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ED RUSCHA (b. 1937)

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<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 in.(55.88 x 62.23 cm) aquatinte couleur
Provenance
Brian Gross Fine Art
Collection privée

25,000

Metro, Petro, Neuro, Psycho d'Ed Ruscha, tiré à 25 exemplaires avec 10 épreuves d'artiste, illustre la recherche permanente de l'artiste sur le potentiel visuel et conceptuel du langage. Dans cette œuvre, les mots empilés se déploient comme une structure architecturale, leurs syllabes rimées générant un rythme verbal qui souligne la fascination de Ruscha pour le rythme et l'absurdité du texte. Les lettres deviennent des formes, l'espacement devient une structure et la typographie elle-même prend le poids d'une image.





Faisant le lien entre les peintures de mots emblématiques de Ruscha des années 1960 et ses expériences plus stratifiées des années 1980 et suivantes, l'estampe incarne son approche consistant à isoler des fragments de langage - slogans de panneaux d'affichage, mots entendus ou phrases inventées - afin de les reconsidérer en tant que phénomènes visuels et sémantiques. Ruscha lui-même a décrit ces arrangements comme du "bruit visuel", à la fois ludique et désorientant. La reconnaissance institutionnelle de l'importance de l'œuvre est affirmée par des exemples au Museum of Modern Art, New York, et à la National Gallery of Art, Washington.
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