Allen Ruppersberg

You and Me or The Art of Give and Take

182 

Weight1 kg
Edition size :

20

Paper :

Heavy paper stock

Technique :

The poster is a multicolored silkscreen on heavy paper stock, printed by letterpress in black.

Signature :

Numbered copies.

Year :

2009

Out of stock

“If Van Gogh and Andy Warhol hung out I imagine they would not have got along very well. The fact that a collaboration between these two painters being beyond unlikely was such an exciting concept, it inspired me in this attempt to render the impossible.” Anthony Lister

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The poster advertises a past presentation of the now out of print book You and Me or The Art of Give and Take, published in 2009 by JRP Ringier. It also proposes a trade between the artist and any member of the public who would like to exchange collections of pre-1970s photographs (a minimum of 50 snapshots or equivalent in photo-albums) for Allen Ruppersberg’s new, editioned, 33 1/3 RPM record entitled Art, and therefore, Ourselves (edition of 100, produced by the artist).

Weight1 kg
Edition size :

20

Paper :

Heavy paper stock

Technique :

The poster is a multicolored silkscreen on heavy paper stock, printed by letterpress in black.

Signature :

Numbered copies.

Year :

2009

Allen Ruppersberg

A pivotal figure of the Californian Conceptual art scene, Allen Ruppersberg (born in 1944 in Cleveland) has, since the end of the 1960s, been pursuing an atypical practice, which favors no medium in particular. The corpus of his works, which the artist describes as “scenes,” thus includes installations, performances, multiples, paintings, sculptures, drawings, books, photographs, videos, but also, as of 1969, a café and a hotel, which prefigure in part the relational aesthetic of the early 1990s.

This heterogeneity provides a glimpse of a working method, based around three main operations: the compulsive collection of popular cultural and “debased” forms (including postcards, calendars, books, comics, educational films, records, etc.); the appropriation of these forms and their displacement into art registers; and finally, from one work to another, a partial and fragmentary recycling, as in a permanent work in progress. The result is a series of combinatory plays between texts and images, in which narrative fragments, intertextuality, and reminiscence draw up a panorama of the different myths that mold a culture. Ruppersberg insists on the way in which individuals interiorize such tales, saying, “we all remain, as social beings, collections.”

Photo credit : Augusta Wood

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