James Rosenquist: A Retrospective

<p>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 20th-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.</p>

Arts & Photography

Fine, Ruth

Bancroft, Sarah

Rosenquist, James

History & Criticism

Guggenheim Museum

<p>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."</p>

James Rosenquist

RATCLIFF, Carter

Rothkopf, Scott

Haunch of Venison

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