James Rosenquist (1933 – 2017) began his career as a commercial sign painter. Working for the Artkraft Strauss Sign Corporation, he produced vibrant representations of consumer goods until committing to a career as an artist in 1960. Renting a studio in Coenties Slip on the waterfront of the Financial District, he began to make paintings that combined a well-known, slick advertising vocabulary with a wry ambivalence about the rampant consumerism he saw all around him. Continue reading Modern Art Monday Presents: James Rosenquist, Sightseeing
At the recent Boutique Design NY (BDNY) show at NYC’s Javits’s Center, I was on the look-out for pieces with a big “Oh, Wow” factor, and this super-colorful, suspended mosaic sculpture by Tennessee-based contemporary artist Dana Jo Cooley did not disappoint. Cooley calls the piece, My Window Your View: A Transfiguration. Here’s the story of how it came together.
Continue reading Eye On Design: My Window Your View: A Transfiguration Sculpture By Dana Jo Cooley
Excerpted from a Textual Analysis by Frank D’Antonio:
James Rosenquist’s Volunteer is dated 1964, but, according to Rosenquist, [it was] finished shortly before the assassination of President John F. Kennedy.
I think one of the coolest things about this painting is the use of fragmented symbols to depict the American life in the mid 20th century. The washing machine in the upper right speaks to a viewer as a symbol of American technological progress. The man in the business suit speaks as a symbol of how the American professional was dressing during this time. The ice cream speaks of American’s desire for “gustatory pleasure” (James Rosenquist. Volunteer. 1964. Art Institute of Chicago). Continue reading Modern Art Monday Presents: James Rosenquist, Volunteer
James Rosenquist (born November 29, 1933) is among my favorite living American artists. Rosenquist’s large-scale paintings reflect the flat, uniform, and graphic style of the commercial billboards he made while working as a sign painter. Later, as a visual artist, Rosenquist drew inspiration from advertising and mass media. Many of his works are based on found images from magazines, collaged together and reproduced at a large scale, powerfully juxtaposing people, objects, visual symbols, visual texture and text to create new and sometimes cryptic meanings.
Rosenquist painted the above work, Marilyn Monroe, I (Oil and Spray Enamel on Canvas) in 1962. Gripped by the suicide of the screen icon and sex symbol, he created a stylized, fragmented, and inverted portrait of Monroe interwoven and superimposed with disjointed parts of Marilyn’s name, image, and the trademark script of the Coca-Cola logo. By fragmenting Monroe’s image and combining her with another popular product, Rosenquist comments on how the late actress’s life and career had been co-opted and consumed by her superstar status (Source).
Marilyn Monroe, I resides in the permanent collection of NYC’s Museum of Modern Art.
Not necessarily comprised of surrealist works, Sur-real is a bit of a mixed exhibit bag now showing at Woodward Gallery on the Lower East Side. Participating artists include Jean-Michel Basquiat, Thomas Buildmore, Deborah Claxton, Sybil Gibson, Richard Hambleton, Kosbe, David Larson, Mark Mastroianni, Margaret Morrison, NoseGo, Kenji Nakayama, Dennis Oppenheim, Robert Rauschenberg, James Rosenquist, stikman, Jeremy Szopinski, Francesco Tumbiolo, Jo Ellen Van Ouwerkerk, Cristina Vergano, Kurt Vonnegut Jr. and Andy Warhol, so there’s something for just about every taste in modern and contemporary art. Continue reading Sur-Real at Woodward Gallery