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.
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