Published by Galerie Thaddaeus Ropac. Edited by Alessandra Bellavita, Oona Doyle, Joachim Pfleiger. Text by Alain Cueff, Sarah Celeste Bancroft.
Raised in the Midwest, James Rosenquist (born 1933) worked as a billboard painter before rising to fame in the 1960s as a leading figure of the Pop art movement alongside contemporaries Andy Warhol, Roy Lichtenstein and Claes Oldenburg. Drawing on his experience as a billboard painter, Rosenquist’s work plays on the iconography and style of advertising and mass media to create distinctive compositions that explore the culture of capitalism. James Rosenquist: Four Decades, published to accompany an exhibition at Galerie Thaddaeus Ropac, offers a selective survey of the artist’s work since the 1970s, touching on themes as multifaceted as aesthetics, geopolitics, technology, ecology, outer space and time travel. A selection of the artist’s rarely seen collages of source material is also included in this volume, offering a glimpse into the thought process behind Rosenquist’s meticulously finished paintings.
Published by Oklahoma State University Museum of Art. Text by Sarah C. Bancroft.
This volume presents a focused overview of James Rosenquist (born 1938) through 38 paintings and works on paper, from the large-scale lithographic counterpart to the iconic “F-111” (1974) to “The Geometry of Fire” (2011).
PUBLISHER Oklahoma State University Museum of Art
BOOK FORMAT Paperback, 11 x 8.5 in. / 70 pgs / 39 color / 2 bw.
PUBLISHING STATUS Pub Date 9/27/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2016 p. 158
PRODUCT DETAILS ISBN 9780989549929FLAT40 List Price: $25.00 CDN $32.50
AVAILABILITY In stock
in stock $25.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Haunch of Venison. Text by Carter Ratcliff, Scott Rothkopf, Sarah Bancroft.
This substantial new catalogue is a major addition to existing scholarship on the important American artist James Rosenquist. Featuring numerous gatefold images, different papers and a silk ribbon, it contains commissioned essays by Carter Ratcliff--who argues that to label Rosenquist a Pop artist is to deny the complexity of his oeuvre and diminish his achievement--and Sarah Bancroft, who suggests that the notion of abstraction is key to understanding all of Rosenquist's work, from 1960 onward, and not just the "overtly abstract" paintings of the past seven years. In addition, in a wide-ranging interview with Scott Rothkopf, the artist discusses the place of political engagement in his work, the importance of collage, his ongoing fascination with time and the element of excitement: "It's like taking drugs. It has to be exciting to be able to paint it. You have to feel it's worthwhile doing it, to really pull it off."
PUBLISHER Haunch of Venison
BOOK FORMAT Hardcover, 11.75 x 10 in. / 78 pgs / 65 color.
PUBLISHING STATUS Pub Date 8/31/2009 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2009 p. 103
PRODUCT DETAILS ISBN 9781905620135TRADE List Price: $75.00 CDN $90.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Guggenheim Museum. Essays by Julia Blaut, Ruth E. Fine, Walter Hopps and Sarah Bancroft.
Lipsticks, automobiles, dishwashers, men in business suits, spaghetti, rockets, airplanes, hairdryers, ice cream cones and pigtailed girls. James Rosenquist has always known how to combine these seemingly disparate but always all-American elements into whirlwind, billboard-sized collages of airbrushed surreal euphoria, slamming colors, patterns and objects into one another with the eye of an advertising man and the heart of a Pop artist. This momentous catalogue, published to accompany the first in-depth survey of the artist's work since 1972, will give long-overdue, in-depth attention to Rosenquist's singular achievement in American art. Extensive illustrations cover major works in diverse media, including work on paper that reveals the artist's process, as well as extensive new and archival photography. Essays focus on areas that have only been superficially addressed in the literature to date, bringing the level of Rosenquist scholarship up to that of his Pop art contemporaries. Curator Walter Hopps provides an overview of the artist's career; Julia Blaut considers the artist's source collages in the context of twentieth-century collage; Ruth E. Fine addresses Rosenquist's prints; art collector and former aeronautics researcher Eugene E. Epstein relates the artist's work to scientific phenomena. Also included are a definitive biography, exhibition history and illustrated chronology.