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Dangerous Liaisons by Rene Ricard

Petersburg Press

Colour Lithograph


Edition Size: 17

Sheet Size: 16.5 x 23 inches


Condition: Pristine

Details — Click to read

Rene Ricard was known to destroy his own art — here, as in many of his works, he speaks obliquely about his own self-destructive excesses. Dangerous Liaisons includes another recurrent Ricard motif: the shapes of two inked and printed lithography stones as the poems’ frames, suggesting the symbiotic expressiveness of poetry and visual art. Here the heavy limestone slabs used to print lithographs function as literal and figurative frames for Ricard’s urgent cursive and emotionally-charged poetry.

“It is inconceivable that a Group of people Would conspire to plot the Destruction Of an individual. Who Would Want to Harm one? / In the House of Lords alone, I can count up to…Not even a memory,…One Could become not even a memory, Say a consortium of enemies / Posing as collectors Bought up an Artist’s entire output…A match, a Flash and good Bye posterity.”

A photograph of the lithography stones from which Dangerous Liaisons was printed is published with an accompanying poem in Ricard’s 1990 book of poetry Trusty Sarcophagus, published by Inanout Press and printed in Italy. (pp 54-55)


The Artist

Rene Ricard

In the 1980s, he wrote a series of influential essays for Artforum magazine. Having achieved stature in the art world by successfully launching the career of painter Julian Schnabel, Ricard helped bring Jean-Michel Basquiat to fame. In December 1981 he published the first major article on Basquiat, entitled “The Radiant Child,” in Artforum. Ricard also contributed art essays to numerous gallery and exhibition catalogs. Ricard was immortalized by Basquiat in the drawing entitled Rene Ricard / Axe, representing the tension that existed between the two. Andy Warhol called him “the George Sanders of the Lower East Side, the Rex Reed of the art world.”

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