Course of empire: paintings
Hatje Cantz, 2005 - Art - 64 pages
Inspired by the symmetrical, Jeffersonian layout of the American Pavilian's Neo-Classical architecture, and by Thomas Cole's cycle of the same name, Ed Ruscha installed this ten-painting "Course of Empire" at the 2005 Venice Biennale. Five pieces are painted in color and five in black and white. The artist paired each work from his 1992 "Blue Collar" series with a new color canvas depicting the future of the same urban landscape, some deteriorated, some growing and changing, some seemingly gentrifying. Essays from Linda Norden, the US Commissioner for the Venice Biennale, and artist Frances Stark celebrate the work, while Joan Didion's coolly written but deeply felt piece about her own brokenhearted longing for Los Angeles hits a perfect note. Those who love Ruscha will vibrate like tuning forks on finding these pitch-perfect pieces together.
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Acrilico su tela Acrylic on canvas Agnes Gund ancora Angeles anni artist Belgacom bianco e nero Biennale di Venezia Blue Collar Tech-Chem Blue Collar Tool Boss Corporation capacitÓ Childe Harold's Pilgrimage Chouinard cinque cm Collezione dell'artista Cole's The Course colori Corso dell'lmpero County Museum Course of Empire Cultural Affairs deterioramento dipinti Blue Collar domande Donna De Salvo edifici EMPlRE fatto Former Telephone Booth Frances Stark Gagosian gas stations Gruppo Guggenheim Hollywood Honor Fraser immagini Joan Didion l'idea Larry Gagosian Linda Norden Lorraine Wild lungo luogo macchina Manzarek molti mondo mostra ogni Old Tech-Chem Building Old Tool Old Trade School poco Pop art potrebbe processo progetto progresso proprio pu˛ Ray Manzarek realtÓ ringraziamo risposta rotunda Ruscha's art sempre senso Sepulveda Boulevard serie di dipinti siamo soggetto solo Standard Station Stati Uniti stato stazioni di servizio Sunset Boulevard Sunset Strip Trade School Building tratta United States Pavilion Venice Biennale vuota