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ED RUSCHA (*1937)

KÜNSTLER BIO ANFORDERNPDF HERUNTERLADEN
 
<div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div>
<div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div> <div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div> <div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div> <div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div> <div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div> <div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div> <div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div> <div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div> <div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div> <div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div>
Metro Petro Neuro Psycho198222 x 24 1/2 Zoll.(55,88 x 62,23 cm) Farbige Aquatinta
Provenienz
Brian Gross Bildende Kunst
Private Sammlung

25,000

Ed Ruschas Metro, Petro, Neuro, Psycho aus einer Auflage von 25 Exemplaren mit 10 Abzügen ist ein Beispiel für die fortlaufende Untersuchung des visuellen und konzeptionellen Potenzials von Sprache durch den Künstler. In diesem Werk entfalten sich gestapelte Wörter wie eine architektonische Struktur, deren sich reimende Silben einen verbalen Beat erzeugen, der Ruschas Faszination für den Rhythmus und die Absurdität von Text unterstreicht. Buchstaben werden zu Formen, Abstände werden zu Strukturen, und die Typografie selbst nimmt das Gewicht eines Bildes an.





Als Brücke zwischen Ruschas ikonischen Wortgemälden der 1960er Jahre und seinen mehrschichtigen Experimenten der 1980er Jahre und darüber hinaus verkörpert der Druck seinen Ansatz, Sprachfragmente zu isolieren - Werbesprüche, aufgeschnappte Wörter oder erfundene Phrasen -, damit sie sowohl als visuelle als auch als semantische Phänomene neu betrachtet werden können. Ruscha selbst hat solche Arrangements als "visuelles Rauschen" bezeichnet, das gleichzeitig spielerisch und verwirrend ist. Beispiele im Museum of Modern Art, New York, und in der National Gallery of Art, Washington, bestätigen die institutionelle Anerkennung der Bedeutung dieser Arbeiten.
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