Ed Ruscha *
(Omaha 1937 geb.)
Four Parking Lots
jeweils 38 x 38 cm, Blattgröße jeweils 50,5 x 50,5 cm
1967 (geprintet 1999)
Jeweils rückseitig vom Fotografen mit Bleistift mit seinen Inizialien signiert, mit der Editionsangabe versehen („A.P.“) und datiert „1999“, Artist Proofs aus einer Edition von 35 plus 10 Artist Proofs
Literatur: Katalog Reading Ed Ruscha, Kunsthaus Bregenz, hrsg. Edition by Yilmaz Dziewior, 2012, S. 104-109.
Provenienz: Private Collection Paris
In Thirtyfour Parking Lots shot from a helicopter by an aerial photographer Ed Ruscha hired, the lots are pulled out of their “use” life toward symmetrical abstract design, though the design themselves comment on use. “Seeing things from unexpected angles can be hugely refreshing. This parking lot, viewed for the sky looks like a detail from a model of the perfect city: a place where serenity reigns,where all is rational, in which life is purged of the familiar confusions and urgencies.
Of course, on the ground it’s not quite so elegant. The parking lot surely has its dreary, dispiriting aspects. But the artist is not concentrating on those. They are familiar anyway.
Ed Ruscha is not especially trying to get us to change our minds about parking spaces. His work is rehearsing a move that applies more generally. He targets the standard way in which being too close to something – too caught up in the everyday conflicts and difficulties – can make us lose a sense of the worth and even loveliness of something, or (more than likely) someone. Tenderness, and appreciation, come more readily when we are not so close up.”
(Alain de Botton & John Armstrong)