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Lithograph in Colors on Somerset Satin paper - Signed, Dated and Numbered - Trial Proof (from edition of 13 Proofs) - Published by Akasha Fine Art, Minneapolis, Minnesota, with their blindstamp // Ed Ruscha’s Safe and Effective Medication (2001) is a lithograph in colors printed on Somerset Satin paper, part of a series of 13 trial proofs. The artwork features bold, uppercase text that reads SAFE AND EFFECTIVE MEDICATION against a background of ominous clouds, creating a sense of irony and ambiguity. Ruscha’s use of stark typography juxtaposed with the moody, atmospheric sky challenges the viewer’s perception of language and meaning, typical of his style that often critiques advertising and media. The contrast between the reassuring text and the foreboding background evokes a sense of skepticism towards corporate and pharmaceutical messaging.
Safe and Effective Medication, 2001
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73.9 x 73.9 cm
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Lithograph in Colors on Somerset Satin paper - Signed, Dated and Numbered - Trial Proof (from edition of 13 Proofs) - Published by Akasha Fine Art, Minneapolis, Minnesota, with their blindstamp // Ed Ruscha’s Safe and Effective Medication (2001) is a lithograph in colors printed on Somerset Satin paper, part of a series of 13 trial proofs. The artwork features bold, uppercase text that reads SAFE AND EFFECTIVE MEDICATION against a background of ominous clouds, creating a sense of irony and ambiguity. Ruscha’s use of stark typography juxtaposed with the moody, atmospheric sky challenges the viewer’s perception of language and meaning, typical of his style that often critiques advertising and media. The contrast between the reassuring text and the foreboding background evokes a sense of skepticism towards corporate and pharmaceutical messaging.
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What is New Topographics?
New Topographics is a term coined in 1975 by curator William Jenkins to describe a group of photographers whose work focused on formal black-and-white images of urban and industrial landscapes. Jenkins initially described their aesthetic as banal, but the photographers themselves argued that their compositions were as significant as those of natural landscapes, emphasizing the beauty in everyday, man-made environments.
