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.
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.
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.
A beautifully illustrated and designed book of the important Pop artist’s previously unpublished working studies This book sheds new light on the fascinating working processes of American Pop artist James Rosenquist. Using the techniques of billboard painting and the visual language of advertising, Rosenquist’s paintings explore consumer culture, politics, war, and other themes through startling juxtapositions of powerful imagery, including of cars, women, celebrities, food, appliances, a fighter jet, and the mushroom cloud of an atomic bomb. James Rosenquist: Collages, Drawings, and Paintings in Process presents previously unpublished preparatory work by the artist—quick sketches to capture ideas, detailed studies, color keys, source materials, and photographs—alongside the iconic paintings that resulted.
A beautifully illustrated and designed book of the important Pop artist’s previously unpublished working studies This book sheds new light on the fascinating working processes of American Pop artist James Rosenquist. Using the techniques of billboard painting and the visual language of advertising, Rosenquist’s paintings explore consumer culture, politics, war, and other themes through startling juxtapositions of powerful imagery, including of cars, women, celebrities, food, appliances, a fighter jet, and the mushroom cloud of an atomic bomb. James Rosenquist: Collages, Drawings, and Paintings in Process presents previously unpublished preparatory work by the artist—quick sketches to capture ideas, detailed studies, color keys, source materials, and photographs—alongside the iconic paintings that resulted.
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.
But Wait! There's More! (maybe) is the story of how the great and glamorous American Advertising Magic Show became a $500 billion global business, doomed itself in an ocean of corporate funny money and now struggles amid mounting chaos to be born anew in the Internet-driven media revolution of the 21st Century. The authors, both veterans of Adland's Golden Age, describe and illuminate this important business evolution through the colorful history of the creation, growth and destruction of the world's seventh largest advertising agency from its amusing on-the-cuff founding through the mega-agency pig-out of the last 20 years. But Wait!, populated with a wide swath of habitués of the advertising and corporate world, tells through a fast moving narrative and a series of contemporary Conversations in famous and not-so famous Adland watering holes about what went well (great advertising), what went wrong (business judgment), and what went (advertising competence); addresses a major business upheaval that is profoundly affecting business, government and the core nature of mass communication; makes clear the need for a new business model, and explores eight possibilities (some good, some not). There are also "Lessons for the Model Ad Agency CEO" should any survive. Conclusion: Madison Avenue can be great again. (maybe)
Addresses the question of how--and to what extent--viewers can make sense of American avant-garde films. Peterson examines the implicit assumptions of other scholars, advocates an alternative to dominant approaches to the avant-garde cinema, and questions some long-standing cliches about the history of the avant garde. Includes numerous (but tiny) photographs. Paper edition (unseen), $19.95. Annotation copyright by Book News, Inc., Portland, OR
The 2001 second edition of this survey of the economics of - and public policy towards - the fine arts and performing arts covers arts at federal, state, and local levels in the United States as well as the international arts sector. The work will interest academic readers in the field and scholars of the sociology of the arts, as well as general readers seeking a systematic analysis of the arts. Theoretical concepts are developed from scratch so that readers with no background in economics can follow the argument. The authors look at the arts' historical growth and then examine consumption and production of the live performing arts and the fine arts, the functioning of arts markets, the financial problems of performing arts companies and museums, and the key role of public policy. A final chapter speculates about the future of art and culture in the United States.
War and Resistance in the Philippines, 1942-1944 repairs the fragmentary and incomplete history of events in the Philippine Islands between the surrender of Allied forces in May 1942 and MacArthur's return in October 1944. No book has comprehensively examined the Filipino resistance during this crucial period. Here, James Kelly Morningstar provides for the first time a comprehensive history of the protracted fighting by 260,000 guerrillas in 277 units across the archipelago. Beginning with the Japanese occupation, the collapse of the United States Forces, Far East (USAFFE), and the simultaneous rise of the complex, diverse Philippine guerrilla movements, Morningstar exposes the inadequacy of MacArthur's conventional plans while revealing his inchoate preparation for guerrilla resistance. Morningstar then recounts in detail the impromptu resistance led by refugee American and Filipino soldiers, local politicians, and social revolutionaries left to battle the Japanese--and each other--with emphasis on how Japanese, American, and Filipino actions influenced and proscribed each other. From a distance, MacArthur contacted select guerrillas and organized agents to deliver supplies and radios to them by submarine. In this way he empowered some to gain power as part of a united framework under his leadership. This not only kept alive the resistance that denied the Japanese exploitation of the Philippines while setting the conditions for MacArthur's return, it also ensured that no one guerrilla leader could challenge America's supremacy. MacArthur's selective support to guerrilla groups that encouraged continued Filipino dependence on the United States would prove fatal for the incipient Maoist social revolution on Luzon. Even so, the Filipinos' shared sacrifice in their act of resistance fueled a national consciousness that created a sense of deserved nationhood. War and Resistance in the Philippines, 1942-1944 concludes with a brief discussion of legacies of the guerrilla resistance. MacArthur's return reestablished the power of American and Filipino political elites. Guerrillas and other citizens who had experienced exceptional hardship now had to fight for recognition. However, the war had resulted in a more united Philippine national identity along with new political institutions to repair the divisions between the formerly exiled government, the collaborationists, and the members of resistance. These momentous years of struggle in the Philippines changed the tide of history and challenge our understanding of war and resistance.
A collection of essays analyzing the fictional, mythic and visual representations of the Vietnam War which attempts to consider their value in articulating historical truths. Each essay aims to provide a starting point for further study.
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