Through the Surface
 

"Interpretation is the revenge of the intellectual upon art." - Susan Sontag
Diane Arbus, Jack Dracula at a bar, New London, Connecticut, 1961.
 

 

 

 

 

 

 

 

 

 

 

Gold Marilyn

Andy Warhol, Gold Marilyn Monroe, 1962.

 

 

 

 

 

 

 

 

 

 

Marilyn Monroe's Lips

Andy Warhol, Marilyn Monroe's Lips, 1962.

 

 

 

 

 

 

 

 

 

 

Woman and Bicycle

Willem de Kooning, Woman and Bicycle, 1952 - 1953.

 

 

 

 

 

 

 

 

 

 

Diane Arbus, Child with Toy Hand Grenade, 1962.
Diane Arbus, Puerto Rican Woman with a Beauty Mark, 1965.

 

 

 

 

 

 

 

 

 

 

I Love You with My Ford

In spite of their popular imagery, Pop art betrays an interest in formal aesthetics
    • Large scale makes representational images abstract-like
    • Allover compositions
    • Strategic use of technique and materials
 
More on Lichtenstein's form
James Rosenquist, I Love You with My Ford, 1961. 82" X 93".

 

 

 

 

 

 

 

 

 

 

James Rosenquist, I Love You with My Ford, 2003. Collage.

F111 Source material

 

 

 

 

 

 

 

 

 

 

F-111
James Rosenquist, F-111, 1965 installed at MoMA in 2011.

 

 

 

 

 

 

 

 

 

 

James Rosenquist designed the eighty-six-foot-long F-111 to wrap around the four walls of the Leo Castelli Gallery, at 4 East Seventy-Seventh Street in Manhattan. He began the painting in 1964, in the middle of a turbulent decade marked by the escalating Vietnam War. Funded by citizens' tax dollars, the F-111 fighter-bomber plane was being developed as the USA's newest, most technologically advanced weapon. Rather than celebrate its military might, Rosenquist used the plane as a symbol of the economic implications of war. As it flies "through the flak of consumer society," he later explained, the jet's sharply pointed fuselage pierces superimposed images of commercial products and references to war, such as the bullet-shaped hair dryer floating above a young girl's head and the atomic mushroom cloud frozen behind a beach umbrella. Through its expansive network of colliding visual motifs, unfolding across twenty-three panels, F-111 questions what the artist has described as "the collusion between the Vietnam death machine, consumerism, the media, and advertising." Its jumps of scale, surprising juxtapositions of fragments of imagery, and vivid palette exemplify Rosenquist's singular contribution to Pop art in the United States. - Art Daily January 25, 2011

 

James Rosenquist, F-111, 1965. 10' X 86'.

 

 

 

 

 

 

 

 

 

 

Rosenquist painting a billboard on 47th Street, 1958.
Rosenquist in studio

 

 

 

 

 

 

 

 

 

 

Claes Oldenburg in The Store, 1961.
Claes Oldenburg and Patty Mucha, Oldenburg with soft Ice Cream sculpture

 

 

 

 

 

 

 

 

 

 

Claes Oldenburg, Pie a la Mode, 1962.
Claes Oldenburg, Two Hamburgers with Everything (Dual Hamburgers), 1962. Burlap soaked in plaster painted with enamel, 17.8 x 37.5 x 21.8 cm.

 

 

 

 

 

 

 

 

 

 

"The erotic or the sexual is the root of art." - Claes Oldenburg
 
Oldenburg notebook page
Claes Oldenburg, Floor Cake, 1962.
4' 10" X 9' 6" X 4' 10".

Claes Oldenburg, Soft Dormeyer Mixer, 1965.

Claes Oldenburg, Notebook page: Dormeyer Mixer. 1965.