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Measuring 46 feet across and spanning the length of the gallery’s wall, the monumental Joystick is an ode to Rosenquist’s love of flying. Based on reflections from a mirrored cylinder, packed with gyrating forms that move at incredible speed, the space of Joystick is invented, abstract, and wholly optical. “The priority for me is visual invention and, really, content is secondary,” Rosenquist told the late art historian Robert Rosenblum. By contrast, the central expanse of The Geometry of Fire is a reflection of real space. Painted after a devastating fire destroyed the artist’s Florida studio, the 25 foot long picture depicts the wildness of fire on the left and the destruction it causes, seen in the melting, exploding hub caps on the right. At the picture’s center is the mysterious cosmos, populated with the galaxies, star showers and black holes that became the subject of Rosenquist’s last paintings.
Displayed @the "WTC", NYC
James Rosenquist's "F-111" at MoMA
The painting is eighty-six feet (about 26 meters) long and consists of twenty-three panels. The painting started in 1964 was inspired by billboards and mural-sized paintings like Monet's "Water Lilies".
The artist chose the F-111 bomber "flying through the flak of consumer society to question the collusion between the Vietnam death machine, consumerism, the media, and advertising"
James Rosenquist's "F-111" at MoMA
The painting is eighty-six feet (about 26 meters) long and consists of twenty-three panels. The painting started in 1964 was inspired by billboards and mural-sized paintings like Monet's "Water Lilies".
The artist chose the F-111 bomber "flying through the flak of consumer society to question the collusion between the Vietnam death machine, consumerism, the media, and advertising"
L'artiste pop majeur James Rosenquist a utilisé des techniques de peinture de signes pour créer des toiles kaléidoscopiques évoquant la publicité américaine. Il a adopté le langage visuel de l’art commercial, filtrant les images d’objets américains brillants à travers une lentille froide et inspirée du surréalisme. Ses peintures, peintures murales et gravures évoquent des panneaux d'affichage et des affiches, mais elles restent plus mystérieuses et irrésolues que n'importe quelle campagne éditoriale ne pourrait le permettre. Rosenquist a suivi des cours d'art à l'Université du Minnesota, à Minneapolis, avant de déménager à New York et de rejoindre brièvement l'Art Students League. Il a également travaillé comme peintre de panneaux publicitaires. Le travail de Rosenquist a été exposé à New York, Londres, Paris, Berlin, Tokyo, Rome et Los Angeles et fait partie des collections du Metropolitan Museum of Art, du Centre Pompidou, du Museum of Modern Art, de la Tate, du Guggenheim. Museum, Moderna Museet et le Museum of Contemporary Art de Los Angeles, entre autres. Ses peintures se sont vendues jusqu'à sept chiffres aux enchères.
Initialement commandé par Eastern Airlines pour l'aéroport international de Miami, Star Thief a été catégoriquement licencié par le président de la compagnie aérienne et ancien astronaute Frank Borman. Comme Rosenquist l’a rappelé dans son autobiographie, Painting Below Zero : Notes on a Life in Art, Borman a déclaré : « L’espace ne ressemble pas à cela. J’ai été dans l’espace et je peux vous assurer qu’il n’y a pas de bacon dans l’espace. Le tableau de plus de cinq mètres de haut et de plus de quatorze mètres de large, qui appartient à la collection du Musée Ludwig, représente un chevauchement denté en forme de hachures et une interpénétration de plusieurs couches de motifs - d'un portrait d'une femme endormie et des faisceaux de câbles techniques vers un univers éclairé par les étoiles. Rosenquist a fait remarquer à propos du tableau qu'il souhaitait pénétrer de plus en plus profondément dans l'espace, dans la pensée. « Star Thief est une allégorie cosmique, une métaphore du travail. La star est un voleur, le voleur qui suscite la curiosité, poussant les gens à se tourner vers une pensée lointaine.
Major pop artist James Rosenquist used sign painting techniques to create kaleidoscopic canvases evocative of American advertising. He adopted the visual language of commercial art, filtering images of shiny American objects through a cold, surrealist-inspired lens. His paintings, murals and prints evoke billboards and posters, but they remain more mysterious and unresolved than any editorial campaign could allow. Rosenquist took art classes at the University of Minnesota, Minneapolis, before moving to New York and briefly joining the Art Students League. He also worked as a billboard painter. Rosenquist's work has been exhibited in New York, London, Paris, Berlin, Tokyo, Rome and Los Angeles and is in the collections of the Metropolitan Museum of Art, Center Pompidou, Museum of Modern Art, Tate, Guggenheim . Museum, Moderna Museet and the Museum of Contemporary Art in Los Angeles, among others. His paintings have sold for up to seven figures at auction.
Originally ordered by Eastern Airlines for Miami International Airport, Star Thief was roundly fired by airline president and former astronaut Frank Borman. As Rosenquist recalled in his autobiography, Painting Below Zero: Notes on a Life in Art, Borman said, “Space doesn’t look like that. I have been to space and I can assure you there is no bacon in space. The more than five meters high and more than fourteen meters wide painting, which belongs to the collection of the Ludwig Museum, depicts a crosshatch-shaped toothed overlap and an interpenetration of several layers of motifs - of a portrait of a sleeping woman and bundles of technical cables towards a universe lit by stars. Rosenquist remarked about the painting that he wanted to penetrate deeper and deeper into space, into thought. “Star Thief is a cosmic allegory, a metaphor for work. The star is a thief, the thief who arouses curiosity, causing people to turn to a distant thought.
A detail of the James Rosenquist painting that I enjoy. Pop art fire where the colors are right but it still seems so cold. or as one NYT reviewer said "hikes melancholy up to a state of emergency."
Born in 1933 in a family of Swedish and Norwegian descent in North Dakota, American artist James Rosenquist grew up as the only child. His parents were amateur pilots and they moved from town to town looking for work before eventually settling in Minneapolis.
In this early years, he earned his living as a billboard painter. Such training would eventually allow the artist to flourish in the pop art scene by applying sign-painting techniques to the large-scale paintings he began creating in 1960.
Although he is well considered by critics to be a protagonist of the pop art movement, his work emerged separately from other pop art icons such as Warhol and Lichtenstein. He is especially known for combining fragmented images in abstract and provocative ways.
# Art Info
James Rosenquist (b. 1933)
Females and Flowers, 1984
Oil on canvas
68 x 112 inches (173 x 285 cm)
占士·勞森傑斯 (生於 1933)
女性與花, 1984
帆布油畫
68 x 112 英寸 (173 x 285 厘米)
# James Rosenquist
James Rosenquist (born November 29, 1933) is an American artist and one of the protagonists in the pop-art movement. Rosenquist was a 2001 inductee into the Florida Artists Hall of Fame.
en.wikipedia.org/wiki/James_Rosenquist
# Richard Gray Gallery
Founded in 1963. Specializing in contemporary art and European and American modern master paintings, drawings, and sculpture.
1018 Madison Avenue, 4th Floor
New York, NY 10075
USA
# SML Data
+ Date: 2013-05-23T16:00:11+0800
+ Dimensions: 4229 x 2092
+ Exposure: 1/40 sec at f/8.0
+ Focal Length: 33 mm
+ ISO: 800
+ Flash: Did not fire
+ Camera: Canon EOS 6D
+ Lens: Canon EF 17-40mm f/4L USM
+ GPS: 22°16'58" N 114°10'22" E
+ Location: 香港會議展覽中心 Hong Kong Convention and Exhibition Centre (HKCEC)
+ Workflow: Lightroom 4
+ Serial: SML.20130523.6D.13865
+ Series: 新聞攝影 Photojournalism, SML Fine Art, Art Basel Hong Kong 2013
# Media Licensing
Creative Commons (CCBY) See-ming Lee 李思明 / SML Photography / SML Universe Limited
“Painting by James Rosenquist: Females and Flowers, 1984 (Oil on canvas)” / Richard Gray Gallery / Art Basel Hong Kong 2013 / SML.20130523.6D.13865
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Marilyn Monroe, I, 1962
Oil and spray enamel on canvas, 7' 9" x 6' 1/4"
James Rosenquist, American, born 1933
Screen icon and sex symbol Marilyn Monroe (1926-62) was a favorite subject of many pop artists, and she figures prominently in more than fifteen works in the Museum's collection. Here, in a tribute to the actress created soon after her death, Rosenquist inverted, fragmented, and partially obscured her image with a superimposed portion of her name. He also included a segment of the brand name "CocaCola," rendered upsidedown in its trademark script. In pairing Monroe with this famous logo, Rosenquist was suggesting that she is as iconic an example of American popular culture as the ubiquitous soft drink.
The Sidney and Harriet Janis Collection
*
The Museum of Modern Art (MoMA) was founded in 1929 and is often recognized as the most influential museum of modern art in the world. Over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of its midtown home, located on 53rd Street between Fifth and Sixth Avenues in midtown.
MoMA's holdings include more than 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. Highlights of the collection inlcude Vincent Van Gogh's The Starry Night, Salvador Dali's The Persisence of Memory, Pablo Picasso's Les Demoiseels d'Avignon and Three Musicians, Claude Monet's Water Lilies, Piet Mondrian's Broadway Boogie Woogie, Paul Gauguin's The Seed of the Areoi, Henri Matisse's Dance, Marc Chagall's I and the Village, Paul Cezanne's The Bather, Jackson Pollack's Number 31, 1950, and Andy Warhol's Campbell's Soup Cans. MoMA also owns approximately 22,000 films and four million film stills, and MoMA's Library and Archives, the premier research facilities of their kind in the world, hold over 300,000 books, artist books, and periodicals, and extensive individual files on more than 70,000 artists.
A Certain Ratio
Book :
James Rosenquist
MoMA
2017
CD :
Ultra Vivid Scene
4AD
CAD809
Sounds . Kurt Ralske
Design . Vaughan Oliver . v23
iMusic :
Unrest
Perfect Teeth
Teenbeat Records
TEENB105
For Nancy
Welcome Back
UVGMA ...
Modern and Contemporary Art in The Metropolitan Museum of Art NHL & NHP in the Upper West Side in New York City, NY
"James Rosenquist’s 6-foot-square canvas Broome Street Trucks After Herman Melville depicts a cropped, close-up image of a red 1950s GMC truck. Although a seemingly straightforward representation, certain aspects of the painting are strangely abstracted: details are generalized, reflections are empty, and, inexplicably, the color of the image shifts to yellow in the lower half, where the forms become even more liquid and diffuse. A small, separate canvas attached to the middle of the windshield disrupts the painting’s surface and slightly fractures the image. In the early 1960s, Rosenquist’s subjects (cars, jet fighters, food and cosmetic products) and technical methods—such as magnifying objects and removing traces of his hand, both skills honed in his previous career as a billboard painter—located him in the then-emerging Pop art movement. Yet his defiance of pictorial convention, as in Broome Street Trucks After Herman Melville, often frustrates interpretation, and his paintings remain among the most hermetic of those associated with Pop." Seen at the Whitney Museum of American Art
Photographers naturally seem attracted by photos of billboards and other signs. I made a screenshot of this 1954 photo because I like it so much. It shows a Coca-Cola sign in Minnesota, as well as the sign painter and his mom. The painter was James Rosenquist, who started out as a commercial sign painter and went on to bring the sensibility of sign painting to Pop Art. He's probably best known for the painting, "F-111," a huge multi-part work made in 1964-65. Rosenquist has written an autobiography called "Painting Below Zero" (which includes this photo). The book is reviewed in this week's New York Times Book Review.
Marilyn Monroe, I, 1962
Oil and spray enamel on canvas, 7' 9" x 6' 1/4"
James Rosenquist, American, born 1933
Screen icon and sex symbol Marilyn Monroe (1926-62) was a favorite subject of many pop artists, and she figures prominently in more than fifteen works in the Museum's collection. Here, in a tribute to the actress created soon after her death, Rosenquist inverted, fragmented, and partially obscured her image with a superimposed portion of her name. He also included a segment of the brand name "CocaCola," rendered upsidedown in its trademark script. In pairing Monroe with this famous logo, Rosenquist was suggesting that she is as iconic an example of American popular culture as the ubiquitous soft drink.
The Sidney and Harriet Janis Collection
*
The Museum of Modern Art (MoMA) was founded in 1929 and is often recognized as the most influential museum of modern art in the world. Over the course of the next ten years, the Museum moved three times into progressively larger temporary quarters, and in 1939 finally opened the doors of its midtown home, located on 53rd Street between Fifth and Sixth Avenues in midtown.
MoMA's holdings include more than 150,000 paintings, sculptures, drawings, prints, photographs, architectural models and drawings, and design objects. Highlights of the collection inlcude Vincent Van Gogh's The Starry Night, Salvador Dali's The Persisence of Memory, Pablo Picasso's Les Demoiseels d'Avignon and Three Musicians, Claude Monet's Water Lilies, Piet Mondrian's Broadway Boogie Woogie, Paul Gauguin's The Seed of the Areoi, Henri Matisse's Dance, Marc Chagall's I and the Village, Paul Cezanne's The Bather, Jackson Pollack's Number 31, 1950, and Andy Warhol's Campbell's Soup Cans. MoMA also owns approximately 22,000 films and four million film stills, and MoMA's Library and Archives, the premier research facilities of their kind in the world, hold over 300,000 books, artist books, and periodicals, and extensive individual files on more than 70,000 artists.
The noodles are more or less the same as in the work of Rosenquist, but an artistic polished nude and the aggressive nose of a Ferrari replace the dreamy profile and the front of the American vehicle we can find in the original, giving a touch of Italian to the collection.
Digital processing.
Gli spaghetti sono più o meno gli stessi come nell'opera di Rosenquist, ma un nudo levigato e il musetto agressivo di una Ferrari, sostituiscono il profilo sognante e la vettura americana, conferendo un tocco italiano all'insieme.
Elaborazione digitale.
I painted this back in college for a project on pop art. It's inspired by James Rosenquist's "I Love You With My Ford." Stray Cats were playing in my head when I put brush to canvas ... Campagnolo, Cadillac and legs from Tai Collins, who's famous for having an affair with Governor Robb of VA back in the 80s.
James Rosenquist. (American, born 1933). Marilyn Monroe, I. 1962.
Oil and spray enamel on canvas, 7' 9" x 6' 1/4" (236.2 x 183.3 cm). On view at MoMA. The Sidney and Harriet Janis Collection.
Screen icon and sex symbol Marilyn Monroe (1926–62) was a favorite subject of many pop artists, and she figures prominently in more than fifteen works in the MoMA collection.
Here, in a tribute to the actress created soon after her death, Rosenquist inverted, fragmented, and partially obscured her image with a superimposed portion of her name. He also included a segment of the brand name "Coca–Cola," rendered upside–down in its trademark script.
In pairing Monroe with this famous logo, Rosenquist was suggesting that she is as iconic an example of American popular culture as the ubiquitous soft drink.