Edward Ruscha

I can't, I mean, I'd be amiss to say, not say that.

So we spoke about, you know, we spoke about Ed Ruscha's work in Los Angeles, you know, his strips, him studying the elevational studies of,

what part of, was it not Mulholland Drive?

I should know this.

And then also, you know, the work of Kevin Lynch.

So there's a little bit of, you know, there's some theory behind it, you know, we looked at.

So them having that, and actually also Bernard Schumi's sort of Manhattan transcripts, these are all sort of different ways of mapping something, even just the photography strip that Ed Ruscha did.

And then we all sort of came together again, you know, and then we started to, like, figure out.

Um, but Eliasson is a bit more, m-more different because he's building these installations.

But what I could tell is to that, to, to these two artists now there is also, uh, Ed Ruscha, which I love a lot, uh, which I also add to that because of his dry way of painting in a way.

Um, uh, Thomas Demand also, uh, I'm drawn to.

Um, and then if you go further, even you go to Donald Judd and so on.

I see really, um, a reference in, in design and fashion that, uh, design and art there because, um, with young artists, I always have the discussion about their visual, uh, language, es- especially in painting.

Yeah.

Because, um, there's somehow the narrative that, that, uh, that a painter, for example, when you stay in front of a Ed Ruscha painting, you always-

Mm-hmm

I mean, Harlan Miller's work is sort of,

yeah, it's in the same, I guess it's sort of the same territory as Ed Ruscha, for example.

It's about presenting a statement within a certain context.

And it is very much about conceptual art, I suppose, isn't it? Is Ed Ruscha still alive? He is just about, yeah.

He's about 90 or something, isn't he? He's quite elderly, yeah.

He's quite elderly.

So, I mean, we've, we really have been kind of sticking to our knitting, I would say.

Um, and I think what you've seen at the last two fairs is a, a pretty good mix of the three of us, uh, going from Rothko and Calder to Magritte and Dali and Wilfredo Lam to Ruscha to Richter.

Um, so I think we're trying to stick to what we know and the artists that we frankly are passionate about, um, and, and we think are interesting moments.

And I think you'll, you'll see us announce in the, you know, not too distant future, uh, a pretty exciting classical show for spring of next year, uh, which we haven't, uh, put out yet.