James Rosenquist Vintage (1974) Poster - NY Telephone “HELLO, HELLO, HELLO"

Description: James Rosenquist Vintage (1974) Poster - NY Telephone “HELLO, HELLO, HELLO". Vintage James Rosenquist Poster For NY Telephone (1974) "HELLO, HELLO, HELLO" Poster measures 31" x 16" The Brooklyn Museum by NY artist James Rosenquist See photos for the meaning of the artwork Pre-Owned Good Condition-see photos - poster has been rolled Ships USPS Priority Mail in a mailing tube #JamesRosenquist #Poster #NYTelephone #1974 #HELLOHELLOHELLO" #TheBrooklynMuseum #Rosenquist INTERNET RESEARCH: https://www.brooklynmuseum.org/opencollection/objects/1507 James Albert Rosenquist (American, 1933-2017). Hello, Hello, Hello, 1973. Acrylic on canvas, 26 1/4 x 69 7/8 in. (66.7 x 177.5 cm). Brooklyn Museum, Anonymous gift, 73.177. © artist or artist's estate (Photo: Brooklyn Museum, 73.177_SL1.jpg) James Albert Rosenquist (American, 1933-2017). Hello, Hello, Hello, 1973. Acrylic on canvas, 26 1/4 x 69 7/8 in. (66.7 x 177.5 cm). Brooklyn Museum, Anonymous gift, 73.177. © artist or artist's estate (Photo: Brooklyn Museum, 73.177_SL1.jpg) James Albert Rosenquist (American, 1933-2017). Hello, Hello, Hello, 1973. Acrylic on canvas, 26 1/4 x 69 7/8 in. (66.7 x 177.5 cm). Brooklyn Museum, Anonymous gift, 73.177. © artist or artist's estate (Photo: Brooklyn Museum, 73.177_bw.jpg) Hello, Hello, Hello James Albert Rosenquist CONTEMPORARY ART ARTIST James Albert Rosenquist, American, 1933-2017 MEDIUM Acrylic on canvas DATES 1973 DIMENSIONS 26 1/4 x 69 7/8 in. (66.7 x 177.5 cm) Frame: 27 x 70 7/8 in. (68.6 x 180 cm) (show scale) SIGNATURE Inscribed verso: "Top / Rosenquist/ 73" COLLECTIONS Contemporary Art ACCESSION NUMBER 73.177 CREDIT LINE Anonymous gift EXHIBITIONS New York: A Magnet for Artists MUSEUM LOCATION This item is not on view CAPTION James Albert Rosenquist (American, 1933-2017). Hello, Hello, Hello, 1973. Acrylic on canvas, 26 1/4 x 69 7/8 in. (66.7 x 177.5 cm). Brooklyn Museum, Anonymous gift, 73.177. © artist or artist's estate (Photo: Brooklyn Museum, 73.177_SL1.jpg) IMAGE overall, 73.177_SL1.jpg. Brooklyn Museum photograph RIGHTS STATEMENT © artist or artist's estate https://en.m.wikipedia.org/wiki/James_Rosenquist James Rosenquist James Albert Rosenquist (November 29, 1933 – March 31, 2017) was an American artist and one of the proponents of the pop art movement. Drawing from his background working in sign painting, Rosenquist's pieces often explored the role of advertising and consumer culture in art and society, utilizing techniques he learned making commercial art to depict popular cultural icons and mundane everyday objects.[1] While his works have often been compared to those from other key figures of the pop art movement, such as Andy Warhol and Roy Lichtenstein, Rosenquist's pieces were unique in the way that they often employed elements of surrealism using fragments of advertisements and cultural imagery to emphasize the overwhelming nature of ads.[2] He was a 2001 inductee into the Florida Artists Hall of Fame.[3] James Rosenquist James rosenquist1.jpg Photo by: Russ Blaise 1988 Born November 29, 1933 Grand Forks, North Dakota, U.S. Died March 31, 2017 (aged 83) New York City, U.S. Education Minneapolis College of Art and Design University of Minnesota Art Students League of New York Known for Painter, printmaker, graphic artist Movement Pop art Spouse(s) Mary Lou Adams (m. 1960; div. 1975) Mimi Thompson (m. 1987) Works Edit Zone: A key work in the development of his signature style, Rosenquist cites his 1961 work Zone as a turning point in the development of his own personal aesthetic, with the piece being the first to employ monumental scale, a recurring aspect of Rosenquist's art that is exemplified in his many murals.[2][17] Zone also served as a stepping stone in Rosenquist's body of work in that it served as a departure from his previous works, which saw him move away from previous experiments in Abstract Expressionism, with the picture being described by Rosenquist as his first pop piece.[2] Done in oil on two separate pieces of canvas, the work exemplifies the beginnings of the pop art movement in the way that Rosenquist takes imagery from mass media, using a picture of a tomato and a clipping from an ad for hand cream.[11] The two images are divided into separate zones, which serve to focus on visual parallels such as the arch of the tomato stem and the woman's eyelashes, as well as illustrating Rosenquist's signature, often surreal, fragmented composition. President Elect: Released the same year as Zone, James Rosenquist's President Elect is among one his most well-known pieces, with the artist translating a portrait of John F. Kennedy from a campaign poster onto a towering display.[18][11] The painting also includes a superimposed picture of hand holding cake in greyscale, as well as the back of a Chevrolet. Rosenquist uses icons in pop culture to examine fame and the relationship between advertising and the consumer, exploring the kind of fame and iconography that comes with American politics. With President Elect, Rosenquist seeks to make a statement on the new role that advertising and mass media had during the Kennedy's campaign. "I was very interested at that time in people who advertised themselves," said Rosenquist. "Why did they put up an advertisement of themselves? So that was his face. And his promise was half a Chevrolet and a piece of stale cake." In the painting, Rosenquist contrasts the portrait of Kennedy with the cake and the Chevrolet to show how each element is marketed to American consumers.[2] F-111: In 1965, James Rosenquist completed F-111, one of the largest and most ambitious works in his collection.[19] Spanning over 83 feet and 23 canvases, the painting's scale evokes Rosenquist's work on billboards, illustrating a life-sized depiction of the F-111 Aardvark aircraft.[2] The painting initially was intended to cover all four walls of the main room within the Castelli gallery in Manhattan, occupying the entirety of each wall without any kind of visual relief, to cast an imposing, continuous view of the war. Painted during the Vietnam war, F-111 contrasts pictures from the war with commercial imagery from advertisements, showing tires, a cake, lightbulbs, a girl in a salon hairdryer, bubbles, and spaghetti. Rosenquist juxtaposes the imagery from the ads against the plane as a way to imply graphic scenes from the war, with broken light bulbs near the cockpit mirroring bombs dropping from the plane, and the hood of the hairdryer echoing the look of a missile. Rosenquist uses the painting to question the role of marketing and coverage of the war describing the plane as "flying through the flak of consumer society to question the collusion between the Vietnam death machine, consumerism, the media, and advertising,".

Price: 135.01 USD

Location: Huntington Station, New York

End Time: 2024-01-25T03:48:10.000Z

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