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Image: 19 5/8 x 36 15/16 in (49.6 x 93.8 - Sheet: 25 5/8 x 39 15/16 in (65.1 x 101.5 cm) - Published by Audrey Sabol, Villanova, PA - Printed by Art Krebs Screen Studio, Los Angeles // 'Standard Station' by Ed Ruscha is an iconic 1966 screen print that encapsulates American consumer culture through the imagery of a gas station. Using bold colors and clean lines, Ruscha captures the stark, modernist design of a 'Standard' gas station, symbolizing mid-20th-century Americana and the rise of car culture. The vibrant red, white, and blue palette draws attention to the minimalist architectural form, juxtaposed against a gradient sky that moves from deep orange to pale blue, adding a surreal atmosphere to the scene. Published by Audrey Sabol and printed by Art Krebs Screen Studio, this limited edition piece of 50 exemplifies Ruscha's unique style, blending pop art with elements of surrealism and social commentary.
Standard Station, 1966
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65.1 x 101.5 cm
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Image: 19 5/8 x 36 15/16 in (49.6 x 93.8 - Sheet: 25 5/8 x 39 15/16 in (65.1 x 101.5 cm) - Published by Audrey Sabol, Villanova, PA - Printed by Art Krebs Screen Studio, Los Angeles // 'Standard Station' by Ed Ruscha is an iconic 1966 screen print that encapsulates American consumer culture through the imagery of a gas station. Using bold colors and clean lines, Ruscha captures the stark, modernist design of a 'Standard' gas station, symbolizing mid-20th-century Americana and the rise of car culture. The vibrant red, white, and blue palette draws attention to the minimalist architectural form, juxtaposed against a gradient sky that moves from deep orange to pale blue, adding a surreal atmosphere to the scene. Published by Audrey Sabol and printed by Art Krebs Screen Studio, this limited edition piece of 50 exemplifies Ruscha's unique style, blending pop art with elements of surrealism and social commentary.
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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.