- Ed Ruscha
- signed and dated 1977 on the reverse
- blackberry juice on paper
- 23 by 29 in. 58.4 by 73.7 cm.
Acquired by the present owner from the above
Los Angeles, IKON Ltd., Ed Ruscha, October - December 2004
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Ruscha had begun moving away from the conventions of oil on canvas in 1967 with the creation of his first works using gunpowder as a medium. Intrigued by the possibilities offered by alternative materials, and seeking to transcend the limitations imposed by tradition, Ruscha rapidly moved on to using an astonishing variety of different liquids, even abandoning conventional painting entirely for a short time in the early 1970s. Ruscha recalled this moment in his career: “There was a period when I couldn’t even use paint. I had to paint with unorthodox materials, so I used fruit and vegetable dyes instead of paint. I had to move some way, and the only way to do this was to stain the canvas rather than to put a skin on it….” (the artist, cited in Exh. Cat., Washington, D.C., Hirshhorn Museum and Sculpture Garden, Ed Ruscha, 2000, p. 153). In addition to blackberry juice, Ruscha employed Pepto-Bismol, caviar and even bodily fluids as creative means, forging a body of work that is utterly distinctive within Twentieth Century artistic practice. For his installation at the 35th Venice Biennale, Ruscha silkscreened chocolate onto 360 sheets of paper which were then placed on the walls, an exhibition choice that indicated the artist’s immense pride and excitement in the discovery of a totally innovative creative language. As well as paper and canvas, Ruscha also experimented with the use of fabrics for a base, using pioneering combinations such as egg yolk on moiré or blueberry extract on rayon crepe. World, created in 1977, reveals Ruscha’s control of his unconventional media by this stage: the edges of the letters are perfectly inscribed whilst the ‘application’ of the blackberry juice is impressively consistent and even. In its extraordinary appropriation of a natural substance for artistic purposes, World magnificently encapsulates Ruscha’s distinctive methodology and technical skill, and can be considered a truly significant work within the Stain series.