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Author: Constance White Glenn Publisher: Rizzoli International Publications ISBN: Category : Architecture Languages : en Pages : 194
Book Description
James Rosenquist is an internationally renowned artist who first achieved wide recognition as a result of his pioneering contributions to Pop Art in the 1960s and 1970s. Like many artists of his circle, particularly Andy Warhol and Roy Lichtenstein, Rosenquist has been fascinated with the visual language and ephemera of mass-reproduction. In Rosenquist's case, his interest was manifested in an art derived from popular imagery sources yet committed to the expression of his personal concerns as an artist and a printmaker. He has tested the limits of the medium in order to achieve, on the one hand, subtle nuances unique to particular techniques, and, on the other, the vast billboard scale that is his signature style. This book traces Rosenquist's entire career, from his early work as a sign painter to the creation of what is thought to be the world's largest print, Time Dust, completed in 1992. An important historical text by Constance Glenn explores such contemporary issues as the role of the mass-media, the appropriation of its techniques and imagery, and the origin and demand for multiple images, as well as presenting in depth the artist's evolution as painter and printmaker. The 150 colorplates include - in addition to landmark paintings - numerous examples of previously unpublished sketches and prints, as well as many of Rosenquist's famous works, such as the great installation print F-111. The book includes a catalogue raisonne of the artist's 229 prints and an extensive bibliography.
Author: Constance White Glenn Publisher: Rizzoli International Publications ISBN: Category : Architecture Languages : en Pages : 194
Book Description
James Rosenquist is an internationally renowned artist who first achieved wide recognition as a result of his pioneering contributions to Pop Art in the 1960s and 1970s. Like many artists of his circle, particularly Andy Warhol and Roy Lichtenstein, Rosenquist has been fascinated with the visual language and ephemera of mass-reproduction. In Rosenquist's case, his interest was manifested in an art derived from popular imagery sources yet committed to the expression of his personal concerns as an artist and a printmaker. He has tested the limits of the medium in order to achieve, on the one hand, subtle nuances unique to particular techniques, and, on the other, the vast billboard scale that is his signature style. This book traces Rosenquist's entire career, from his early work as a sign painter to the creation of what is thought to be the world's largest print, Time Dust, completed in 1992. An important historical text by Constance Glenn explores such contemporary issues as the role of the mass-media, the appropriation of its techniques and imagery, and the origin and demand for multiple images, as well as presenting in depth the artist's evolution as painter and printmaker. The 150 colorplates include - in addition to landmark paintings - numerous examples of previously unpublished sketches and prints, as well as many of Rosenquist's famous works, such as the great installation print F-111. The book includes a catalogue raisonne of the artist's 229 prints and an extensive bibliography.
Author: Michael Lobel Publisher: Univ of California Press ISBN: 0520253035 Category : Art Languages : en Pages : 229
Book Description
"This is the social history of art at its best."--Alex Potts, author of The Sculptural Imagination: Figurative, Modernist, Minimalist "James Rosenquist: Pop Art, Politics, and History in the 1960s provides a new perspective on the work of Rosenquist, a key but neglected artist of the Pop Art movement. Michael Lobel, who bases his study on detailed contextual research as well as close visual analysis, highlights the themes of obsolescence, novelty, and ephemera in Rosenquist's images and effectively relates the artist's interests to broader questions of consumer culture and urban planning in 1960s New York. Clearly written and thoroughly engaging, this book makes a significant contribution to our understanding of the artist and of Pop Art."--Cecile Whiting, author of Pop L.A.
Author: Martin Hardie Publisher: Alan Wofsy Fine Arts ISBN: Category : Art Languages : en Pages : 338
Book Description
James McBey was born at Newburgh, a little fishing village on the Aberdeenshire coast, on December 23, 1883. Educated in the village school, he passed, at the age of fifteen, into the North of Scotland Bank, Aberdeen. He was seventeen when he first fell under the spell of what Samuel Palmer called the "teasing, temper-trying, yet fascinating art" of etching. The years 1902 to 1909 form the first phase of the artist's career. To that , period- with a gap of two years (1906-7), when he gave all his spare time to painting - belong sixty prints. In July, 1910, McBey cut his cables, and embarked on his great adventure. With a few pounds in his pocket, he left the Bank, and sailed for Holland, to fling his hat to the windmills. "No man who is instinctively an etcher," Sir Frederick Wedmote once wrote, "can keep himself for ever absent from the great flat lands that inspired Rembrandt." No man was ever: more instinctively an etcher than McBey, and the result of his visit to the land of low-lying distances, and big skies, of canals and mills, was a Dutch Set of twenty-one plates. The work of 191 0 and 1911 forms a distinct second phase in McBey's career, culminating with the first exhibition of his work, held at the gallery of Goupil & Co., in November, 1911. Well-known critics - notably Mr. James Greig of the Morning Post and Mr. Malcolm Salaman were quick to appreciate the newcomer, and wrote with enthusiasm of his work. In 1914, 'the inspiration of London's river-not Whistler's Thames, but a river of , bustling activity and movement--caused a new revelation of the artist's power. In January, 1916, McBey' war service began in France. There, though thwarted by rain, mud, and difficulties of transport, he found the material for five plates, etchings that will have lasting value as records of our Western Front and of all the grim tragedy of war. They show us the devastating activity of great howitzers; the pathos of the cemetery where crosses,' row on row, marked the graves of unknown soldiers. The War over, and his "First Palestine Set" issued, McBey enjoyed the study of portraiture and character in the peaceful surroundings of his new studio in Bolland Park Avenue.The "Second Palestine Set;' published in 1920, consists of eight plates giving a vivid, historic record of the march over Sinai in 1918, the crossing of the border, the Australian Camel Corps pushing on to the attack of Beersheba in an encircling cloud of dust, the first sight of Jerusalem, and that dramatic moment when the surrender of the Holy City was received by two sergeants of the London Division. At last McBey was free from all official obligations of the War, and at liberty to make what etchings he chose. He promptly translated a drawing he had made seven years before into that pregnant dry-point, A Flood in the Fens. . . .
Author: James Rosenquist Publisher: Knopf ISBN: 0307263428 Category : Biography & Autobiography Languages : en Pages : 421
Book Description
From James Rosenquist, one of our most iconic pop artists—along with Andy Warhol, Jim Dine, Claes Oldenburg, and Roy Lichtenstein—comes this candid and fascinating memoir. Unlike these artists, Rosenquist often works in three-dimensional forms, with highly dramatic shifts in scale and a far more complex palette, including grisaille and Day-Glo colors. A skilled traditional painter, he avoided the stencils and silk screens of Warhol and Lichtenstein. His vast canvases full of brilliant, surreally juxtaposed images would influence both many of his contemporaries and younger generations, as well as revolutionize twentieth-century painting. Ronsequist writes about growing up in a tight-knit community of Scandinavian farmers in North Dakota and Minnesota in the late 1930s and early 1940s; about his mother, who was not only an amateur painter but, along with his father, a passionate aviator; and about leaving that flat midwestern landscape in 1955 for New York, where he had won a scholarship to the Art Students League. George Grosz, Edwin Dickinson, and Robert Beverly Hale were among his teachers, but his early life was a struggle until he discovered sign painting. He describes days suspended on scaffolding high over Broadway, painting movie or theater billboards, and nights at the Cedar Tavern with Willem de Kooning, Franz Kline, and the poet LeRoi Jones. His first major studio, on Coenties Slip, was in the thick of the new art world. Among his neighbors were Ellsworth Kelly, Robert Indiana, Agnes Martin, and Jack Youngerman, and his mentors Robert Rauschenberg and Jasper Johns. Rosenquist writes about his shows with the dealers Richard Bellamy, Ileana Sonnabend, and Leo Castelli, and about colorful collectors like Robert and Ethel Scull. We learn about the 1971 car crash that left his wife and son in a coma and his own life and work in shambles, his lobbying—along with Rauschenberg—for artists’ rights in Washington D.C., and how he got his work back on track. With his distinct voice, Roseqnuist writes about the ideas behind some of his major paintings, from the startling revelation that led to his first pop painting, Zone, to his masterpiece, F-III, a stunning critique of war and consumerism, to the cosmic reverie of Star Thief. This is James Rosenquist’s story in his own words—captivating and unexpected, a unique look inside the contemporary art world in the company of one of its most important painters.
Author: Thomas Hoving Publisher: Simon and Schuster ISBN: 0671880756 Category : Art Languages : en Pages : 472
Book Description
The former director of the famed New York museum recounts his activities at the art world's pinnacle, from wooing important patrons to battling for acquisitions.
Author: Matthew Israel Publisher: University of Texas Press ISBN: 0292745435 Category : Architecture Languages : en Pages : 279
Book Description
“The book addresses chronologically the most striking reactions of the art world to the rise of military engagement in Vietnam then in Cambodia.” —Guillaume LeBot, Critique d’art The Vietnam War (1964–1975) divided American society like no other war of the twentieth century, and some of the most memorable American art and art-related activism of the last fifty years protested U.S. involvement. At a time when Pop Art, Minimalism, and Conceptual Art dominated the American art world, individual artists and art collectives played a significant role in antiwar protest and inspired subsequent generations of artists. This significant story of engagement, which has never been covered in a book-length survey before, is the subject of Kill for Peace. Writing for both general and academic audiences, Matthew Israel recounts the major moments in the Vietnam War and the antiwar movement and describes artists’ individual and collective responses to them. He discusses major artists such as Leon Golub, Edward Kienholz, Martha Rosler, Peter Saul, Nancy Spero, and Robert Morris; artists’ groups including the Art Workers’ Coalition (AWC) and the Artists Protest Committee (APC); and iconic works of collective protest art such as AWC’s Q. And Babies? A. And Babies and APC’s The Artists Tower of Protest. Israel also formulates a typology of antiwar engagement, identifying and naming artists’ approaches to protest. These approaches range from extra-aesthetic actions—advertisements, strikes, walk-outs, and petitions without a visual aspect—to advance memorials, which were war memorials purposefully created before the war’s end that criticized both the war and the form and content of traditional war memorials. “Accessible and informative.” —Art Libraries Society of North America
Author: David Owen Publisher: Penguin ISBN: 0698189906 Category : Science Languages : en Pages : 289
Book Description
“Wonderfully written…Mr. Owen writes about water, but in these polarized times the lessons he shares spill into other arenas. The world of water rights and wrongs along the Colorado River offers hope for other problems.” —Wall Street Journal An eye-opening account of where our water comes from and where it all goes. The Colorado River is an essential resource for a surprisingly large part of the United States, and every gallon that flows down it is owned or claimed by someone. David Owen traces all that water from the Colorado’s headwaters to its parched terminus, once a verdant wetland but now a million-acre desert. He takes readers on an adventure downriver, along a labyrinth of waterways, reservoirs, power plants, farms, fracking sites, ghost towns, and RV parks, to the spot near the U.S.–Mexico border where the river runs dry. Water problems in the western United States can seem tantalizingly easy to solve: just turn off the fountains at the Bellagio, stop selling hay to China, ban golf, cut down the almond trees, and kill all the lawyers. But a closer look reveals a vast man-made ecosystem that is far more complex and more interesting than the headlines let on. The story Owen tells in Where the Water Goes is crucial to our future: how a patchwork of engineering marvels, byzantine legal agreements, aging infrastructure, and neighborly cooperation enables life to flourish in the desert—and the disastrous consequences we face when any part of this tenuous system fails.
Author: Constance White Glenn
Author: Constance White Glenn
Author: Constance W. Glenn
Author: Michael Lobel
Author: James Rosenquist
Author: Judith Goldman
Author: Martin Hardie
Author: James Rosenquist
Author: Thomas Hoving
Author: Matthew Israel
Author: David Owen