ABSTRACT APPROPRIATION
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theautologicalmetaphor:

ed ruscha, two sheets stained with blood.
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qurty:

Ed Ruscha
Whiskers
1972
Gunpowder and pastel on paper
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teethofwisdom:

Noose Around Your Neck, Ed Ruscha (2001) 
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thecuratedcontent:

Ed Ruscha - I Don’t Want No Retrospective, 1979
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ttusk:

Ed Ruscha
Give Up The Gold Or Give Up Your Life, 1999 
Bleach on linen-covered board
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theflagartfoundation:

His life was not confining and the delight he took in this observation could not be explained by its suggestion of escape. He seemed to see, with a cartographer’s eye, that string of swimming pools, that quasi-subterranean stream that curved across the county. He had made a discovery, a contribution to modern geography; he would name the stream Lucinda after his wife. He was not a practical joker nor was he a fool but he was determinedly original and had a vague and modest idea of himself as a legendary figure. The day was beautiful and it seemed to him that a long swim might enlarge and celebrate its beauty.
 
Image Credit: Spread, Ed Ruscha, Nine Swimming Pools and a Broken Glass, 1968, printed 1976.
Text Citation: Cheever, John. “The Swimmer.” The New Yorker. July 18, 1964, Vol. 40 Issue 22, p28. For the full story, click here. 
WALL ROCKETS: Contemporary Artists and Ed Ruscha, curated by Lisa Dennison, was on view at FLAG from October 3 – April 18, 2009. For more information, click here.
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lunar-space-object:

Jeff Koons Retrospective at the Whitney Museum
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lunar-space-object:

Selfie with friends at the Jeff Koons Retrospective at the Whitney Museum
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120walker:

Jeff Koons Retrospective at The Whitney in New York 
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markmcevoy:

Wrong
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7while23:

John Baldessari, Cigar Smoke to Match Clouds That are the Same (by Sight-Side View), 1972-73
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underpressuremagazine:

John Baldessari