吋（61 x 61 公分）
S. 29 x 28 英吋（73.7 x 71.1 公分）
款識：簽名、日期、C.T.P. 4
鈴印：聖塔莫妮卡Hamilton Press
尚有60版、21版藝術家試作版、19版彩色試作版，由聖塔莫妮卡Hamilton Press出版，此為已裱彩色試作版。
估價
$30,000 - 50,000
成交價$44,450
editions@phillips.com
212-940-1220
限量版畫及紙本作品
紐約拍賣 2024年4月16至17日
