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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
Roy Lichtenstein is one of the key figures of the Pop Art movement in America along with Andy Warhol, Jasper Johns, and James Rosenquist. Lichtenstein was born in 1923 in New York to an upper-middle-class Jewish family. He showed an affinity for art from a young age, and later went to Ohio University where he was able to take art classes. Lichtenstein was drafted into the US Army in 1943 and served for three years, before returning to Ohio University, where he completed his studies and later worked as an art instructor.
In 1951, he had his first solo show at the Carlebach Gallery in New York. In these early phases of his career, he painted in an abstract style, which was then dominant in America. He incorporated cartoon characters like Donald Duck and Mickey Mouse in some of his early works that were later destroyed. In the early 1960s, Lichtenstein fully embraced these themes, making an artistic breakthrough with the painting Look Mickey (1961). Lichtenstein appropriated the scene from popular culture, showing the two Disney icons, Mickey Mouse and Donald Duck in a humorous situation. This marked the emergence of his signature style, which drew inspiration from mass-produced popular images in comic books and advertisements.
Comic books were one of the primary sources for Lichtenstein’s paintings in the early 1960s. In paintings like Bratatat! (1963) and Sleeping girl (1964) he imitated the tradition of comic strips: the thick black lines that outline areas of primary colors and uniform area of Ben-Day dots that were used in the printing process of inexpensive publications. The hand-painted Ben-Day dots became a signature element of Lichtenstein’s style, allowing him to incorporate the look of mechanical reproduction into the traditional medium of painting. He found the style of comic books particularly appealing because it allowed him to depict emotionally charged subject matters, like love and war in a detached and calculated manner. The paintings brought Lichtenstein mainstream success, but initially, he also received harsh criticism. He was accused of counterfeiting commercial images and was even called one of the worst artists in America.
Even though Lichtenstein turned away from comic book motifs in the mid-1960s, he continued to emulate the aesthetic and style of popular imagery. Lichtenstein began exploring art as the subject matter of his paintings by recreating masterpieces of artists like Pablo Picasso, Piet Mondrian, and Vincent Van Gogh. He reinterpreted these works in his Pop art style, and in paintings like Modern Art I (1996) Lichtenstein reevaluated the legacy of Picasso and the Cubist movement. These paintings had elements of irony and parody, but they were mainly homages. Modern Art I adapted Cubist painting to a contemporary society, dominated by mass-produced commercial images. In his art, Lichtenstein bridged between ‘high’ and ‘low’ art: he combined the style of commercial imagery with the traditional medium of painting.
Although Lichtenstein was primarily known as a painter, he worked in other media like sculpture and printmaking. Throughout his career, he received a major commission for artworks in public spaces. Among these is Mural with Blue Brushstroke (1986) in the atrium of the Equitable Tower in New York City and El Cap de Barcelona (1991-1992) created for the 1992 Olympics in Barcelona, Spain. In August 1997, Lichtenstein fell ill with pneumonia and died unexpectedly on September 29, 1997, of complications from the disease.
James Rosenquist (1933-2017)
Marilyn Monroe (1962)
-oil and spray enamel on canvas
I don't wanna bore you with a whole lot of writing,but you can read this short link below if you want to know more about the pop culture artist (who recently passed away) and the work.
I like the Coca Cola sign in it.Interesting also is that Marilyn Monroe's teeth looks like a squinted eye,and the bottom lip an eyebrow.
www.moma.org/learn/moma_learning/james-rosenquist-marilyn...
While I'm still in the art museum, I'll put up a few modern art items.
May 20, 2017
Nelson-Atkins Museum Of Art
Kansas City, MO
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"
Key Tower is a skyscraper on Public Square in downtown Cleveland, Ohio. Designed by architect César Pelli, it is the tallest building in the state of Ohio, the 34th-tallest in the United States, and the 165th-tallest in the world. The building reaches 57 stories or 947 feet (289 m) to the top of its spire, and it is visible from up to 20 miles (32 km) away. The tower contains about 1.5 million square feet (139,355 m²) of office space.
Key Tower's anchor tenant is KeyCorp, a major regional financial services firm. In 2014 the law firm of BakerHostetler announced that it would move its headquarters to the building, taking up several floors being vacated by KeyCorp. The international law firm Squire Patton Boggs is headquartered here and a major tenant. It is also headquarters to Dan T. Moore Companies, located on the 27th floor. Key Tower is connected to the Marriott at Key Center, built in conjunction with the tower, and the older Society for Savings Building. It is the tallest building between Philadelphia and Chicago. It is also the tallest building in the Midwest United States outside of Chicago.
In October 2008 Wells Real Estate Funds purchased Key Center, including Key Tower, Marriott at Key Center, Society for Savings Building, and the underground Memorial Plaza Garage. Key Tower was subsequently acquired by The Millennia Companies in 2017. The purchase price was $267.5 million.
It was originally built as the Society Center and was the headquarters for Cleveland-based Society Corporation. Society had recently acquired Cleveland Trust and canceled Cleveland Trust's plans for an even taller building on Public Square. Its opening ended the Terminal Tower's 60-year reign as the tallest building in Ohio.
It was renamed Key Tower after Society merged with KeyCorp and took the KeyCorp name. Indeed, it was decided to make Cleveland the headquarters for the new KeyCorp because it was felt the then-Society Center was more commensurate with the merged bank's status as a major bank. Pelli originally intended its design for the Norwest Center in Minneapolis, but a late change to the site led to Pelli designing a new tower for it.
Key Tower was developed by the Richard E. Jacobs Group
When Society Center was completed in 1991 by Turner Construction, it became the tallest building between Chicago and New York City. The 975-foot (297 m) Comcast Center in Philadelphia assumed this distinction in 2007. The Chamber of Commerce Building stood on the tower's site from 1898 to 1955.[8]
F-111, James Rosenquist's large pop art painting, hung in the tower's lobby until building owner Richard Jacobs sold it to the Museum of Modern Art in 1996. He replaced it in 1998 with Songs for Sale, a mural by artist David Salle.[9] In October 2005, Key Bank installed four 15-foot (4.6 m) long illuminated logos at the base of the tower's crowning pyramid. Each sign weighs 1,500 pounds (680 kg).
Credit for the data above is given to the following websites:https://en.wikipedia.org/wiki/Key_Tower
www.emporis.com/buildings/121788/key-tower-cleveland-oh-usa
© All Rights Reserved - you may not use this image in any form without my prior permission.
While running the harder compound tires, Pato O'Ward was able to control the competition. The last set of tires changed that scenario and allowed Rosenquist to catch and pass him for the win.
#5: Pato O'Ward, Arrow McLaren SP Chevrolet
NTT IndyCar Series
REV Group Grand Prix Race 2
Road America, Elkhart Lake, WI USA
Sunday July 12, 2020
World Copyright: Peter Burke
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.
Museum of Modern Art - MoMA
Exhibition 'Collection 1940s–1970s'
'F-111' by 'James Rosenquist' (1964-1965)
IMG_0285
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Instantly hailed as the most important structure of its time, Frank Gehry’s Guggenheim Museum Bilbao recently celebrated a decade of extraordinary success on October 19, 2007. With close to ninety exhibitions and over ten million visitors to its credit, the Guggenheim Museum Bilbao forever changed the way the world thinks about museums, and it continues to challenge our assumptions about the connections between art, architecture, and collecting.
The Guggenheim Museum Bilbao Collection has a unique, yet complementary, identity from the collections at the other Guggenheim institutions, featuring works by some of the most significant artists of the second half of the 20th century: Eduardo Chillida, Yves Klein, Willem de Kooning, Robert Motherwell, Robert Rauschenberg, James Rosenquist, Clyfford Still, Antoni Tàpies, and Andy Warhol, among others.
The Guggenheim Museum Bilbao is a museum of modern and contemporary art designed by Canadian-American architect Frank Gehry, built by Ferrovialand located in Bilbao, Basque Country, Spain. It is built alongside the Nervion River, which runs through the city of Bilbao to the Atlantic Coast. The Guggenheim is one of several museums belonging to the Solomon R. Guggenheim Foundation. The museum features permanent and visiting exhibits of works by Spanish and international artists.
One of the most admired works of contemporary architecture, the building has been hailed as a "single moment in the architectural culture" because it represents "one of those rare moments when critics, academics, and the general public were all completely united about something."The museum was the building most frequently named as one of the most important works completed since 1980 in the 2010 World Architecture Survey among architecture experts.
en.wikipedia.org/wiki/Guggenheim_Museum_Bilbao
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Guggenheim Museum Bilbao - Smoke on the Water
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London | Architecture | Night Photography | Guggenheim | Bilbao Set
EXPLORE # 431
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Instantly hailed as the most important structure of its time, Frank Gehry’s Guggenheim Museum Bilbao recently celebrated a decade of extraordinary success on October 19, 2007. With close to ninety exhibitions and over ten million visitors to its credit, the Guggenheim Museum Bilbao forever changed the way the world thinks about museums, and it continues to challenge our assumptions about the connections between art, architecture, and collecting.
The Guggenheim Museum Bilbao Collection has a unique, yet complementary, identity from the collections at the other Guggenheim institutions, featuring works by some of the most significant artists of the second half of the 20th century: Eduardo Chillida, Yves Klein, Willem de Kooning, Robert Motherwell, Robert Rauschenberg, James Rosenquist, Clyfford Still, Antoni Tàpies, and Andy Warhol, among others.
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Bilbao Titanium Colors - Guggenheim Museum Bilbao
“Couple,” oil on canvas, 2001, by Jeff Koons, at the Broad Museum, Los Angeles, California (Thought for sure it was a James Rosenquist!)
Key Tower is a skyscraper on Public Square in downtown Cleveland, Ohio. Designed by architect César Pelli, it is the tallest building in the state of Ohio, the 34th-tallest in the United States, and the 165th-tallest in the world. The building reaches 57 stories or 947 feet (289 m) to the top of its spire, and it is visible from up to 20 miles (32 km) away. The tower contains about 1.5 million square feet (139,355 m²) of office space.
Key Tower's anchor tenant is KeyCorp, a major regional financial services firm. In 2014 the law firm of BakerHostetler announced that it would move its headquarters to the building, taking up several floors being vacated by KeyCorp.[5] The international law firm Squire Patton Boggs is headquartered here and a major tenant. It is also headquarters to Dan T. Moore Companies, located on the 27th floor. Key Tower is connected to the Marriott at Key Center, built in conjunction with the tower, and the older Society for Savings Building. It is the tallest building between Philadelphia and Chicago. It is also the tallest building in the Midwest United States outside of Chicago.
In October 2008 Wells Real Estate Funds purchased Key Center, including Key Tower, Marriott at Key Center, Society for Savings Building, and the underground Memorial Plaza Garage. Key Tower was subsequently acquired by The Millennia Companies in 2017. The purchase price was $267.5 million.
It was originally built as the Society Center and was the headquarters for Cleveland-based Society Corporation. Society had recently acquired Cleveland Trust and canceled Cleveland Trust's plans for an even taller building on Public Square. Its opening ended the Terminal Tower's 60-year reign as the tallest building in Ohio.
It was renamed Key Tower after Society merged with KeyCorp and took the KeyCorp name. Indeed, it was decided to make Cleveland the headquarters for the new KeyCorp because it was felt the then-Society Center was more commensurate with the merged bank's status as a major bank. Pelli originally intended its design for the Norwest Center in Minneapolis, but a late change to the site led to Pelli designing a new tower for it.
Key Tower was developed by the Richard E. Jacobs Group
When Society Center was completed in 1991 by Turner Construction, it became the tallest building between Chicago and New York City. The 975-foot (297 m) Comcast Center in Philadelphia assumed this distinction in 2007. The Chamber of Commerce Building stood on the tower's site from 1898 to 1955.[8]
F-111, James Rosenquist's large pop art painting, hung in the tower's lobby until building owner Richard Jacobs sold it to the Museum of Modern Art in 1996. He replaced it in 1998 with Songs for Sale, a mural by artist David Salle.[9] In October 2005, Key Bank installed four 15-foot (4.6 m) long illuminated logos at the base of the tower's crowning pyramid. Each sign weighs 1,500 pounds (680 kg).
Credit for the data above is given to the following websites:https://en.wikipedia.org/wiki/Key_Tower
www.emporis.com/buildings/121788/key-tower-cleveland-oh-usa
© All Rights Reserved - you may not use this image in any form without my prior permission.
MoMA, Floor 4, 418
Rosenquist created F-111 for his first solo show at New York’s Leo Castelli Gallery: the dimensions of its fifty-nine interlocking panels were determined by the four walls of that particular space, so that the work, once hung, would surround and enclose the viewer. An F-111 fighter-bomber stretches the length of the painting, enveloped and overtaken by oversize images culled mostly from photographs and printed advertisements, including a wallpaper-like floral pattern, an angel food cake, a Firestone tire, light bulbs, a fork stuck in spaghetti, and a beach umbrella superimposed on an atomic blast. With its jumps in scale, its collage-style juxtaposition of image fragments, and its vivid palette, the painting exemplifies Rosenquist’s singular contribution to Pop art.
F-111 was painted in the middle of one of the most turbulent decades in US history. The fighter-bomber it depicts was, at the time, in the planning stages, and Rosenquist understood its mission to be as economic as it was military—to create jobs for Americans and support the country’s gross national product. He characterized the imagery of the painting as “a plane flying through the flak of an economy,” with the little girl under the metallic hairdryer as its pilot; he described its underwater diver in more ominous terms, as evocative of humans gasping for air during an atomic holocaust.
Publication excerpt from MoMA Highlights: 375 Works from The Museum
of Modern Art, New York (New York: The Museum of Modern Art, 2019)
Medium
Oil on canvas with aluminum, twenty-three sections
Dimensions
10 x 86' (304.8 x 2621.3 cm)
Credit
Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange)
Object number
473.1996.a-w
Copyright
© 2023 James Rosenquist/Licensed by VAGA, New York, NY
Department
Painting and Sculpture
A week ago, I acquired several more frames of Gary Rosenquist's famous sequence of Mount St. Helens, in their original resolution.
As a result, I am reworking it into a true HD AI-based interpolation.
Stay tuned!
Montréal, Québec
"Le peintre, sculpteur, dessinateur, graveur et performeur Jim Dine est né à Cincinnati en 1935. Il est universellement considéré comme l’un des grands maîtres de l’art américain issu de la génération à s’être illustrée à la fin des années 1950 et au début des années 1960 dans les mouvances néo-dada et pop, au même titre que Claes Oldenburg, Robert Rauschenberg, Jasper Johns, James Rosenquist, Roy Lichtenstein et George Segal. Comme eux, Jim Dine a su développer un langage éminemment personnel."
Roy Fox Lichtenstein... was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. Quoted from Wikipedia