[{"id":1050,"title":"Pure Ecstasy","dimensions":"91.4 x 101.6 x 2.2 cm","date_begin":"1974-01-01","material":"tea, moiré silk","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection VAM, Eindhoven","cached_tag_list":"silk moiré","publishing_process_id":1,"annotation":"","date_end":null,"reference":"0946","stream_count_app":15,"permalink":null,"description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/592/large/0946.JPG?1308149149","poster_credits":"(c)image: Van Abbemuseum, Eindhoven / Peter Cox","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1051,"title":"Sand in Vaseline","dimensions":"91.5 x 101.5 x 1.7 cm","date_begin":"1974-01-01","material":"egg yolk, satin","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection VAM, Eindhoven","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"0947","stream_count_app":15,"permalink":null,"description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/591/large/0947.JPG?1308149107","poster_credits":"(c)image: Van Abbemuseum, Eindhoven / Peter Cox","translations":[{"locale":"en","description":"In 1974, the American artist Ed Ruscha paints with egg yolk the text SAND IN THE VASELINE on an almost square-shaped grey piece of satin. He uses then sans-serif letters filling almost the whole surface of the fabric.\r\n\r\nRuscha becomes famous in the 1970’s mostly for his word-paintings where he experiments with typographical design as well as with materials which are unusual in the art world. He is against the use of paint and therefore looks for other, more organic, materials to paint with.\r\n\r\nA remarkable relation comes to life between what is being written and how that is painted. The egg yolk has no direct relation with sand or Vaseline, but they are all tactile substances. Ruscha wants to confront the viewer with something he does not know yet how to deal with, in order to break with the usual way we look at things and to instigate reflection. \r\n"},{"locale":"nl","description":"In 1974 schildert de Amerikaanse kunstenaar Ed Ruscha met eigeel de tekst SAND IN THE VASELINE op een bijna vierkant doek van grijze satijn. Hij gebruikt daarvoor schreefloze hoofdletters. De tekst vult vrijwel het gehele doek. \r\n\r\nRuscha verwerft in de jaren zeventig vooral bekendheid met woordschilderijen waarin hij experimenteert met de typografische vormgeving van woorden maar ook met andere materialen dan de meest gebruikelijke in de kunst. Het gebruik van verf staat hem tegen en hij zoekt daarom andere, meestal organische materialen om mee te schilderen. Er is in deze schilderijen een merkwaardige relatie tussen wat er geschreven is en hoe het geschilderd is. Het eigeel waarmee de tekst geschilderd is heeft niets te maken met zand en vaseline. Wel zijn het beide tastbare substanties. Ruscha wil de kijker confronteren met iets waar hij niet direct weg mee weet, om zo kijkgewoontes te doorbreken en denkprocessen op gang te brengen. Hij zegt: \"Is desoriëntatie niet een van de aardigste kanten van het maken van kunst?\" "},{"locale":"fr","description":""}]},{"id":166,"title":"Twentysix Gasoline Stations","dimensions":"","date_begin":"1962-01-01","material":"ink, paper","short_description":"\u003cp\u003eThe books of Ed Ruscha mark a seizure in history of artist publications. Ed Rusha is using the possibilities of serialization as a way to be attentive and to distill meaning form reality. These publications are (close to his paintings) an attentive eye to enrich with understanding \u0026amp; going beyond the banal but still being related to it.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":16,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"artistbook","publishing_process_id":1,"annotation":"\u003cp\u003eUit de documentatiemap \u0026quot;Ruscha\u0026#39;s first self-published book, Twenty-Six Gas Stations (1962), served as a model for this painting [Standard Station, Amarillo, Texas, 1963], and as a prototype for many of his subsequent books. Twenty-Six Gas Stations is a compendium of seemingly uncomposed snapshots of gas stations, documenting the drive on Route 66 from Los Angeles to Oklahoma City. Each of the gas stations was photographed from across the street, and each is identified by a one line caption giving name and location.\u0026quot; source: Los Angeles County Museum of Art, Calender, no 3/83 \u0026quot;Ruscha zegt over zijn aanpak: \u0026#39;Actually, what I was after was no-style or a non-statement with a no-style.\u0026#39; De fotografische stijl is even banaal en onpersoonlijk als de onderwerpen zelf, terwijl het schijnbaar zinloze van deze projecten een ironische maatschappijkritiek oplevert. Ruscha kopieert de codes van de anonimiteit van de louter op commercie gestoelde samenleving en laat die tot ons terugkomen in de vorm van absurde boekjes die een po\u0026euml;tische inertie en leegte uitstralen, tegelijkertijd grappig en sinister.\u0026quot; source: ART 30 Maart 2006\u003c/p\u003e\r\n\r\n\u003cp\u003eCollection Foundation Gordon Matta-Clark\u003c/p\u003e\r\n","date_end":null,"reference":"S0210","stream_count_app":116,"permalink":"26-gasoline-stations","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/070/665/medium_500/S0210_5.jpg?1617020555","cached_actor_names":"Ed Ruscha","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/070/665/large/S0210_5.jpg?1617020555","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eThe books of Ed Ruscha (as you can read in interviews with Jef Wall or Ian Wallace) mark a seizure in history of artist publications. Ed Rusha (as in the work \u0026lsquo;Sunset Boulevard\u0026rsquo;)is using the possibilities of serialization as a way to be attentive and to distill meaning form reality. When we look at the \u0026lsquo;Twentysix Gasoline Stations, 1962\u0026rsquo;, we notice that one gasoline station is banal; a series of gasoline-stations becomes magic. These publications are (close to his paintings) an attentive eye to enrich with understanding and going beyond the banal but still being related to it.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe publicaties van Edward Ruscha zijn kunstenaarsboeken. Deze boeken zijn conceptuele kunstwerken, ze staan \u0026lsquo;op zichzelf\u0026rsquo;, ze vormen zeker geen handleiding of bijvoorbeeld catalogus bij ander werk. Het zijn bovendien democratische kunstwerken: door de relatief lagere productiekost en de grotere oplagen kunnen ze door meerdere mensen worden verzameld, zonder dat ze daarvoor uitzonderlijk bemiddeld moeten zijn. De boeken hoeven ook niet te worden tentoongesteld om tot hun recht te komen, integendeel: een kunstenaarsboek geeft zijn geheimen slechts prijs als je erdoorheen bladert. Werken als *Twentysix Gasoline Stations*, *Nine Swimming Pools and a Broken Glass* en *Thirtyfour Parking Lots in Los Angeles* zijn op het eerste gezicht niet-artistieke verzamelingen van beelden. Het zijn verzamelingen van opnames van de architecturale omgeving van Los Angeles, de plaats waar Ruscha leeft en werkt. De kunstenaar maakt ze met een kleine, eenvoudige camera. Deze beeldenverzamelingen vormen het vertrekpunt, het documentatiemateriaal en de inspiratiebron voor andere conceptuele werken die later ontstaan. Tegelijk zijn deze kunstenaarsboeken zelfstandige kunstwerken, die putten uit het dagelijkse leven en de toeschouwer een bevreemdende collectie beelden voorschotelen. De terugkerende thematiek in deze werken is de monotone conformiteit van het dagelijks leven in Amerika. Ruscha omschrijft de beelden in deze boeken als \u0026ldquo;een verzameling van feiten\u0026rdquo;. Hij beschouwt deze beelden als \u0026ldquo;volledig neutraal materiaal, noch de beelden zelf, noch het onderwerp is interessant. Mijn boeken zijn verzamelingen van readymades\u0026rdquo;.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":30378,"title":"Publications","dimensions":"Variable dimensions","date_begin":"1962-01-01","material":"Books","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":141,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp, Foundation Gordon Matta-Clark","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eUit de documentatiemap \u0026quot;Ruscha\u0026#39;s first self-published book, Twenty-Six Gas Stations (1962), served as a model for this painting [Standard Station, Amarillo, Texas, 1963], and as a prototype for many of his subsequent books. Twenty-Six Gas Stations is a compendium of seemingly uncomposed snapshots of gas stations, documenting the drive on Route 66 from Los Angeles to Oklahoma City. Each of the gas stations was photographed from across the street, and each is identified by a one line caption giving name and location.\u0026quot; source: Los Angeles County Museum of Art, Calender, no 3/83 \u0026quot;Ruscha zegt over zijn aanpak: \u0026#39;Actually, what I was after was no-style or a non-statement with a no-style.\u0026#39; De fotografische stijl is even banaal en onpersoonlijk als de onderwerpen zelf, terwijl het schijnbaar zinloze van deze projecten een ironische maatschappijkritiek oplevert. Ruscha kopieert de codes van de anonimiteit van de louter op commercie gestoelde samenleving en laat die tot ons terugkomen in de vorm van absurde boekjes die een po\u0026euml;tische inertie en leegte uitstralen, tegelijkertijd grappig en sinister.\u0026quot; source: ART 30 Maart 2006\u003c/p\u003e\r\n","date_end":"1978-01-01","reference":"S0210","stream_count_app":13,"permalink":"publications","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/197/medium_500/2021_04_30_MHKA_-079-52.jpg?1620307587","cached_actor_names":"Ed Ruscha","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/197/large/2021_04_30_MHKA_-079-52.jpg?1620307587","poster_credits":"image: (c) We Document Art, Collection M HKA, Antwerp, Foundation Gordon Matta-Clark","translations":[{"locale":"en","description":"\u003cp\u003eThe books of Ed Ruscha (as you can read in interviews with Jef Wall or Ian Wallace) mark a seizure in history of artist publications. Ed Rusha (as in the work \u0026lsquo;Sunset Boulevard\u0026rsquo;)is using the possibilities of serialization as a way to be attentive and to distill meaning form reality. When we look at the \u0026lsquo;Twentysix Gasoline Stations, 1962\u0026rsquo;, we notice that one gasoline station is banal; a series of gasoline-stations becomes magic. These publications are (close to his paintings) an attentive eye to enrich with understanding and going beyond the banal but still being related to it.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cem\u003eNine Swimming Pools and a Broken Glass\u003c/em\u003e, 1968\u003cbr /\u003e\r\n\u003cem\u003eReal Estate Opportunities\u003c/em\u003e, 1970\u003cbr /\u003e\r\n\u003cem\u003eVarious Small Fires and Milk\u003c/em\u003e, 1964\u003cbr /\u003e\r\n\u003cem\u003eSome Los Angeles Apartments\u003c/em\u003e, 1965\u003cbr /\u003e\r\n\u003cem\u003eTwentysix Gasoline Stations\u003c/em\u003e, 1962\u003cbr /\u003e\r\n\u003cem\u003eEvery Building on the Sunset Strip\u003c/em\u003e, 1966\u003cbr /\u003e\r\n\u003cem\u003eHard Light\u003c/em\u003e, 1978\u003cbr /\u003e\r\n\u003cem\u003eA Few Palm Trees\u003c/em\u003e, 1971\u003cbr /\u003e\r\n\u003cem\u003eRecords\u003c/em\u003e, 1971\u003cbr /\u003e\r\n\u003cem\u003eColored People\u003c/em\u003e, 1972\u003cbr /\u003e\r\n\u003cem\u003eRoyal Road Test\u003c/em\u003e, 1967\u003cbr /\u003e\r\n\u003cem\u003eCrackers\u003c/em\u003e, 1969\u003cbr /\u003e\r\n\u003cem\u003eThirtyfour Parking Lots in L.A\u003c/em\u003e., 1967\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003chr /\u003e\r\n\u003cp\u003e\u003cem\u003eNine Swimming Pools and a Broken Glass\u003c/em\u003e, 1968\u003cbr /\u003e\r\n\u003cem\u003eReal Estate Opportunities\u003c/em\u003e, 1970\u003cbr /\u003e\r\n\u003cem\u003eVarious Small Fires and Milk\u003c/em\u003e, 1964\u003cbr /\u003e\r\n\u003cem\u003eSome Los Angeles Apartments\u003c/em\u003e, 1965\u003cbr /\u003e\r\n\u003cem\u003eTwentysix Gasoline Stations\u003c/em\u003e, 1962\u003cbr /\u003e\r\n\u003cem\u003eEvery Building on the Sunset Strip\u003c/em\u003e, 1966\u003cbr /\u003e\r\n\u003cem\u003eHard Light\u003c/em\u003e, 1978\u003cbr /\u003e\r\n\u003cem\u003eA Few Palm Trees\u003c/em\u003e, 1971\u003cbr /\u003e\r\n\u003cem\u003eRecords\u003c/em\u003e, 1971\u003cbr /\u003e\r\n\u003cem\u003eColored People\u003c/em\u003e, 1972\u003cbr /\u003e\r\n\u003cem\u003eRoyal Road Test\u003c/em\u003e, 1967\u003cbr /\u003e\r\n\u003cem\u003eCrackers\u003c/em\u003e, 1969\u003cbr /\u003e\r\n\u003cem\u003eThirtyfour Parking Lots in L.A\u003c/em\u003e., 1967\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003chr /\u003e\r\n\u003cp\u003e\u003cem\u003eNine Swimming Pools and a Broken Glass\u003c/em\u003e, 1968\u003cbr /\u003e\r\n\u003cem\u003eReal Estate Opportunities\u003c/em\u003e, 1970\u003cbr /\u003e\r\n\u003cem\u003eVarious Small Fires and Milk\u003c/em\u003e, 1964\u003cbr /\u003e\r\n\u003cem\u003eSome Los Angeles Apartments\u003c/em\u003e, 1965\u003cbr /\u003e\r\n\u003cem\u003eTwentysix Gasoline Stations\u003c/em\u003e, 1962\u003cbr /\u003e\r\n\u003cem\u003eEvery Building on the Sunset Strip\u003c/em\u003e, 1966\u003cbr /\u003e\r\n\u003cem\u003eHard Light\u003c/em\u003e, 1978\u003cbr /\u003e\r\n\u003cem\u003eA Few Palm Trees\u003c/em\u003e, 1971\u003cbr /\u003e\r\n\u003cem\u003eRecords\u003c/em\u003e, 1971\u003cbr /\u003e\r\n\u003cem\u003eColored People\u003c/em\u003e, 1972\u003cbr /\u003e\r\n\u003cem\u003eRoyal Road Test\u003c/em\u003e, 1967\u003cbr /\u003e\r\n\u003cem\u003eCrackers\u003c/em\u003e, 1969\u003cbr /\u003e\r\n\u003cem\u003eThirtyfour Parking Lots in L.A\u003c/em\u003e., 1967\u003c/p\u003e\r\n"}]}]