Details
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Lithograph in colours, on BFK Rives paper. Signed, dated, and numbered Published by The Paris Review, New York. Literature: Walker Art Center/Siri Engberg 213. Ed Ruscha’s Anchor in the Sand (Paris Review) is a 1991 color lithograph on BFK Rives paper that distills his fascination with language, atmosphere, and cinematic framing. A dark, softly blurred silhouette of an anchor stretches across a warm, grainy ground resembling sand or sky at dusk. Along the edges, the word PARIS REVIEW is spaced vertically, subtly framing the image. Published by The Paris Review in New York in an edition of 100 plus 15 artist’s proofs, the work evokes both maritime symbolism and literary context. The hazy rendering suggests memory or impermanence, turning a solid object into something fleeting and poetic.
Anchor in the Sand (Paris Review), 1991
form
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53.3 x 81.3 cm
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Details
Artist
Styles
Lithograph in colours, on BFK Rives paper. Signed, dated, and numbered Published by The Paris Review, New York. Literature: Walker Art Center/Siri Engberg 213. Ed Ruscha’s Anchor in the Sand (Paris Review) is a 1991 color lithograph on BFK Rives paper that distills his fascination with language, atmosphere, and cinematic framing. A dark, softly blurred silhouette of an anchor stretches across a warm, grainy ground resembling sand or sky at dusk. Along the edges, the word PARIS REVIEW is spaced vertically, subtly framing the image. Published by The Paris Review in New York in an edition of 100 plus 15 artist’s proofs, the work evokes both maritime symbolism and literary context. The hazy rendering suggests memory or impermanence, turning a solid object into something fleeting and poetic.
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What is conceptual art?
Sometimes referred to as Conceptualism, this is an art form where the idea(s) or concept(s) behind the work take precedence over material concerns and traditional aesthetics. Many conceptual artworks can be created by anyone simply by following written instructions. The concept or idea is the most essential aspect of the artwork.
