FJJMA-James Rosenquist Apr 4

Total Page：16

File Type：pdf, Size：1020Kb

NEWS RELEASE March 30, 2012 FRED JONES JR. MUSEUM OF ART UNIVERSITY OF OKLAHOMA - NORMAN CONTACT MICHAEL BENDURE, Director of Communication, 405-325-3178, [email protected] FAX: 405-325-7696 www.ou.edu/fjjma FOR IMMEDIATE RELEASE WITH PHOTO OU Art Museum Video Chat Series Features James Rosenquist April 4 NORMAN – University of Oklahoma students and the public are invited to interact with American artist James Rosenquist via live video chat at the Fred Jones Jr. Museum of Art. The second of its kind in the new series, 30 Minutes With, the chat begins with a 30-minute talk by OU art professor Susan Caldwell at 4 p.m. Wednesday, April 4 at the museum, followed by the live chat with Rosenquist. “Through this new series, visitors are given a unique opportunity to talk directly with major current artists,” said Ghislain d’Humières, director of the art museum. “We hope visitors will take this rare opportunity and learn about James Rosenquist, both from Susan Caldwell and from the artist himself.” Rosenquist was born in North Dakota in 1933 but grew up in Minnesota. While studying at the University of Minnesota, he spent his summers painting signs and billboards. These experiences heavily influenced his pop style as an artist. In 1955, Rosenquist moved to New York, where he studied at the Art Students League and continued work as a billboard painter. Living in the fast-paced, media-filled environment of New York City, he once said he was “amazed and excited and fascinated about the way things are thrust at us.” Alongside Andy Warhol and Roy Lichtenstein, Rosenquist has become a central figure of pop art in New York. “Rosenquist’s works essentially have been, and still are about, signs and sign- systems,” said Caldwell. “Their jarring juxtapositions of image fragments, along with arbitrary shifts in scale, evoke in us an awareness of our contemporary state of disequilibrium.” The new series is held in the museum’s Mary Eddy and Fred Jones Auditorium and is free and open to the public. “The museum’s live video chat series assures that artists from all over the world are more accessible to the students and faculty of the University of Oklahoma,” said Jessica Farling, coordinator of academic programs at the museum. “Studio majors and art history students will have the exciting opportunity to hear directly from distinguished artists.” The Fred Jones Jr. Museum of Art is located in the OU Arts District on the corner of Elm Avenue and Boyd Street, at 555 Elm Ave., on the OU Norman campus. Admission to the museum is free to all OU students with a current student ID and all museum association members, $5 for adults, $4 for seniors, $3 for children 6 to 17 years of age, $2 for OU faculty/staff, and free for military veterans with proof and children 5 and under. The museum is closed on Mondays and admission is free on Tuesdays. The museum’s website is www.ou.edu/fjjma. Information and accommodations on the basis of disability are available by calling (405) 325-4938. ### IMAGE CUTLINE Contemporary artist James Rosenquist is the featured guest for the Fred Jones Jr. Museum of Art’s new series, 30 Minutes With, 4 p.m. Wednesday, April 4. The interactive series begins with a 30-minute lecture followed by a live chat with a major contemporary artist. Rosenquist is shown here in front of his painting, The Meteor Hits Monet’s Garden. Photo by Peter Foe. .

Copy Link

Recommended publications

Williams, Hipness, Hybridity, and Neo-Bohemian Hip-Hop
HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Maxwell Lewis Williams August 2020 © 2020 Maxwell Lewis Williams HIPNESS, HYBRIDITY, AND “NEO-BOHEMIAN” HIP-HOP: RETHINKING EXISTENCE IN THE AFRICAN DIASPORA Maxwell Lewis Williams Cornell University 2020 This dissertation theorizes a contemporary hip-hop genre that I call “neo-bohemian,” typified by rapper Kendrick Lamar and his collective, Black Hippy. I argue that, by reclaiming the origins of hipness as a set of hybridizing Black cultural responses to the experience of modernity, neo- bohemian rappers imagine and live out liberating ways of being beyond the West’s objectification and dehumanization of Blackness. In turn, I situate neo-bohemian hip-hop within a history of Black musical expression in the United States, Senegal, Mali, and South Africa to locate an “aesthetics of existence” in the African diaspora. By centering this aesthetics as a unifying component of these musical practices, I challenge top-down models of essential diasporic interconnection. Instead, I present diaspora as emerging primarily through comparable responses to experiences of paradigmatic racial violence, through which to imagine radical alternatives to our anti-Black global society. Overall, by rethinking the heuristic value of hipness as a musical and lived Black aesthetic, the project develops an innovative method for connecting the aesthetic and the social in music studies and Black studies, while offering original historical and musicological insights into Black metaphysics and studies of the African diaspora.
[Show full text]
Sunrise a Tribute to Our Founders
Museum of Contemporary Art Cleveland Sunrise A Tribute to Our Founders Sunrise: A Tribute to Our Founders March 15 – August 11, 2019 Sunrise pays homage to our founders, Marjorie Talalay, Nina Sundell, and Mueller Family Gallery Agnes Gund, through artworks that speak to their passions and pursuits. The title references the logo of The New Gallery (moCa’s original name) Organized by Jill Snyder, that was designed by Roy Lichtenstein. A sun rising above a dotted plane Kohl Executive Director with graphic rays fanning through the sky, the logo was a metaphor for the with Kate Montlack, organization, suggesting the vitality and potential of contemporary art. Assistant Director of Exhibitions For this exhibition we invited the daughters of our founders to select works in honor of their mothers. This exhibition represents some of the 20th century’s most influential artists, and each previously has been shown at moCa. Agnes, together with her daughter Catherine, selected sculptural works by three female artists who reinforce her support for the early careers of women artists. Margaret Sundell chose works that reflect her late mother Nina’s professional relationship with Robert Rauschenberg and her embrace of his desire to work in the gap between art and life. Kathy, Nina, and Lauren Talalay’s choices represent meaningful professional and personal moments in their late mother Marjorie’s career as moCa’s longest serving Executive Director (1968–1993). Shown on the cover, Lichtenstein’s logo signals our vanguard legacy. Andy Warhol’s garishly hued portrait of China’s revolutionary leader, (Mao, 1972), Robert Rauschenberg’s collage of American trauma and triumph in the sixties (Signs, 1970), and Lynda Benglis’s vulvar minimalist sculpture (Lagniappe II Major support for this Glitter, 1977) reflect the sociopolitical climate of The New Gallery’s early exhibition provided by years.
[Show full text]
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S.
[Show full text]
Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’S Blown Away Tour
COUNTRY CULTURE AND CROSSOVER: Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’s Blown Away Tour Krisandra Ivings A Thesis Presented In Partial Fulfillment of the Requirement for the Degree Master of Arts in Music with Specialization in Women’s Studies University of Ottawa © Krisandra Ivings, Ottawa, Canada, 2016 Abstract This thesis examines the complex and multi-dimensional narratives presented in the work of mainstream female country artist Carrie Underwood, and how her blending of musical genres (pop, rock, and country) affects the narratives pertaining to gender and sexuality that are told through her musical texts. I interrogate the relationships between and among the domains of music, lyrics, images, and staging in Underwood’s live performances (Blown Away Tour: Live DVD) and related music videos in order to identify how these gendered narratives relate to genre, and more specifically, where these performances and videos adhere to, expand on, or break from country music tropes and traditions. Adopting an interlocking theoretical approach grounded in genre theory, gender theory, narrative theory in the context of popular music, and happiness theory, I examine how, as a female artist in the country music industry, Underwood uses genre-blending to construct complex gendered narratives in her musical texts. Ultimately, I find that in her Blown Away Tour: Live DVD, Underwood uses diverse narrative strategies, sometimes drawing on country tropes, to engage techniques and stylistic influences of several pop and rock styles, and in doing so explores the gender norms of those genres. ii Acknowledgements A great number of people have supported this thesis behind the scenes, whether financially, academically, or emotionally.
[Show full text]
Robert Rauschenberg and James Rosenquist Graphics Rosenquist
RAUSCHENBERG PAST POP: ROBERT RAUSCHENBERG AND JAMES ROSENQUIST GRAPHICS ROSENQUIST KEAN UNIVERSITY !CKNOWLEDGEMENTS We would like to recognize the many individuals and institutions who generously provided assistance in this process. Bard Graduate Center: Olga Valle Tetkowski; Graebel Movers International Inc.: Jim Wilderotter; Kean University: Dr. Dawood Farahi, Holly Logue, John Maso, and Kenneth Kimble; The Montclair Art Museum: Gail Stavitsky and Erica Boyd; The Newark Museum: Amber Woods Germano, Olivia Arnone; O’Hara Gallery: Ruth O’Hara and Lauren Yen; Prudential Insurance Company of America: Carol Skuratofsky and Joseph Sabatino; the Estate of Robert Rauschenberg: Gina C. Guy and Thomas Buehler; James Rosenquist and Beverly Coe at the Rosenquist Studio; Universal Limited Art Editions: Bill Goldston and Marie Allen; The Whitney Museum of American Art: Donna DeSalvo, Barbie Spieler and Matt Heffernan; Visual Artists and Galleries Association (VAGA): Robert Panzer and Kimberly Tishler. Rich Russo for the photographs of prints in the Kean and Prudential collections. Special thanks to Barbara Burn for her remarkable editing ability and unique kindness. Without her diligence, this catalog would not have been possible. Copyright © 2009 by Kean University, Union, New Jersey Catalog essay, Past Pop: Robert Rauschenberg and James Rosenquist Graphics of the 1970s © 2009 Lewis Kachur All rights reserved. No part of this book may be reproduced in any form including electronic or mechanical means, photocopying, information storage and retrieval systems, except in the case of brief extracts for the purpose of critical articles and reviews, without permission in writing from Kean University. Art © James Rosenquist /Licensed by VAGA, New York, NY Art © Estate of Robert Rauschenberg/Licensed by VAGA, New York, NY U.L.A.E.
[Show full text]
Museum to Celebrate James Rosenquist's 80Th Birthday
FOR IMMEDIATE RELEASE Contact: Matthew Wallace [email protected] 701-777-4195 Museum to Celebrate James Rosenquist’s 80th Birthday James Rosenquist has always maintained a connection to North Dakota. He was born in 1933 at the Deaconess Hospital in Grand Forks to Ruth Hendrickson Rosenquist and Louis Rosenquist. The two met at the Grand Forks International Airport and shared a passion for flying. In his autobiography, Painting Below Zero, Rosenquist states, “Perhaps because the land is so flat—there were no mountains to climb—in North Dakota people wanted to go up in the air. My mom and dad wanted to fly, and they both became pioneering pilots.” Despite not having a pilot’s license, Rosenquist’s mother took to the skies, while James’ earliest memories involving planes were of his father letting him play in the cockpit of biplanes at the airport. On August 22, 7 pm, the Museum will open James Rosenquist: An Exhibition Celebrating His 80th Birthday. The exhibition consists of one painting – Through the Eye of the Needle to the Anvil, an homage to his mother who was an early North Dakota aviation pioneer. The painting measures 17 x 46 feet and once installed, will cover the entire wall of the Museum’s east gallery. Through the Eye of the Needle to the Anvil is the perfect vehicle to explore the artist’s North Dakota roots in aviation and celebrate his 80th birthday. Musing about the painting, Rosenquist said, “After my mother died in 1987, I painted Through the Eye of the Needle as a kind of commemoration of her unfulfilled life.
[Show full text]
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking.
[Show full text]
Early 20Th Century Continued
Early 20th Century- Chapter 21 Artist: Henri Matisse Title: The Joy of Life Movement: Fauvism Period: Early 20th Century Description: Fauvism (les fauves=wild beasts)- pure hues, lines freed from descriptive roles, and simplified shapes all together create a lively rhythm in the composition Artist: Matisse Title: Harmony in Red (The Red Room) Movement: Fauvism Period: Early 20th Century Artist: André Derain Title: London Bridge Movement: Fauvism Period: Early 20th Century Artist: Ernst Ludwig Kirchner Title: Street, Berlin Movement: German Expressionism- The Bridge group Period: Early 20th Century Artist: Kandinsky Title: Blue Mountain Movement: German Expressionism- The Blue Rider group Period: Early 20th Century Artist: Kandinsky Title: Composition IV Movement: German Expressionism Period: Early 20th Century Description- his painting evolved toward a an absence of representational subject matter in order to concentrate on the expressive potential of pure form comparable to the free language of music Artist: Picasso Title: Les Demoiselles D’Avignon Movement: Early Cubism Period: Early 20th Century Description: Cubism’s influences- African masks and African reliquary figures Kota Reliquary figure, Africa Picasso, Les Demoiselles D’Avignon, 1907, oil on canvas, beginning of Dan mask, Cubism; Picasso is interested only in the forms of African art, not the Africa meanings of uses of African art Artist: Braque Title: Houses at L’Estaque Movement: Early Cubism Period: Early 20th Century Description: Cubism’s influences- the Post-Modernist painter
[Show full text]
Most Requested Songs of 2016
Top 200 Most Requested Songs Based on millions of requests made through the DJ Intelligence music request system at weddings & parties in 2016 RANK ARTIST SONG 1 Ronson, Mark Feat. Bruno Mars Uptown Funk 2 Journey Don't Stop Believin' 3 Walk The Moon Shut Up And Dance 4 Cupid Cupid Shuffle 5 Houston, Whitney I Wanna Dance With Somebody (Who Loves Me) 6 Diamond, Neil Sweet Caroline (Good Times Never Seemed So Good) 7 Swift, Taylor Shake It Off 8 V.I.C. Wobble 9 Black Eyed Peas I Gotta Feeling 10 Sheeran, Ed Thinking Out Loud 11 Williams, Pharrell Happy 12 AC/DC You Shook Me All Night Long 13 Usher Feat. Ludacris & Lil' Jon Yeah 14 DJ Casper Cha Cha Slide 15 Mars, Bruno Marry You 16 Bon Jovi Livin' On A Prayer 17 Maroon 5 Sugar 18 Isley Brothers Shout 19 Morrison, Van Brown Eyed Girl 20 B-52's Love Shack 21 Outkast Hey Ya! 22 Brooks, Garth Friends In Low Places 23 Legend, John All Of Me 24 DJ Snake Feat. Lil Jon Turn Down For What 25 Sir Mix-A-Lot Baby Got Back 26 Timberlake, Justin Can't Stop The Feeling! 27 Loggins, Kenny Footloose 28 Beatles Twist And Shout 29 Earth, Wind & Fire September 30 Jackson, Michael Billie Jean 31 Def Leppard Pour Some Sugar On Me 32 Beyonce Single Ladies (Put A Ring On It) 33 Rihanna Feat. Calvin Harris We Found Love 34 Spice Girls Wannabe 35 Temptations My Girl 36 Sinatra, Frank The Way You Look Tonight 37 Silento Watch Me 38 Timberlake, Justin Sexyback 39 Lynyrd Skynyrd Sweet Home Alabama 40 Jordan, Montell This Is How We Do It 41 Sister Sledge We Are Family 42 Weeknd Can't Feel My Face 43 Dnce Cake By The Ocean 44 Flo Rida My House 45 Lmfao Feat.
[Show full text]
International Communication Research Journal
International Communication Research Journal NON-PROFIT ORG. https://icrj.pub/ U.S. POSTAGE PAID [email protected] FORT WORTH, TX Department of Journalism PERMIT 2143 Texas Christian University 2805 S. University Drive TCU Box 298060, Fort Worth Texas, 76129 USA Indexed and e-distributed by: EBSCOhost, Communication Source Database GALE - Cengage Learning International Communication Research Journal Vol. 54, No. 2 . Fall 2019 Research Journal Research Communication International ISSN 2153-9707 ISSN Vol. 54, No. 2 54,No. Vol. Association for Education in Journalism and Mass Communication inJournalismandMass Education for Association A publication of the International Communication Divisionofthe Communication of theInternational A publication . Fall 2019 Fall International Communication Research Journal A publication of the International Communication Division, Association for Education in Journalism & Mass Communication (AEJMC) Editor Uche Onyebadi Texas Christian University Associate Editors Editorial Consultant Ngozi Akinro Yong Volz Wayne Wanta Website Design & Maintenance Editorial University of Florida Texas Wesleyan University Missouri School of Journalism Editorial Assistant Book Review Editor Jennifer O’Keefe Zhaoxi (Josie) Liu Texas Christian University Editorial Advisory Board Jatin Srivastava, Lindita Camaj, Mohammed Al-Azdee, Ammina Kothari, Jeannine Relly, Emily Metzgar, Celeste Gonzalez de Bustamante, Yusuf Kalyango Jr., Zeny Sarabia-Panol, Margaretha Geertsema-Sligh, Elanie Steyn Editorial Review Board Adaobi Duru Gulilat Menbere Tekleab Mark Walters University of Louisiana, USA Bahir Dar University, Ethiopia Aoyama Gakuin University, Japan Ammina Kothari Herman Howard Mohamed A. Satti Rochester Institute of Technology, USA Angelo State University, USA American University of Kuwait, Kuwait Amy Schmitz Weiss Ihediwa Samuel Chibundu Nazmul Rony San Diego State University USA Universiti Tunku Abdul Rahman (UTAR), Slippery Rock University, USA Anantha S.
[Show full text]
CHAPTER 1: PRINCIPLES of a PEDAGOGY of PLAY What Are the Core Features of a Pedagogy of Play?
CHAPTER 1: PRINCIPLES OF A PEDAGOGY OF PLAY What are the core features of a pedagogy of play? If we had just a few minutes to explain what a pedagogy of play involves, we would tell you about these principles. They are the core ideas and values that serve as the conceptual foundation for a pedagogy of play. Most of the principles apply both to children and adults, however the last three address adults in particular. The principles are culturally specific—created in and for ISB—though we hope they may have relevance in other settings. To learn about how these principles were developed, see our FAQ Section (Chapter 6). 1. Playing with an educational purpose Playful learning often situates curricular goals, content, and activities, as well as learners’ lives and interests, within a larger purpose or inquiry. 2. Learners leading their own learning Taking playful learning seriously means tipping the balance of responsibility for learning toward the learners. Playful learners are intrinsically motivated to reshape the world and to test the limits of their abilities without fear of failure. 3. Experiencing choice, wonder, and delight Learners experience choice, wonder, and delight when they are learning through play and interacting with people, ideas, materials, or spaces. At the same time, what is playful to one may not be experienced as playful by another. Not all learning has to involve play, nor will every moment of play entail significant learning. 4. Connecting life inside and outside the classroom Playful learning frequently invites a transfer of knowledge and experience between the classroom and life outside the classroom.
[Show full text]
Art Everywhere Press Release 4.7.14.Pdf
THE LARGEST OUTDOOR ART SHOW EVER CONCEIVED—A FREE NATIONWIDE CELEBRATION OF AMERICAN MASTERWORKS—TO BEGIN AUGUST 4, 2014 Five Major Museums and the Outdoor Advertising Association of America Come Together to Organize Art Everywhere US Public Voting Begins Today on Which Great American Art Will Pop Up on Billboards and Signs Across the Country WASHINGTON, DC, April 7, 2014 —American artists have long found inspiration in iconic locations such as Times Square, Sunset Boulevard and Route 66. Starting on August 4, 2014 and continuing for four weeks, these places and more will be transformed into free open-air galleries for masterworks of American art through Art Everywhere US, the largest outdoor art show ever conceived. A nationwide celebration of America’s artistic legacy, Art Everywhere is organized through a collaboration among five major museums—the Art Institute of Chicago, the Dallas Museum of Art, the Los Angeles County Museum of Art (LACMA), the National Gallery of Art and the Whitney Museum of American Art—the Outdoor Advertising Association of America (OAAA), and artists, estates, foundations, and rights agencies. Approximately 50 recognized masterworks of American art from the museums’ collections will pop up on as many as 50,000 displays nationwide, including static and digital billboards, subway platforms and trains, buses and bus shelters—and the selection will be curated with the help of the American people through an online vote. Beginning April 7 at www.ArtEverywhereUS.org and continuing for a month, everyone is invited to view 100 American artworks nominated by the museums and vote for the ones he or she would most like to see reproduced outdoors.
[Show full text]