Edward RuschaÉtats-Unis, 19371984
Peut-on la contempler ?
Elle ne reçoit pas en ce moment
Minneapolis Institute of Art
Minneapolis, États-Unis
Elle appartient à la collection, mais n’est pas présentée en ce moment.
- Vérifié
- il y a 8 heures
- Dans cet état depuis
- 25 sept. 2026
- Source
- Les données de collection du musée lui-même
À propos de l’œuvre
Ed Ruscha has always been fascinated with language. Inspired by Jasper Johns's austere numerals and targets, he set out to transform text and cultural icons into high art. In 1967, he began making his paper ribbon drawings, which characteristically feature isolated words as objects set in three-dimensional space. He portrayed his subjects in a precisely rendered trompe l'oeil manner, relying on various drawing mediums, cotton swabs, and the palm of his hand to draw the subtle tonal gradations needed to establish the highly illusionistic effects he desired. Rushca maintained that he chose words for their appearance, sound, or spelling rather than for their meanings, or referential associations. In 1984, however, the unmistakable reference to George Orwell's futuristic novel stands at odds with the graceful line and elegant form of the ribbon.
Minneapolis Institute of Art
Notice
- Numéro d’inventaire
- 71.42
Au catalogue
Sources
- Minneapolis Institute of Art: the museum's own open data · obtenue il y a 6 jours
- Image : Minneapolis Institute of Art — © Ed Ruscha
Pendant ce temps, chez Edward Ruscha
La vie entière1967–1970
Self-imposed exile from painting: gunpowder and graphite drawings
During a period of self-imposed exile from painting (1967–1970) he makes gunpowder and graphite drawings: single words in a trompe l'oeil technique, as if formed from ribbons of curling paper.
1968
First solo show in Europe, in Cologne
His first European solo show takes place in Cologne, at Galerie Rudolf Zwirner.
1970
The “Chocolate Room” at the Venice Biennale
Ruscha represents the United States at the Venice Biennale as part of a survey of American printmaking with an on-site workshop, and constructs “Chocolate Room”: 360 sheets of paper permeated with chocolate hang like shingles on the gallery walls, and the pavilion smells like a chocolate factory. In 2003 the Museum of Contemporary Art in Los Angeles acquires the installation (then worth about $1.5 million).
1970
Joins the Leo Castelli Gallery
He joins the Leo Castelli Gallery; his first solo exhibition there will come only in 1973.
30 juin 1972 – 8 octobre 1972
Exhibition: Documenta 5
1972–1978
Separation and divorce from Danna
In 1972 Ruscha and Danna separate, in 1976 they file for divorce and in 1978 they divorce; during the time they are apart he dates the actresses Candy Clark, Samantha Eggar, Diane Keaton, Lauren Hutton and Michelle Phillips.
