TEL: 415.441.8680
Copyright © 2003-2010 | SITE MAP
1 of 35
Diane Rosenblum Althoff
Ed Ruscha Painting 1989 - 2005 from the series "A Measure of Art”
2005, pigment print, archival ultra chrome ink on canvas, Limited edition
36.5” x 51.5”, $2,800 (1 sold 1 available)
Diane Rosenblum Althoff began work on A Measure of Art in 2004. The series was inspired by her mother’s interest in the stock market, seeing the dot-com boom and subsequent meltdown, and reacting to a scientific and statistical approach to life. In these conceptual artworks Althoff employs the visual language of modern and contemporary artists such as Joseph Kosuth, Richard Misrach, and Damien Hirst. Using auction sales results from the late 1980’s through 2009 obtained from artprice.com, she graphs art market data directly into her canvases. The data is legibly presented in line with Edward Tufte’s theories on the graphical display of information. This project is neither parody nor appropriation. Instead, the art and career of the artist in question is the subject matter of the artwork.
Diane Rosenblum Althoff is an artist in residence at Kala Art Institute, and an adjunct professor at Berkeley City College. She is represented by Cain Schulte Gallery in San Francisco. Her work is in the permanent collection of a number of museums including the San Francisco Museum of Modern Art, the Henry Museum at the University of Washington in Seattle, and the Albertina Museum in Vienna, Austria.
January 9 - February 7, 2010
THE SEDUCTION OF DUCHAMP
BAY AREA ARTISTS’ RESPONSE
CURATED BY:
Hanna Regev
& Steven Lopez
“Ed Ruscha met Marcel Duchamp in 1963 at his first retrospective show at the Pasadena Art Museum. This meeting cemented the impact Duchamp ‘s works were to have on Ruscha’s art. The spirit of Duchamp infuses Ruscha’s work and is evident in his dryness and his understated presentation of ordinary subjects. I have superimposed a graph of Ed Ruscha’s painting sales results at auction onto a stripped down version of one of his best known works, the Standard Station.
“It’s hard to be taught how to look at Duchamp’s work; it has to be felt somehow.” Ed Ruscha said in an interview with Elizabeth Armstrong. The same can be said of Ruscha – his work takes a particular sensibility to appreciate. You either get it or you don’t. There is a sly irreverence, a reaction to Hollywood and the Los Angeles culture, and an implicit rejection of both the pop art and abstract expressionism that were the dominant modes when Ruscha was developing as an artist”. Diane Althoff
SOLD
