


Details
Artist
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LightJet digital photograph. - Signed, dated, and numbered in marker on the reverse - Published by Patrick Painter, Santa Monica. // Ed Ruscha's GOD (2010) is a striking LightJet digital photograph that exemplifies the artist’s conceptual approach to art and symbolism. The work features a gleaming, metallic form resembling a circular or oval-shaped object, with a smooth, minimalist finish. Its ambiguous shape invites interpretation, blending industrial design aesthetics with spiritual overtones suggested by the title. Measuring 35.5 x 27.8 cm, the photograph is part of a limited edition of 50, each signed, dated, and numbered by Ruscha in marker on the reverse. Published by Patrick Painter in Santa Monica, this piece underscores Ruscha’s ability to provoke thought and elevate everyday forms into symbolic, iconic statements.
GOD, 2010
form
Medium
Size
35.5 x 27.8 cm
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Price
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Details
Artist
Styles
LightJet digital photograph. - Signed, dated, and numbered in marker on the reverse - Published by Patrick Painter, Santa Monica. // Ed Ruscha's GOD (2010) is a striking LightJet digital photograph that exemplifies the artist’s conceptual approach to art and symbolism. The work features a gleaming, metallic form resembling a circular or oval-shaped object, with a smooth, minimalist finish. Its ambiguous shape invites interpretation, blending industrial design aesthetics with spiritual overtones suggested by the title. Measuring 35.5 x 27.8 cm, the photograph is part of a limited edition of 50, each signed, dated, and numbered by Ruscha in marker on the reverse. Published by Patrick Painter in Santa Monica, this piece underscores Ruscha’s ability to provoke thought and elevate everyday forms into symbolic, iconic statements.
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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.