Swimmer in the Econo-mist
Deutsche Guggenheim berlin
JAMES RQSEMHJS^cono-mist James Rosenquist: The Swimmer in the Econo-mist
Curated by Robert Rosenblum
Ewing, Photo credits; cat nos. 1, 3, p 12 Lee Deutsche Guggenheim Berlin cat no 2: Peter Foe, cat. nos. 4-15, p 34: March 7 -June 14, 1998 of the Ellen Labenski, fig. nos. 1, 11: courtesy James Rosenquist studio, fig no 3 t 1998 c 1998 The Solomon R. Guggenheim The Museum of Modern Art, New York, fig. Foundation, New York. All rights reserved. Rhemisches Bildarchiv Koln; fig. no. 6:
George Holzer; fig. no 7 c 1996 The All works by James Rosenquist reproduced in fig no. 8: by Metropolitan Museum of Art, this book G James Rosenquist/ Licensed c 1998 Estate of Pablo Picasso/Artists Rights VAGA, New York Used by permission. Society (ARS), New York, photo by Giraudon/ All rights reserved. Art Resource, New York, fig. no. 10: all rights The Metropolitan Museum of Art ISBN 0-89207-204-0 reserved, Images of Rosenquist in his studio by Gorgom Guggenheim Museum Publications Gianfranco 1071 Fifth Avenue Front cover- The Swimmer in the Econo-mist, New York, New York 10128 (painting 2), 1997 (cat. no 2)
Margot Perman, Real Design on Designed by Pp 6, 24: James Rosenquist working studio in The Swimmer In the Econo-mist in his Cantz Printed m Germany by Aripeka, Fla., 1997
P 12: Detail of The Swimmer in the
Econo-mist (painting 3). 1997 (cat. no. 3)
P 18 Detail of Rosenquist in his studio
in the P. 34 Detail of study for The Swimmer
Econo-mist (painting 3), 1997 (cat no. 11) Contents
7 Interview with James Rosenquist ROBERT ROSENBLU M
The Swimmer in the Econo-mist: The Paintings
Swimming in the Mist: Another Time, Another Country JUDITH GOLDMAN
The Swimmer in the Econo-mist: Studies
Select Exhibition History and Bibliography JANICE YANG Foreword
exhibition space to create a "room" themselves. The Swimmei 2" this, in a nutshell, walls of an 3 50 \ 50 in. 3.50 \ 14.60 m and 3 50 \ 6.10 m— Deutsche Guggenheim Berlin's gallery, is work, rhese are the in the Econo-mist, created for is the formal description ofjames Rosenquist's new earlier ones in terms of size three-part such a wraparound work, but transcends uniisu.il dimensions of The Swimmei in the Econo-mist, a To show historically important material from a contemporary painting made specially b\ the American artist for Pouts, he this mission defines the perspective .\n^\ support the creation of new work — Guggenheim Berlin.The first showing of a work commissioned for the future. inaugural our cultural activities in Berlin, now and in gallery, its presentation follows the historically focused exhibitions exhibition. Visions of Paris. Robert Delaunay's Series, and more
are to tome Dr. Rolf-E. Breuei Deutsche Bank AG mmissioned works form an important part of our program. Spokesman of the Board of Managing Directors,
cultural life with relatively i )ur intention is to contribute to Berlin's compact but out oi-the-ordm..r\ exhibitions tailored to our space. The response has been overwhelming. More than 45,000 visitors saw hours and tree admission on Delaunay's Paris paintings. I ongei opening Mondays were positively received, as were the guided tours and
lunchtime lectures. Our special events, including a "Soiree Delauna) sold and a film series entitled "Visions of Paris," were out.
Rosenquist is one of American Pop art's most important
representatives. He achieved international acclaim with his first large-
biggest Pop art painting in s< ale canvas, /-///. completed in 1965.The
meters, it the world at that time, with a width of more than twenty-six
w.is shown after its debut at the Leo Castelli Gallery in New York at exhibition several ol Europe's most important museums m a traveling
In subsequent years. Rosenquist has produced further "big
paintings" Prior to The Swimmei in the Econo-mist, he painted The Holy
Roman Empire through Check l>> Berlin Rosenquist gained wide recognition in Germany in the 1960s. The collector Peter Ludwig met him in 1968 and soon afterwards purchased Horse Blinders (1968-69), tod. in one of the artistic highlights of the Ludwig Museum in Cologne The work, which is more than twenty-five meters wide, is one of Rosenquist's "environmental paintings." the term for a series of paintings that, like I - I I I. cover the Preface mural from is acquisition of his Flamingo Capsule This important One of the primary missions of the Deutsche Guggenheim Berlin to recent reappear in The Sim, una in '/" Econo-mist, is commission major works by the most prominent and promising artists 1970, with motifs that the works that form the foundation of the collection of the of our time. The elegant simplicity of the Richard Gluckman-designed among Bilbao setting in which artists can Guggenheim Museum gallery is intended to provide an uniting the 1960s, his paintings Roseiuiuist is well known in ( German} Sin< t mid- realize their own visions. With the spectacular suite of three and museum expressly for our paintings have been included m innumerable gallery entitled The Swimmet in the Econo-mist (1997-98), made he was the subje< I ol a mid this program exhibitions throughout the country, and new exhibition spate in Berlin, James Rosenquist has given career retrospective at the Wallraf-Richartz Museum in < ologne in a remarkable launching. '/'//<• however, is his first majoi regarding the commission in 1972. Strtiiimci in the Econo-mist, Rosenqmst and 1 began discussions oi election in commission tor the ( it) Berlin. November 1996, the month of the most recent presidential the arts in Berlin is central to oui the year of a A commitment to enriching the United Stales: the paintings were completed in 1998, thanks ^^ especially to Dr. Rolf- auspicious. As the partnership with Deutsche Bank M\ general election in Germany. The timing proved to be of the Board of Managing Directors, who with are tilled with the E. Breuer, Spokesman artist has repeatedly said, tor him. election years on the program of enlight- monumental room-scale tremendous interest and goodwill has carried possibility ot change, kosenquist's first two visual arts originally conceived by Ins predecessor. were also begun ened support of the works, /-/// (1964-65) and Horse Blinders (1968-69), I deeply Chairman ol the Supervisory Board am also charged period in American Hilmar Kopper, in election \ ears, during a particularly with intel- to Ariane Grigoteit and Friedhelm Hutte.who also of the Vietnam War, race grateful Dr history. It was a time of prosperity, but coordinated with the ligence md professionalism have successfully riots, and political assassinations this exhibition the Guggenheim stafFto realize those murals from three decades ago. The Swimmer in Like expertise Throughout the planning stage of the commission, the time and is realized on the Econo-mist is a history painting for our Director and of Robert Lisa Dennison, Chief Curator and Deputy about change—in the world and ot grandest scale. Indeed, it .s a painting am Twentieth-Century Art, proved invaluable 1 words, about "the tumult of Rosenblum, Curator of for the artist himself It is. in Rosenquist's Rosenblum tor having organized this exhibition. around the world and. m also grateful to Professor our economy," the upS and downs experienced with him so ably Blaut, Assistant Curator, who worked in the years after and to fulia particular, m the United States today and in Germany however, go tojan.es Rosenquist himself Mis expanse of My deepest thanks, The swirling vortices that barrel across the vast reunification. ofthis presen- work over the past year has ensured the success exceptional dynamism mark an intense these paintings and give the work its and its accompanying i atalogue. vocabulary tation entirely new direction m the artist's visual stems ba.k to his Rosenqu.sts own history at the Guggenheim Krens i Thomas Painters and the Object in 1963, inclusion in Lawrence Allow avs Six Guggenheim Foundation States Director, The Solomon R. Pop art in the United milestone exhibition for the emergence of commitment to Rosenquist's work, We have ,ont. nued to express our commission, but with the not only through our involvement with this M. r & m. ^ fcw — Interview ES ROSENQUIST BY ROBERT ROSENBLUM St IBLUM: Jim, going back through I ouis 1 hex got the news trom the horse's built for defense but never used -were responsible the decades, from the 1960s to the present, mouth. tor allowing people to live a certain lifestyle, to have .1 At that time, my parents lived in Dallas, Ie\as, three and a halt . hildren and two and hall i ars and I realize that you've had any number of big public commissions in your career. and John Kenned\ had (list been assassinated I had .1 house in tin- suburbs been in Dallas a month before his assassination Anyway, there were m.in\ reason-, for doing the 42'' /-/// painting I tinted it in iu\ Studio it JAMES ROSENQUIST: Not many, about twelve People were bored I here was ,1 terrible heat wave p. People were dying Old 1. idles were out shooting Broome Street 1 had man) visitors there from was .1 Christo t<> I co |t astelli], lleana [Sonnabend], Bob Well, that sounds like a lot to me. Anyway, their pistols .it target practice. There Dallas K.iusJienberg, Steve Pax ton. Alan Solomon for starters, I'd like to know how you feel about c owboys football game and fans were throwing hot streets Pistoletto, Virginia I )wan, I >ii k this one in terms of your earlier murals. How whiskey bottles, breaking them in the of [Michelangelo] ot Dallas There seemed to be a feeling of outrage Smith, i lot others Richard [eigen brought does it fit in? whole painting fohn Kenned) tame into that situation, and for a down movie people. Anyhow, the was as a gre.it anti-wai paii long time I thought he was killed b\ the weather taken eventually JR: In 1964, I decided to do a painting during an weather killed because everyone was so \nd th.it w.is largely the criticism ot th.it picture election year the him aggravated at that time. [Laughs.] RR Wasn't this the first picture of yours that I and an amuse- RR: That's when you started F-lll? Later. returned to Dallas visited the virtual reality of a completely ment park billed Six Flags Over rexas. I saw a B-36 produced like what bomber sitting there, resting quietly, obsolete. artificial, wraparound environment, JR: Yes. I had quite a bit of life and painting experi- surrounds us now in the mural you're doing ence up until then, doing industrial painting and The bomber was just a decoration? for Berlin? 1 mean, a completely synthetic painting large signs in Brooklyn andTimes Square world, where you can't find a beginning, a I thought I'd start out nonobjective but optimistic imitation nature put forth middle, or an end—a continuous, 360-degree best. JR: Yeah And I savs being As the election year began, I wished for the experience? to children for amusement rhere were ceiling fans 1 wondered which wa\ the painting would go mounted in trees outside to give people a breeze. as ,1 living in I thought about inv existence person w.is like a wr.ip.iround fol the esc I used fluo- 111 a m a simulat- JR: It There was .1 poor live parrot cage the United States, where I came from, where I grew pan I paint on rescent, I >a\ -( llo i olors used jukebox ed cowboy-western 1890s town rhere w.is .1 loud- what 1 up— the whole thing—and 1 wondered w.is to look .it something in the paint- speaker m the cage, saying, "Hi, I'm Polly the parrot of it. The idea could do. What did life mean to me! ot this this poor ing and s.i\." that .uliit is that color because m\ Who are you. little girl?" And I remember So that's when I really began wondering, Was coming m here loudspeaker I hey also color papers, parrot being tortured by this life a joke? All I knew was what I read in the is the door or the ceiling. with What I didn't control had a riverboat in a fake ditch the) had dug, and things happen in an election year People hope paii I Later on. 1970 I did a wraparound coloi some big gear propelling the boat around, and I m tor change, but artists .ire more optimistic IheViet- with dr\ icc fog to eliminate the flooi [Horizon dreamed that this was some unseen pilot propelling 11,1111 War had started. Earlier. I had met Paul Berg, was also General Motors was the Honn Sweet Home] Hone Blinders [1968 69] for our economy. At that time. who did a piece on Roy I lchtenstein and myself wraparound painting ( arlo IKtkert. win. worked highest-paid contractor for the Vietnam War I here a the St Louis Post-Dispatch, and in '''4 he had just ai the Moderna Museet in things going oil. I with Pontus Hulten were |iist a lot of cra/\. ridiculous come back from seven combat missions And Paul boinbcts Stockholm, said to me, "We always hang., hard felt that all the obsolete airplanes— all the brought that information directl) to the people in twentieth-century art and twentieth- with your interest in virtual reality. history of painting on the right when you walk in the room RR: It goes work. 1 would love real. century wars and your own on the left It's all an illusion that looks And we ilv, Lys hang i sofi painting to hear anything you have to say about this. because, as you know, the left is always softer." I interest in virtual is I don't have much of an thought, that*s funny What's softer; W hat area JR: Well, that this painting JR: Well, at one point 1 thought ility. softer than the other? So I thought, instead of going re had wanted to was to Bilbao 1 heard that they the going left or right, win not go straight ahead? And seen Guernica many times might look like real metal, real get Guernica tor Bilbao I'd result was Horse Blind n Something at Museum of Modern Art [in New York| before shine, real plastic, but it's just paint. the I'd. start it was returned to Spam. And so I thought So how many wraparound paintings are off with elements from the past and an abstraction .1 shov, at Pierre there altogether? JR: It's just paint. I saw Miro that goes into a into the of ( Guernica going mi" a reflection Matisse [Gallery] in the 1950s, and 1 walked idea or the mete- taken aback by these paintings meteor with .\\) insignia on it. The JR: Three room and 1 was just the C old War and done All or with the insignia is that during 1 how (hex were e I didn't know smeared throughout my own history— the history ol all of us was wis .1 vision He took a rag and . there RR: F-lll, Horse Blinders . . for a number of decades—we kept taking the danger the "lo, on with a piece of silk, in very large, soft holocaust out from under the pillow. disks that looked like they'd been airbrushed. and of nuclear JR: And Horizon Home Swet I Honn it, and then putting it away And then one then he connected those disks with hues, little examining Russians just pointed all beautifully done not day a few years a^k the RR: Oh, yes. touches of color, very very missiles in another direction And no one m meeha1ne.1l. With Chinese bristle brushes. No air- their peo- I would have thought that brushes There was this amazing look ot" those Miro America celebrated JR: With the I ot dis^n ple would have been like they were at the end paintings from across the room, and then 1 II. w lieu my uncles went out and shot You know, that's what I W.uld War So that had dry-ice fog coming up from ered that it was only paint off their shotguns the floor. like. you conceived RR : Global joy. .1 fog on the I wanted to ask you how JR: 1 also thought of doing hydrogen ["hat's this mural. For one thing, I'm sitting here ceiling, but I don't like technology that much JR: rhat global joy —never heard about it It never it's illusion. Sculpture looking at quotations from [Picasso's] wh) I like painting, because an then by chance, according to the in it, wondering whether you've ever happened So is fast inating diffii ult, exti lordinary But 1 haven't Guernica of natural disasters 1 from other works of art in media — we Started having tons done much of it -except Fumbleweed [1963-66] a used quotations kind looking at mean, we had earthquakes, fires, floods, every chrome-plated barbed-wire sculpture —because 1 your paintings before. I'm also i imagine is earlier works of art, a( thin- you an like the idea of illusionism, and hov* difficult it to quotations from your own sixteenth recycling of passages from F-lll s.i\ something on .1 surface that's only a like your Divine punishment. it Industrial Cottage [1977]. So I'm curious 11 inch thick. You turn it sideways and looks and picture. Here we are in like nothing, but you turn it full face and it looks about the mood of this what it was And then I thought throughout this mural JR: I don't know like something the late 1990s, and the idea oi Star Wars n\d sneaking all these there is a backwards glance into the earlier about ) is what's so kind of velocity. what you've done before. But that war weapons up into space, which we're doing now. to me, and it's a whole new Thief startlingly fresh about it. one the I earlier works like Star and how no one knows ..bout it No knows remember superson- Then I'm also wondering about the images, is doing. And [1980], and how they had kind of a real fa< ts about what our government of which are new and some of which are In ic across them. But that's energy that's some then we're racing toward the millennium other streak on this piece expect- and these are like black old. You started working words, the twentieth century has been a horrible going somewhere, Bilbao, but in the end it's being drains. I'm interested in this image, ing it to go to century My father, born in 1908, sav, the rise ol the holes or Berlin. So how much does the whirlpool movement of galactic speed. done for automobile, the airplane He sav, .ill these things this context figure in your choice of about it. German We've had these horrible wars—World War I. World But you tell me images here? in there One War II A bunch ol my relatives were Its nev\ device ruble stuff. So the JR: Well, it's a totally optical space a got killed rhere's been .ill this In. Well, the window image represents the (.M.u in Its like an exclamation that shows JR: been very dynamic, but the dynamic has for me. really century's -lull bus Valley I ,, a sunrise over the Ruin he Now. this image right here [points], there's flag been ver\ harsh and painful And so you think, Wow, change ' ' advertising heavy industry I he * """ spots on it dots represent that over with What we've going to be some fluorescent gosh, I hope we get my bos foi ten VI cost that makes people pis four dollars a that stuk out in front It will look like it's m over with in that at one point two major gotten to mind the . brings , ,,,, worth ol breakfast cereal V\ ith it. stopped I get through powers, Russia and the United States, aim- when Bi rlin the differences between I asi and West when to show paintings when they're no. tin then you've got these sneak) I hate ing at each othei But hovs was up and hou drab I asi Berlin was and only spei ulate on what the wall ..round, and they have completely ished, because you can terrorists coming nun, question ol brings to I the seeing things now vital the West ll also kinds '•snap'' is going to be But you're different ethics. They're completer) different Young Polish peoplt tell an We knov, together, you'll advertising ,.. When tins all goes still have optimism With v.. un- the) unfold of people But you Donald's, but you tins ibout youi Coca-( ola and M< trout of the museum .ml still optimistic, but w ilk in the dooi people, you have optimism I'm ii re. .lb means" I'm I must and tell US what it propel itself down to come terrible ninety-foot painting should painting, like /-///. is a diary of the this and painted ii .11 m\ ami then loss for an answer I VC seen n.net\-toot one end of the room ind to the other, tunes 1 he end of the temper of the banality and greed invoh hte I guess I rejei ted the painting looks ..round the room. [twenty -seven-and-a-half-meter] bun.' color into ed in advertising but I've teen it for me is visual invention and, real I Ik priority more optimistic, but the forty-eight-foot [fourteen- is oui lives secondary but then the content what chat was shown in Bilbao ly, content is and-a-half-meter] painting - the littli say that in 1 ' " I t to on and place and in wail go grounds the picture. It pulls itself in looks tumultuous foi the pilot undei the hairdryer v\ is i metaphoi it's banal girl time, you know -whatever it is, even if I bei and the economy that produced the obsolete this "Apocalypse Now" RR: I'm curious about hairdryei igain It's a fo< ii so forcefully \,,d ,,ow I'm using th« It's true. So far, what hits me things that's so striking RR: lam the mood. One of the w ,11 But here, thirty years difference from p,,int ,,i the end vortex. about this new work is the mural is the image of the runs the world about this h.s become the widov, who it's got all these girl to your earlier work— namely, I'm trying to remember, and you'll have on Wall Street She holds going to be, w heireSS dynamos. You feel as though you're used it before. help me, when you've power and the control ol the world economy some kind of spinning engine or the be flung into and i hairdo imagi hi r« It was just l i man's There are all these had to the end of the world. - earl) I ranco JR: I never have thai m kind of pro- his bra, ns were spaghetti holes. And it has a furious black that out imag< I"" I took movement in \meri. in spaghetti that is very unlike the It looks totally new pulsion RR: That's what I thought. this is in the right direction It's is that this looks like Hopefully, going There's ilso a woman there whose face is slivered What's so exciting always been hard to (ell You know I thought 1 was for a whole new language. I into .1 i oiled spring. a springboard old for a long time, because I thought mean, what would strike any viewer first is the an socialist about the inequalities between people, and what you That spring is great because it's just like momen-tum here. It has this insane, young tan d^ about all ofthat I don't consider myself a a five-and-dime-store version of all of those energy. It's like an earthquake, a volcano, you humanitarian, but I think about waste and unhappy whirling drains, the same spiraling image. name it. It has more speed, more force than and people who are happy, and anything I've ever seen of yours before. You billionaires [laughs] laundromat. about the da\s in the sixties when kids m the com- JR: Its like a dynamo springing out know, it's like being inside a munes could bu\ a truckload ofgranola at the teed rest lives for a hundred biitks. hit it! store for the of their This should be your crowning achievement JR: Exactl) That's what I want. [Laughs.] You and wear arm\ -surplus clothes and raise tons of kids of the twentieth century. It's now three decades- and have a life living on nothing. You have children. plus after your beginning. Being an art histori- Well, we might say a cosmic laundromat. all hope continues begin- I have children We that the race an, I'm looking sideways to works of other I mean, you're in a spin-dry cycle from this painting Another thing I was going to call artists of your generation, and wondering how ning to end. was Ract they might plug into this. You, in particular, The that is of. I think, the I know, have always been very generous about JR: I hat's right. And because RR: Race? looking at, responding positively to, the work tumult of our economy over the last tew years Up of your peers and your juniors and seniors. A\)d down, up and down, up and down, and the JR: The Race But one of the things I've noticed in a lot of whole world is going into a tumult because ot the work of your generation — I'm thinking about nuclear roles coming down COO. 1 here's a lot of in the human race? Or as in the run- artists like Johns and Rauschenberg and optimism, but there's pessimism, too It's been very, RR: As ning race? Lichtenstein — is that in their work of the last \er\ vigorous. decade or so, they more and more frequently JR: Everything All of it 1 ike Thelonious Monk used quotations from their own earlier work, RR: I wanted to ask you about the title of this " whether as fragments or as a whole. And this suite of pictures: The Swimmer in the Econo- said. "All ways, always is something that I'm aware of in this work, mist. I mean, I know you love puns in your RR: Well, I can see the energy of it. I mean, too. I mean, it's a mood of summary, of images, like the hairdryer equalling an air- moving from one anthology, of Proustian recall. Do you think plane's nose cone, or fingernails equalling pen just the sheer miles-per-hour u end to the other is right up there with cosmic of it as a kind of summa of everything you've points. But tell me about the Econo-mist," done, and do you want to look back, quote, which is a verbal pun. Tell me about the title. races. see your work through the layers of time? JR: It's race, it's speed It's racial, its promoting the JR: Well, the swimmer . . . apparently, there's an old rate regardless of what the rate is, staying alive. I hat's JR: It's not really a summation. It's more like usmg Venetian saying, "The artist swims in the water, the win The Race was a title A lot of times I haw ten the past .is a springboard to new imagery, or .1 new critic stands ashore." So the swimmer is the active titles, then it boils down to one. or none kind ot imagery. Something that people tan recog- party And the economy is a dream. It describes and nize from the past. being immersed in a tumult 10 prehensibility. It just doesn't fit into any pre- earlier pictures look absolutely flat. This I noticed about your RR: You know, something else dictable spatial patterns, and it feels as if you've has an unstable, sweeping energy that rushes this new work has to do with the way being sucked into a galaxy. Stella is through the whole panoramic spread. you're always switched back and forth between, on the only thing that I've seen in terms of like the one hand, grisaille painting that looks I can connect visually suhhnun.il memories abstract painting that photographs, and, on the JR: Well, you know, there are black-and-white if this is with what you're doing. I don't know Tins is an aside, but Richard i lot of things other hand, color that looks synthetic, a la foi lus just an accident . . . Feigen has tins beautiful Turner painting in din- plastics and TV. But that kind of back-and- called Tin Reconstruction of tlu Temple between color and noncolor seems to be ing room It's forth work a lot, and I've watched him temple, then JR: I hke Frank's the background, there's .1 and intense, much more polarized here Wa\ in much more was hke h< vi is putting painting, and since he started At first, it there's this incline at the bottom of the I've ever seen it, and that also contrib- than then ii got mon and ind building blocks togethei and these people are dancing and playing the flute rush of it, moving from utes to the "race," the sophistii ited until is ,,„,, more and more but they're going downhill 1 ike life Guernica and its recall of black- frolicking, memories of Can'l tell where it starts and down. all of a sudden, you fun and everything, but you're still going newspaper photos, into the newer Ins and-white 1 mean, I think plas where it ends It's brilliant. California of these crazy, incandescent, foi me, painting media ticitj is incredible It's great Bui slope in your painting, like never seen such an excit- It's like this candy colors. I have some reference to one's time along on the means making a something that's sneaking contrast in your work. It really has ing undertow. ground. It's got the quality of an here it has never had before. decades and momentum RR: You've been around for some And now, a totally different question. I approaching the millennium and, not to this here, it was we're the last time 1 saw the piano. remember studying color is like playing about it, this mural is like a JR: Well, usual, trying sound too poetic different state and I was, as right there on the in a It's needs practice I "hat color twentieth-century history. One other works of art time capsule of to think of how it relates to onl) about three colors mixed of the past, and it also painting [points] is the things got the epic momentum from the 90s or the 80s. And one of quantity. bursting through a sound up in the right other has some sense of occurred to me is that the only that it's got barrier into the future. But, above all, kind of wild, almost incom- kind place I've seen this color, even for you, is a new sweep that sums up our planet, But this of the the panoramic prehensible cosmic space is in some every color in a plastic whatever you can buy in the of artificial. It's got look the cosmos, and paintings of Frank Stella. They it has the recent heaven to rainbow, and just in terms of clash, five-and-dime store. It goes from computer explosions, but they are in fact spinning drains like particular to the universal. kind of energy that all those Do hell and from the controlled and corseted like yours. as illu- totally eternity. have. You were talking about painting Something like from here to any connections with that? part of this you have sion, and I'm fascinated by the and and re- the middle ol it, mural where an airplane disappears JR: \Vr\ kind But I'mjUSt m . cosmic explosion . . it, JR: The in the way I see walls to be a sur] emerges as if . . . well, this end going being unfurled or furled as if the canvas were abstraction it's a kind of spatial is rr : Well, So that the painting I lorida before your eyes. twentieth century. Aripeka, that's very new in the late you see it. And almost being wrapped up while D. embei 6, 1997 cyberspace, and it's something crackle, It looks like it a whole kind of snap, that gives extension and total incom- that implies infinite otherwise. It makes and pop it wouldn't have 11 s_ ''There's an old Venetian saying, x The artist swims in the water, the critic stands ashore/ So the swimmer is the active party. And the economy is a dream. It describes being immersed " in a tumult. in the Econo-mist / The Swimmer I (painting 1), 1997-98 Oil on canvas center 4.02 x 6.10 m at 3.50 x 6.10 m, Oeutsche Guggenheim Berlin in the Econo-mist 2 | The Swimmer (painting 2), 1997 Oil on canvas 3.50 x 11.60 m Deutsche Guggenheim Berlin i The Swlmmet m Ui - :. 6f >lm . ^m for me. It's like an excla Swimming^^Mist NOTHER COUNTRY JUDITH GOLDMAN I. to five, tor the last From nmc year, James Rosenquist has been working on .1 suite oi thi mural paintings, The Swimmei m the Econo-mist, commissioned tor Deutsche Guggenheim Berlin. He's been on a tight schedule, painting against a deadline that is drawing near In a month, the pictures must be installed, and they are almost finished. Only a fevi areas uni. mi to be painted. Roscnquist has just returned from the local art store, where he's been looking for the colors that he needs tor his final touches, or what he likes to call "hot Inks." He plans to add color accents — an acrid yellow, a glaring orange. These Day-Glo tones comprise a palette of jangling, vulgar tints. They are the colors of roadside signs th.it advertise take out barbecues and X-rated entertainment. They are crass colors that defy ^,ood taste and give The Swimmei in the Econo-mist its essential edge and disequilibrium. Standing 111 front of one of the paintings. Rosenquist studies it. Although lie works from maquettes and preparatory drawings, he spends large stretches of tune looking it paintings in progress. Usually he sits and stares. Sometimes he paces back and forth along the length >>! the large studio. Often he studies his paintings at the end ot the day, when the natural light grows dim, because color values subside and mistakes are easy to read. He is not aV( rsi to change. If he thmks it is necessary, he will disregard plans and compositions and start over. In the course of completing The Swimmer in the Econo-mist, lie has made various alterations. At one- point, he decided the paintings were about the future, not the past, and removed images that he regarded as too reminiscent of earlier work: a man's head, swirling hair, a field ot spaghetti. lamei Rosen': irom Rosenquist has just finished painting the large orange oval that divides the twenty- in Corporatioi >'' 1 above ihi a itoi rheatei Broad seven-and-a-half-meter panel, and while he waits for the paint t<> dry, I ask him about that shape, which recalls a similar one in the l°7<) painting Flamingo Capsule (fig. 4) His answer is fast and short: '"It's a reflection from a blast furnace." he savs. then, changing the subjei t, explains the procedures used to create the image. He describes how he had t<> mask out the (be. ause the entire area around it before he began to paint and why he used a Spra) gun his method rendered a smooth mu\ even surface) Rosenquist jealousl) guards the meaning of paintings, but willingly explains their elaborate procedures Countless small decisions are crucial to Rosenquist's art At first glance, his paintings seem to be an arbitrary melange of dissonant contrasts and yokingS. But they are not arbitrary hard to comprehend, but the at all. Every aspect is carefully considered. Fairings are strange and aimlessly, but couplings are never accidental or casual. Visual narratives meander and ramble 25 savin- something. When he contrasts , FXosenquist means what he says, and he is almost always monochromatic with a swirl of hand-applied paint, or juxtaposes I, ,IK , reared surface tills with the colors of the German flag, or grays with bright and dissonant hues, or a window arbitrarily. These are the elements and images restates Picasso's Guernica (fig 8), he is not acting from which he constructs his art. devices and visual conventions we have The Swimmei in the Econo-mist utilizes all the disconnections; the barrage of imagery; come to expect from Rosenqmst: the disruptions and sequiturs; the strident colors; and, of the unlikely mergings; the contradictions; the blatant non suite of paintings he has produced course, the scale. The Swimmer in the Econo-mist is the largest sections, it measures three-and-a- to date. Consisting of three separate pictures, m twenty-one Designed to cover three walls inside half meters high and more than forty-eight meters long. and their towering images Deutsche Guggenheim Berlin's gallery, the paintings are mammoth envelop their viewers. size. is well-versed in scale and a connoisseur of He Rosenc|iiist is ., master of big pictures. He assignment. he was voting, he painted black-and- is also accustomed to working on When across the flatlands of his native orange emblems for Phillips 66 gasoline on signs and bams to specification. He could scale up or scale Midwest. He was a natural. He could draw anything Advertising, painting billboards around down, In 1954, he worked for General Outdoor letters that rose Minneapolis. He painted immense parrots, enormous whiskey bottles, and a scholarship to the three meters high. In 1955, he moved to New York, having received his money ran out. he found a job painting signs. He Art Students I eague. After a year, when Sign. Pictorial, and Display Union. He was the union's youngest mem- joined I OCal 230 of the his repertoire expanded A newspa- ber, but he became their star artist as his skill increased and " per reporter referred to him as a "billboard Michelangelo atop bridges and standing on scat- He spent two years at dizzying heights, balancing lips, toothpaste grins, a gigan- folds above Times Square, painting movie stars' smiles, mammoth a lot the boards. Painting fragments taught tic dimple m Kirk Douglas's chin. He learned on lessons abstraction, close-up vis, on. him about collage. Working on a large scale afforded him m how to make it silkv and so thick and the effects of size. He learned about mixing paint, too: a of commercial techmques.au and smooth that it flowed like cream. He absorbed syntax — alphabet of advertising colors, like suntan brown and lipstick red. The trade secrets he learned influenced him and eventually transformed his art. He stopped making small, the gray ab$tra< I pictures that he painted in the evening after work. Instead, he found his subject matter in the detritus of consumer culture and the remnants of everyday images He treated a new. idiosyn cratic visual language. Gaudy, strident, blunt, ordinary, and strangely mute. Rosenquist's new language was steeped in the American vernacular. It consisted of fragments taken from printed advertise ments—pieces of angel food cake, bottle tops, spaghetti, razor blades, tire treads, and the grilles and windows of old cars. Although the images are naggmgK familiar, Rosenquist's pictures stubbornly resist interpretation. Their meanings are fugitive. Like poems built with dense in. i a phors, they are hard to parse. This was what Rosenqnist intended He wanted Ins art CO he cool and detached. Hoping to avoid the emotional angst that weighed down Abstract Expressionist painting, he chose objects garnered from a commercial netherland —dumb, malleable, anon) mous images that he once described in conversation as "old enough to pass without notii e. but " not old enough to trigger nostalgia Rosenquist has often said that he intended to make pictures, not statements. Sounding like a strict modernist, he has maintained that the space deputed In m image is more impOl tant than the image itself and that he is not interested in objects, but in then abstract proper- ties. He employed numerous devices to deflect meaning. Odd couplings defy logic non lose-up, sequiturs, like a field of orange spaghetti, disrupt narratives; realistic images, rendered < become abstractions. Even his colors the pigments of printed reproductions — have an artiti. ial aura, .\n anemic cast that creates distance. Despite Rosenquist's emphasis on formal properties and visual invention, his paintings and never lack content. From the start, they addressed big themes, like love and war and sex Silver Skies, 196? as is Oil on canvas 1 else concern, is about sedu< tion, liberty. Hey Let's Co foi a Ride (1961), whatever it may 1.98 x 5.04 m fig. Waves albeit from another perspective. A Lot to Like (1962) and Silver Skies (1962; 2) (1962), The Chrysler Museum of An overcrowded visual field, on the plethora .»» products are reflections on superabundance—on an Gift Of Walter P. Chry,lrr. Jr hidden mean- that inundate American consumers. And the paintings- punning titles are rife with too much to like. No matter hovi ings and opinions. A Lot to Like suggests that there is, in fact, at tunes, fanned by nnl, mute the paintings seem, they are informed by conviction—even, tion.They convey impressions and opinions about everything from advertising and assassii 27 1 visual poems that nous to beauty, sex, and matrimony. Fraught with feeling, they are nonverbal, resolutely resist words large painting that became F- 1 1 II. In the fall of 1964, an election year, Rosenquist began the marked the end of (1964-65; fig. 3), Ins first site-specific work. A transitional picture. F- / / / exploration of Rosenquist's early, straightforward collage compositions and the beginning of his peripheral vision and big pictures. As with many of his major paintings, F-llfs conception and execution coincided with significant changes in his life. For the two preceding years, Fill, 1961 65 featured in the Museum of Modem Oil on canvas with aluminum Rosenquist had been painting nonstop. His work had been 3.05 x 26.21 m major art exhibitions: New Realists (at Sidney Jams gallery) Art's . [mericam 1963 and in two Pop The Museum of Modern Art, also executed a and Six Painters and the Object (at the Solomon R. Guggenheim Museum). He'd New York, Pm commission for the 1964 World's Fair and completed enough pictures to fill solo shows in Pans, Los Angeles, and New York. He'd had to work hard to sustain his level of production, for, nnhke his Pop colleagues, Rosenquist did not employ reproductive techniques or pamt in their series. Whereas Andy Warhol screenprinted his portraits of Marilyn Monroe, modifying varied his images of bathrobes and hearts by filling them with I olor and size, and Jim Dine his exactly or landscapes and a rainbow of colors, Rosenquist never repeated compositions restated them by changing their color, size, or background. He was always starting over. Every painting was different. kept His style, however, remained consistent. He utilized the same visual inventions and refining his technique and extending his vision. He moved from simple couplings to allover combine and transmute provocative I finding new ways to i onfigurations. le was continually fragments into arresting, mysterious compositions. He was working all the time, and by the tall of 1^)4, he was tired and ready tor a change. He'd been experimenting with sculpture and environinent.il pieces and had started attaching objects to his canvases, He had reached a turn- studio, changed ing point in his life .is well .is his art. He was about to lease a new and he'd first show dealers: after the Green Gallery closed, he'd joined the Leo Castelli Gallery, where his w.is scheduled to open on April 17, 1965. shows, and Regarded .is Pop art's epicenter, the small Castelli gallery presented big Rosenquist wanted his first show there to have an impact. He intended to fill the entire gallery, to make the biggest panning he could, and he spent a year preparing for the exhibition. He 28 sustain the pi( ..bout. .1 theme miport.nii enough to needed to End a subject he felt passionate heard, or thought about influenced him; a trip to ture he intended to paint. Everything he saw, an airfield; a pat .. silver fighter bomber sitting on Dallas just before the Kennedy assassination; chatter; taxes; conversations with a newspapei report. 1 „„ talking at an amusement park. Kile mosl l-lll in the middle 1 America who had been to Vietnam. Rosenquist painted tune Lyndon Johnson was running for president. The violent decades. It was also a political had program for economk and social welfare Civil Rights Act and legislation on a sweeping reflected the tui escalate Rosenquist took it all in and passed. The Vietnam War had begun to as painting that would ie to be regarded the moil of the times in /-///.the large mural apotheosis of Pop art. tor the painting, he had stretchers Once he had finished making preparatory drawings obsessed I )a, and mght, months he worked on the picture. He was built and for the next eight w. mall that he had ,0 pa.nt.tm sec- about was F- / / (. His studio all be talked or thought when be installed the its entirety until mid-April 1965, do^ ,„ fact, be did not see F- / 11m painting we sl.ghtly ofCastelli Gallery's Hon, room The irregular fragments around the walls fit perfectly more than twenty-six meters wide and and over them with nois, colors tha. merge F-m surround cues, h inundates unrelated images Impossible to take panels, and a string of lap with bright surfaces, reflective ,s too much matter .as looks, there at the edges of vision. No in tll , painting P ul,s panels ut wha Hhe connect the , of an j* cover and » see. The nose and fuselage Mil eggs, light bulbs, a tin, st- bod, of the plane; Ho, do enlarged images that interrupt the and the grin- umbrella, s. paghetc, a ft g beach and an undeLter swimmer relate to me phallic ha.r drye, girl (the plane's pflot) under ning8 young surplus n- about war. taxes, and e , , p." politic, painting, a picture ,s a d vdop- paid for b, ttxpayers then n machine, a fighter jet, sumer culture „s subject , « 1 / Flamingo Capsule Oil on canvas with two alun Initially, tie ,ide paneli views explaining the pictures intent. '" Central pan. I 91 m each waU side pa .„.,, . v *eir taxes. But F-M1 « an e , hao Muieoa ^^ ( see it, viewer fe»,T0 " - P^aUy ^ ' incremei >— comprehended^g^^Z**** cue point of view, but must be 29 that this fiercely antiwar picture is as much effect is cumulative. And finally, viewers discover about vision .is it is about war. canvas the Castelli Gallery's front room— With F- / / /. Rosenquist had found a new — like Area Code and Flamingo and for the next five years, he produced site-specific paintings most ambitious painting of the peri- Capsule (both 1970) that exactly fit the gallery's walls. The viewers as it examines the od was Horse Blinders (1968-69; fig. 5), which, like F-1H, envelops another election year. It was nature of peripheral vision. Rosenquist began Horse Blinders during King. and Robert F. Kennedy were a particularly brutal year, during which Martin Luther Jr.. / ,,. F| Detail o( Horse Blinders, 1968-69 culture, and assassinated and Andv Warhol was shot. Its subject is the visual noise of consumer Oil on canvas and aluminum /- of disparate images besieges viewers. The assault 3.05 x 25.76 m how we sec or don't see. As m / / /, a jumble Museum Ludwig, Cologne polished aluminum panels not only carry but is intense, foi in each of the picture's corners, the clamorous visual effects. The image of severed relic, i images, heightening and multiplying implies that horse blinders are wires suggests that communication is impossible, and the title information. needed to eliminate the incessant onslaught of random and raucous president. The Iran hostage L980 was another election year. Ronald Reagan became era government deregulation crisis was under way. The American economy was weak and an of about painting and supply-side economics was about to begin. Rosenquist had started to think he hadn't done another big picture He was looking for a new challenge, to do something the gallery system, to create a picture before. He thought it would be interesting to step outside private collector, a that was too large to be exhibited m a commercial gallery or sold to a painting that was neither site-Specific nor commissioned. fig. The largest For a good part of a year, Rosenquist worked on Stai Thief (1980; 6). visual painting he had made up to that time. Stai Thief features a strange amalgam of frag- woman's head, split open to expose a ments—Strips of flying bacon, a starry skv; a skyscraper; a painted sur- gnarled mass of colored wires The imagery is dense and recondite. The smoothly apparent. Rosenquist's ongoing fa< e seems to seal meaning m. But old themes slowly become Star Thief, 1980 space continues, space-age technology threatens nature and beauty. Oil on canvas exploration of vision and 21 x 14.02 not surround viewers, but confronts 5 m Unlike F- / / /, however, the vast space of Star Thief does Museum Ludwig, Cologne and engulfs them, stretching up and out. as far as the eye can see When he finished the picture, Rosenquist invited his longtime dealer Leo Castelli to Rosenquist to accompany him to an address see it. After looking at the painting, Castelli asked 30 important to show him. When the) arrived on Greene Street, where he said he had something space, entered, and waved h.s arm ..round the larg. Castelli opened the door to a ground-floor amaze was Castelli's new gallery, and to Rosenquist's room, motioning toward a big wall.This Greene Street's ceiling was approximately five-and-a-hall ment StarThief fit. The height of site- smaller. StarThief™ never mean! to be I meters StarThiefis around thirty centimeters Women (1982) paintings that followed it, like 4 New-Cle* specific picture, but the gargantuan EWiquist's nev. of the Greene Street gallery became were. For the next few years, the walls and largest canvas. 1 //< .'2 his abiding .uteres, in site sp« ill spent painting billboards and , Ill Given the years Rosenquist He accepts only those that he turns down most commissions. paintings, it seems odd that approximate!, a d, more than four decades, they number est him, and in a career spanning Flowers, Fish, and Females he lues m Pijj 7 | State Capitol at Tallahassee because he created murals for the Florida b, 1976 for the Four Seasons, 1984 he has always a, epted , as a Floridian. And , Florida part-time and thinks of himself feels for the man and hts wor m of the rapport he 2.30 x 7.29 m from architect Philip Johnson because World ft*. Johnson designed for the Ne.-York The Metropolt a mural for the pavilion ,964 he produced »'• K°w, for the restaurant Gift of torn Ma i the I v„ , (fig. 1) Flowers, Fish, ani Fe les fo, and ,„ l984, he panned 1995 199*a i York. in the Sea-rams building in New to be met, tons every commission-expectattons There are pragmatic aspects to must please and I emblems; they Commissions must communicate id. to be fulfilled. * of nda W«h h S 1 murals feature images assorted . .morn, l^scnmust's Tallahassee boy, Bowers, Fish, mi Fe including sheUfish, palm trees, and **£££' I ^I he p.ctu* d n • of a grand and expe 6 « Amorous stil) lift befitting brimming over with su usstons tends ' «-^«""~^^£i", > research for into splinters. Rosen A faces sliced ; he read the state's h^ mentary. For the Florid als, £. He also I and studied pictures of flowers. J^« collected seed catalogues ^ dead Gsh. local fish store, where he photographed Rosenquist Museum's director, met with Krens.the,i,.c,,...enheunGuggenneim In November 1996,Thomas - meeting as the location of the commission had / / / / mural, but nothing was resolved at the interested Roscnqinst. When Krens not /el been determined. In principle, the concept th.it was set for the new Guggenheim in the mini nied him .i few months later the commission former East Berlin. R^osenquist was pleased. As always, Rosenquist's experiences informed his new painting. He thought about East not German friends he had and German journeys he'd taken. He recalled a trip to Berlin stars on a smelling long after the wall came down. He remembered seem- remnants of red wall, also recalled the disinfectant, and visiting places that looked devastated and bombed out, but he cities, Berlin from the 1920s to emerging energy he'd seen and felt. He read up on German on Prussian kings and German the 1940s. He also re. id about Germany as a world power, about Wars. statesmen from Frederick II to Otto von Bismarck, and about the World Berlin of He decided to create paintings that would reflect the new Germany and the 1 1 too. and how his quintessential- tod. iv. not the divided city of the past. He thought about F- 1 / s Pablo Picasso ig | just an art movement but the atmosphere ot its time Guernica, 1937 lv Pop picture had come to represent not x 7.82 m / / / the picture still looked fresh. He Oil on canvas 3.51 It had been more than thirty years since he painted F- and Museo Nacional Centro de Arte wanted no less for The Swimmer in the Econo-mist. Reina Sofia, Madrid is familiar one Rosenquist The Swimmei in the Econo-mist tells a tale about the future. It a story, setting is new. It has told before, about politics and e< onomics, war and commerce—only the usual, the takes place in Germany, after the fall of Communism. It is a post-Cold War story. As the Econo-mist, sequential narrative is askew. There is no linear structure in The Swimmer in no order to the heap of broken images Viewers are bombarded with a tumult of numbing things. The eye swims, stops and starts, going from close-up to long shot, from griss.ulle to technicolor, attempting to follow the action, to make sense where there is none to be made. The connec- a black tions are implausible: what is the relation in the largest painting between an airplane, boxes swirl, an abstraction from Picasso's Guernica, and a whirlpool of fragmented cereal covered / Industrial Cottage, 1977 \g 9 | : Oil on canvas with words listing the cereals' nutnents 2.03 x 4.62 m /// R.osenquist mentions the mark- In .i conversation about The Swimmer the Econo-mist, Private collection, Courtesy of costs ten cents to produce Is up on .i box of cereal, stating that a four-dollar box of cereal only Richard L. Feigen &. Co he referring to the money spent on advertising? Are conclusions about his suite ot product- packed paintings meant to be drawn? In one of the panels, enlarged letters copied from pack- parable aboul out of control. The Swimme, in the Econo-mist is a lges oflaundry bleach gyrate be panel a > growth, rhe reference to Guernim in the large the effects of war on economic but Picasso twentieth century's best-known antiwa. mural, ignored Not only is Guernica the the destructive power of fascsm and .. terrible bombing, to meant the picture as a memorial to the devastation of war retrospe. tive focus. It features a tableau ol The smallest panel provides the paintings" ottage of one in Indmmd ( House of Fire. 1981 updated. window, reminiscent Fijj 10 images that have been altered and A x m represents the snnr.se and the dawn Oil on canvas 1 98 5 0> colors of the German flag, 077- 9) but filled with the (1 fig The Metropolitan Mu industrial growth o( the countrys Ruhr Drill bus signify the Arthui ,,„. f a new, unified Germany. ;.tse, George A and about, fig. in,. Inn he,,- they he : Fire .mi I and those ,n H, of (1981; | ii, unds Vallev The lipsticks are similar to dryer from F-Hf Its fo. Wallaci Gift And looming large is the hair Lila Acheson ben/and melting, like misspent bullets. .one. No longer sweet smile (see fig. ll)-.s mer occupant-the httle girl with the cloyingly K t picture. In he, place there up, she is out of the piloting the bomber, she has grown symbol o. Datmler-Benz, ol shape that retails the corporate circular reflection, a familiar Germany's industrial giants .^isnotsomuchanupdateofF-nfasntsareflectton „„s„ ;,-,„„, to As the twentieth centur, draws « &om another time and another country. nature and ^J-JJI see. As always, , , live and ho, we ,„,,„ us another vision of how we the pace ,s faste, I ere m then old alliance. Bu, , and war and economics continue more information, and more stufl everything-more products, more images, i mi U ,,, f j /lewol in Rov 429 Broome Street, New York 33 4 for The Swimmer in the Economist | Study (painting 1), 1997 Lithographic tusche and pencil on Mylar 51.1 x 667 cm Deutsche Guggenheim Berlin Study for The Swimmer in the Econo-mist (painting 1), 1997 Lithographic tusche and colored chalk on Mylar 50.8 x 65.4 cm Deutsche Guggenheim Berlin 36 Econo-mist study for The Swimmer in the 6 | Collage (painting 1), 1997 oil, and Pastel, pencil, ballpoint pen, marker, collage on paper 43.2 x 59.1 cm Deutsche Guggenheim Berlin 37 — ^j^Tff? 01 The Swimmer in the Ecoiio-misl (painting 2), 1997 Lithographic tusche and pencil on Mylar 51.1 x 133.0 cm Deutsche Guggenheim Berlin 38 Economist s Collage study for The Swimmer in the I (painting 2), 1997 Pencil and collage on paper 35.6 x 121.0 cm Deutsche Guggenheim Berlin 39 •y*~ f*~i in 9 | Study (or The Swimmer the Economist (painting 3), 19". Lithographic tusche and pencil on Mylar 41.3 x 116.2 cm Deutsche Guggenheim Berlin 40 tO Study for The Swimmer in the Econo-mist I (painting 3), 1996-97 Lithographic tusche and colored ink on Mylar 40.6 x 70.5 cm Deutsche Guggenheim Berlin 41 ; / for The Swimmer in the Econo-mist | Study (painting 3), 1997 Lithographic tusche on Mylar 40.0 x 116.5 cm Deutsche Guggenheim Berlin '— -~»S~/*t tudy for The Swimmer in the Econo-mist (painting 3), 1996-97 Lithographic tusche and pencil on Mylar 42.2 x 92 1 cm Deutsche Guggenheim Berlin 42 i in- Swlmmei In the Econo mlsl 1997 Pencil, colored pen 47.0 > I Deutsche Guggenheim Brrlm for Swimmer in the Econo-mist N | Study The (paintings l and 3), 1997 Pencil on paper 55.2 x 126.4 cm 43 Deutsche Guggenheim Berlin ..Mage study for The Swimmer in the Economist (painting 3), 1996-97 Pencil, ballpoint pen, oil, and collage on paper Two sections, 0.4 x 2.3 m overall Deutsche Guggenheim Berlin 45 . " SELECT EXHIBITION HISTORY — 1968 "Art in New York: James Rosenquist." by Janice Yang Galleria Gian Enzo Sperone, Turin, James Compiled York, iApi Leo Castelli Gallery, New York, Urn (New 93. no 16 18, Rosenquist, opened Nov. 5. Exh. brochure. Tim se< tion pn t\ ides listings ol iclei I solo and Glueck, Grace "Art Notes Not ( >nc 1969), se( I ,p 8 two person exhibitions Featuring works b) I ( "Reviews and Boring Pi< ture." Tin MewYork Unit B[aker] [hzabeth] exhibition 1965 [ames Rosenquisl Entries include " v iews Irtnews (New York) 68, no J >8 I I 33. Pi Castelli Gallery, New York, Rosenquist, I,,, 1968 se< p •i.l broi hures is well as rel ited Leo _ (Ma) I969),pp "l 2 Apr. 13. irtii les ind res. iews b) dat< of publii ition 17-May National Gallery of Canada, Ottawa, — Allowa) Lawrence "Art." Tin Nation —Preston, Stuari "Art James Rosenquisl James Rosenquist, Jan 24-Feb 25. Exh. cat. (New York) 208, no is (Ma) 5, 1969 I ii 24, 1965 1962 h, \,u\ i in French and English with introduction by pp SM 82 Green Gallery, New York, James Rosenquist, —L[evine]., N[cil] A "Reviews and Brydon Smith, statement by Rosenquist, and —Schjeldahl, Pctei "New York Lcttei Jan. 30-Feb. 17 Previews." irtnews (NewYork) 64 no.4 excerpt of previously published essay by Ivan in International (Lugano) I I no 6 —S[wenson] Gjene] R. "Reviews and (summei 1965) p 14 Karp. (summei 1969), p 65 York 1 . ttei I" Previews: New Names This Month James I ippard Luq R 'New •• , man, I mil) "New York (ami 1965 — Bergin.Jenn) "1 ad) Lets Hei Hair ugano) 9 5 I |une Rosenquist IcwYorl no 10 International (1 no " 1 (NewYork) 10 ' 24 1968, Rosenquist." rtforum 7, no 52—54 l town /'« )ttam Citizen |an 1962) p 20 pp 2', (summi i 1969), p 65 ' "is p thi ( I ( i(oldin] In | —T[illim] S[idney] 'New Yori \[mj I ' Shows Pop (New Yorl — Kritzwiser, Ka) "Ottawa I Rosenquist iris Magazine Exhibitions In th« ( ialleries Jim nquisl ' Tin ( llobt and Mail (Toronto), 1970 ml, Rosenquisl In no l" (Sepi i p 63 Peter S James York, Rosenquist: 24, 1968, 14 Castelli Graphics, New —Alfieri "Diario cririco (II) Dopo Jan p i 16 D" 6 Bruno. Lithographs — Robillard.Yves "Rosenquist 'Je peins Recent , 'I i ,1 inferiorii i di New York on Mai 1962) pp 16 ompli sso des choses inonymes 'La Pn • (Montreal), 196 I il complesso di i' itions I ten Parigi (1900 —Robi tts, ( oh 196* Leo Castelli Gallery, New York, James I Jan 27 ' De laulle de New York [ujourd'htn Pa pari Rosenquist, May 16-June 6. (Milan), — Heywood, Irene "A Trip to Ottawa i resi I Metro Jum 1962) pp 4s 19 (intanto I ondra < " (ames Rosenquisl and His Power." Fin — Schjeldahl, Peter A trip' with >, 4- In Italian and no in (< i 1965), pp 13 24 1968 44 nquisl " Tin MewYork rimes. Ma) Jl Cazetti | roronto),Feb p 1963 l nglish trans Lui ia Krasnik sei p. 17 — Ad. mis. >ii Jerem) 'Exhibition Reviews [970 2. Green Gallery, New York, Rosenquist, the Galleries: (ames Rosenquisl National Galler) "i —I [inville] . K[asha] "In Apr. 15-May 11. The Jewish Museum, New York, James " ( astelli " lrts Magazine ( irlscanada roronto) 25, no I Rosenquisl H Rosenquist, F-lll, June 10-Sept. 8. anada York) 44. no 8 (summer 1970), p. 61 I (New I 16 I" (Api I968).p 45 1964 Presented at The Jewish Museum before nos Vigeant, Andre "James Rosenquisl — I'erre.iuh. John "Art: Hen ind ["here." Green Gallery, New York, James Rosenquist, traveling to the European venues listed below. — Temps-espace mouvement." I" des arts //„ Village Voia (New York) 15 no 13 Jan. 15-Feb. 8. —"Rosenquisl •• I lll'ai |ewish (Moiiirc.il). no 51 (summei I9i June 4 [970 pp 17-18 —S[wen |.,G[ene] R "Reviews and Museum Tin Neu York rfmej.June 12, ss 61 —Pincus-Witten, Robert New York ' pp •as James Rosenquisl ItMi wi 1965 p 2* ( I |ames Rosenquist, astelli Galler) Butler, (oseph I hi rVmerii an w i) . fori 62 no 10 I i b 1964 p 8 with \n (ames Rosenquisl Retrospective irtfonim (New York) 9 no I (Sepi 1970), the Galleries Moderna Museet, Stockholm, James — . S[idney] "In Tfillim] '' I Ti " F-lll, Sept. 29-0ct. 17, 1965. I In i onnoi n mi (1 ondon) 169 no PP isc nquisl Irti Magazim Rosenquist, and p.67 -Adamson,Jerem) —Rhncliff] ( [arter] "Reviews Traveled to Stedelijk Museum, Amsterdam, (Sept 1968), , 6 Mai 1964 Previews Rosenquist Irlmnus "Spaghetti and Roses A 1 >o< ument ol an James Dec. 25, 1965-Feb. 6, 1966, Staatliche (New York) 69 no 5 (Sepi 1970), p is . roronto 26, no I, Kunsthalle, Baden-Baden, Feb. 12-27, 1966; Exhibition \rtscanada Kozlofl I tcei — — Baker, Kenneth "New York James Moderna, Rome, issue nos 128 12" (Feb 1969) pp 8-13. nquisl In International (Lugano) 8, Galleria Nazionale d'Arte Rosenquist < astelli I taller) irtfonim Oct. 15-Nov. 10, 1966. Exh. brochure -: no I \p. 25 1964 p 62 Sonnabend, Paris, Rosenquist, (NewYork) 9, no 5 (Jan 1971), p > (Stockholm) with previously published Galerie Ileana Apr. 25-May. Exh. cat. with essay by Galerie Ileana Sonnabend, Paris, Rosenquist, interview with Rosenquist by Gene R. Castelli Gallery, New York, James with Tommaso Trmi, trans. Adeline Arnaud. Leo June. Exh. cat. with essays by Edward F. Fry Swenson. Exh. brochure (Rome) Rosenquist: Two Large Paintings: Area Code and Jose Pierre and excerpts of previously previously published interview with Rosenquist Galleria Gian Enzo Sperone, Turin, James and Flamingo Capsule, Oct. 24-Nov 14 published essays by Edouard Jaguer. by Glene). R. Swenson. and Rosenquist, Nov. 5-25. —B[aker] I (lizabeth] < "Reviews Michclson \nnettc Pai a I — no 8 Pi, views I rim w> (New York I 69, Internationa 25, 1966 Dei I970).p 61 Castelli Gallery, York, James 1969 p .,l Leo New Gallery, York, Rosenquist: Rosenquist, Apr. 30-May 25. Leo Castelli New Horse Blinders, Mar. 29-Apr. 19 Galerie Rolf Ricke, Cologne, James Dwan Gallery, Los Angeles, James —W[aldman].. D[iane] "Reviews ind Rosenquist, Nov. 17-Dec. 15. ' I ws Rosenquist, Oct. 27-Nov. 21. Pro ji isenquisi rim Pfeiffer, Giintcr "Ausstellungen James — ( anaday.John "Richard Anusrkiewica — , . 65 no i iummei 1966), p I —W[ilson] W[illiam] "Loi Vngi li |ame " /><'* Kunstwerk r, \pi Rosenquist, (o Baer." 4" It's Baffling flu Mew York Him 5 ... < I I u< \ "New fori I ttei " ) , ippard R i v " (San r , irtfonim in aller) -80 (Sum-. mi 2l.no I (Jan I971),pp 79 1969, p 2 I International (1 ugano) 10 no 8 (Oct 20, Francii I no J (Da 1964) p 12 1972 Portland Center for the Visual Arts, Oreg., 1975 Leo Castelli Gallery, New York, James Kunsthalle Koln, James Rosenquist: James Rosenquist, Oct. Jared Sable Gallery, Toronto. Rosenquist, Sept. 24 Oct 15. I i.iuli Mil l< I 'Reviews Loronto V Work: b) I imi Gemalde — Raume— Graphik, Jan 29 — Kelly, David "Unusual Images Jar Gar) h Russell, |ohn " ' irtstanada [brent I Rosenquist I Rosenquist 77ii Oct Mar. 12. Organized by the Wallraf-Richartz- Viewers at [ames Rosenquist show imes ' no 4 nos 202 03 (wintei 1975 76) ^2 2 Museums, Cologne. Exh. cat. with text by ///, Sunday < )regonian (Portl ind) Oct 28 p p 1. "- 1 nr) Gerrit v York Res it ws Evelyn Weiss and excerpts from previously [97 I p 16 Ohio, James ' Yorl published articles and interviews. The New Gallery, Cleveland, I imct Rosi nquist [rtnem (New Amsterdam, James Rosenquist: Recent Work, Jan. 11-Feb. 8. no in Dei 19 p I [0 —Weiss I trelyn Zui \usstcllung [ames Stedehjk Museum, -Rubinfii n.Lco Res ii ws |amcs Rosenquist in dei Kunsthalle." \tu n Rosenquist, Oct. 5-Dec. 2. Traveled as Recent Prints, York, I • • > ( < Jailer) \rtforum Rosenquist to Albright-Knox Knoedler Contemporary New Rosenquist, astelli in Kdln Bulletin I I. no I (Feb 1972), Prints by James Exh. James Rosenquist: Recent Mural Prints, New York 16 no I (Dc« 19 pp 1018-19 Art Gallery, Buffalo, June 12-July 1. 6. ' cat. in Dutch and English with essay by Wim Apr. 23-June PP Ellenzwcig, VUen "Arts Reviews [ames Zimmei W illi im \" H Whitney Museum of American Art, New York, A L Beeren. — Via \a imi (Nev. Yorl Rosenquist I James Rosenquist, Apr. 12-May 29 Traveled Rosenquist In 'i Calif, no i (Sept 1975) p 4 p to Museum of Contemporary Art, Chicago, Jack Glenn Gallery, Corona del Mar, June 30-Sept. 3. Exh. cat. with essay by Rosenquist, opened Oct. 27. Leo Castelli Gallery, New York, James Getler/Pall, New York, James Rosenquist: Marcia Tucker. Rosenquist, Sept. 27-Oct. 18. New Prints, Sept. 27-Oct. 20. I 1974 s, hjeldahl Pi t< i h< Rosenquist I \rts Reviews fame! "Reviews [ami i Pomtret irgar Protetch Gallery, Washington, D.C., Patton Phil. M Synthesis I" in \mttka N< w York I 60 Max In Waga im N - Leo < ist< Hi « I ill* r) Uptown Rosenquist 1 Rosenquist ' Jan. 18. no 2 (Mai \pr l :' pp 36 61 Rosenquist, opened t i 14 I I |an 19 8 Arlfomm New York) I no „o 5 p ( mull., h .In. I h. Big l lit |acel Graphics, New York, Feb. 2-16. pp 69 70 Retrospci rive 1 In New York Finn Castelli Fiji Jim and Bob: Jacksonville Art Museum, , \"- * I [osepli R< iews Museum Apr 23 1972 |- 21 Sec also James »reiss 20-Nov. 20. Leo Castelli Graphics, New York, Nov. 12-30. The Florida Connection, Oct. Rosenquist \rl Mailbag [ames and Galler) Reviews [ames Rosenquist." Reviews [ami Exh. cat. (Api — Drciss. Joseph "Arts Rosenquist Replies." Tin New York Times Im, Magazim (New York) 48, no 7 In \4aga ^lev, York) 19, '.4 Rosenquist Ma) 1-4. 1972, pp 23 24 197 i p no 5 [an 1975 p 14 1978 Battcock Gregorj James Rosenquist." — Mayor Gallery, London, Recent Paintings, Gallery, Edinburgh, In Magazim (New York) 46, no (Ma) Scottish Arts Council Gallery, Los Angeles, James Nov. 29, 1978-Jan. 1979. 9-Mar. 10. Traveled Margo Leavin 1972 pp 49- 52 Revised stightl) and Rosenquist Prints, Feb. i I 1975- . | hi ondon Res iews Museum, Aberdeen, Rosenquist: Paintings, Dec. 12, published in Battcock H hy I" Casual to Art Gallery and Jan. 24, 1976. 1 7, City Museum and Art \,.i, tii, [esthetics oj r/n hnmediati Past, Mar. 16-Apr. on - nd 10 no !4 D I ev, illcn, < onstancc 'Rosenqui Gallery, Dundee, Apr. 13-May 12. Exh. cat. 57-65 New York I R Dutton, 1977 pp '• I I 682 Worli \rtweeh »al Ian I p editor previously published essay by W.A L See also Marcia Packer's lett< t to tin with [976),pp I 16 to B itti oi k irrii I, Irfj Beeren in response Multiples, New York, James Rosenquist Magazine (New York) 46, no 8 (summer 1976 Hand-Colored Etchings, 1978, Nov. 18 Jared Sable Gallery, Toronto, James 1972 i p Saint Louis, James Dec. 30 30-Apr. 1974. Greenberg Gallery, |[eanne] Reviews and Rosenquist, Mar 13, S[iegel] 15 -June 30. [ami Rosenquist, May ' "Arts Reviews Pro iews [ames Rosenquist irtnewi —Nasgaard, Roald Mn, ffler, Philip V."Gi Caller) 1979 Sable.' Irti Magazim (New 71, no 4 (summer 1972 p 58 Rosenquist at Jared York) "" / '- and Mable Ringling Museum Shows Pop Works." St ' The John „, York 18 no 9 |unt 1974 ,p 71 Art, James Rosenquist Graphics ' Sarasota, June I97i B.p.6 of Margo Leavin Gallery, Los Angeles, James Retrospective, Feb. 1-Mar. 25. Traveled Norrkopings Museum, Sweden, James Rosenquist. Lithographs, May 9-31. Lauderdale Museum ot Mayor Gallery, London, James Rosenquist to Fort Rosenquists Litografier, summer. Exh. cat Exh. cat. with introduction New Paintings, Sept 29-Nov. 5. May 8-June 24. Varian. 1973 irina Rosi nquist \rts Review by Elayne H. London, James Rosenquist —Vaizey, M Castelli Gallery, New York, James Mayor Gallery, Leo no 2i Oct 15,1 Exhibition of Paintings 1961-1973, Rosenquist, May 26-June 16. An Albright-Knox Art Gallery, Buffalo, Recent 1974 Jan. 18, 1975. Exh. cat. with PP 5 I —Frank, Peter Revii ws and Previews Dec. 3, Prints by James Rosenquist, June 12 July 1. "2 and previously Nev, York) introduction by David Sylvester [ames Rosenquist ittnen 1977 by Rosenquist B4 85 published statements Museum, Moorhead, Minn., James no 7 (Sept I973),pp Sable-Castelh Gallery. Toronto, James Plains Art [ames 'Round the Galleries Pop Burr, Rosenquist: Seven Paintings, Oct. 7 Nov. 25. Rosenquist, Apr. 9-23. Ipollo (London) 100 Berlin, James Rosenquist, ,,i ,| u Billboard." Amerika Haus - i" ' 518 20-0ct. 27. Exh. cat. with essay by no 154 (De. p Sept. Anete Grafica, Milan, Rosenquist, opened 1980 (.us Rosenqubi Ruhrberg. —Burn, 'James Castelh-Feigen-Corcoran Gallery, New York, Karl May 26. 26, nos 25 26 (Dei I I Review (1 ondon) Rosenquist, May 17-June 14. p 74 47 New I oom I irg James —Clurman, Irene. "Old, Shone and Leo Castelli Gallery, New York, " Exh. cat. with essay by Richard Mountain Russell.John \rl Rosi nquisl in Rosenquist's Work.' Rocky — Rosenquist, Oct. 1-22. previously published statements by ( li 1985 52 //„ \,u \.-d Umes, May 30, I980.se< \,„, (1 rtvi i May 15, p — R..\ \ ivien Vrt American Imager) Rosenquist. —Price, Max "Rosenquist Pop Work Will p. 14 Rosenquist," Hn NewYork Times Denise "London Reviews by James New York —Hooker. ty 1 1" Denvei Post, —Ffrcnch-1 razicr, Nina \ y> Be Very Big in M i" Oct it 1983 ie< ( p Rosenquist Mayor ( iallerj International I unes •\ Letter [aines Rosenquist." Art r 21, 1985. p 19 smith. Roberta "Photos and Realism." P 13 18, Review (] ondon) 34 no (June (Sept Oci 1980). ( Irene "Retrospi ctive R (Lugano) 24.nos I 2 no 44 hum. m, The l illagt l Wo (New York) 28, L982). p 322. May 12. 1985, pp 82 84 Mountain News (Denver), . n l. 1983). 95 p 1 : "' -i rank, Eli: « l pp - 5 ii" ge Nicol is \ "James Gallery, Bay Harbor Islands, Moul nquisi at l astelli- Gloria Luria "Monument J Images Tin Exhibition] I Ro Price, Max Rosenquist i"' (New York) 58, Fla., James Rosenquist: Major New Works, 1,20 Feigen-i New Denvei Post, May 12, 1985, sec D,pp no i (De< 1983). 1 9. p " 137 opened June \ Really Big Show I7ii Vbrl No\ 1980) p _Pri( i Max Nicolas A I lash Art "RosenquistWiew ol —Moufarrege, Helen I '• —Kohen. Denvei Post May 15, 1985 sec D, pp I Reviews |.mies Rosenquist Leo ( astelli.' I'h. Miami FfcroH.June 20, 1982 Paintings, Reality "Visiting Painter I ikes Texas Gallery, Houston, |an — Price, Max no 115 I / lash 4" International (Milan), I - sec . p Denvei Post Sept. 27-0ct. 25. the sue ol I lis Show." The 1984 p 36 I, 3 May 15, 1985, s< i D, pp Metropolitan Museum and Art Center, Coral Rouge.' t "Rosenquist s 1981 K iti lit < arter 1984 Gables, F-lll and Flamingo Capsule, closed (summer Leo Castelli Gallery, New York, James Irtforum (NewYork) 23.no 10 SVC Fine Arts Gallery, University of July 4. Rosenquist, Jan. 24-Feb 21. 1985), pp 92-94 South Florida, Tampa, Rosenquist, May 18- I "Rosenquist s View ol —Kohen, Helen l s — Ashbery [ohn \rt Spai ed-Oul [ohmon, Pi i "Rosenquist " 20, 1982 June 30. " Yorli 97, K, ,ht\ Tin Miami Herald June Works Are Beautifully Rosenquist iSTi wsweek (New I Billboard-Size —Loft. Kim "It Takes Work to < n it< *4 iei I . p 2 Chronicle, hug 31, i i Rewarding." Houston p The Tampa 1 1„ Smell of i Robot Nadelman, ( ynthia Ni « York [985, sei 4 p I — Tribum May 20, 1984, sec G, pp I - " State University, Fort Collins, Reviews James Rosenquist Irtneu Colorado —Fudge.Jane "From Pop's Place to James Rosenquist at Colorado State Ma) 1981) p 189 i inter Space 1 Ik |ames Rosenquist (New Yorl Wetterling Galleries, Stockholm, University, Sept. l-0ct. 31. Exh. cat. with Thorden Retrosp ti> Irtspaa (Albuquerqu James Rosenquist: New Paintings, fall. Gallery, East essay by Ron G. Williams. 20 23 Castelli-Goodman-Solomon I fall 1985), pp Rosenquist Multiple Exh. cat. Rosenquist: Selected I lurni in, Irene :s Rosenquist Hampton, NY, James —Everingham, < arol ] "I m Mammoth Houston Prints, Aug. 8-22. Paints the Signs ol the I imes " The Smith College Museum of Art, Northampton, " Mountain News (1 >enver), Scale Rocky se< G.pp 1,3. Maurice September 2s. 1985 16 Mass., James Rosenquist and Minneapolis, Sepi Vi ekend sec . pp 10, Dolly Fiterman Art Gallery, Heartney I leanoi Rosenquist Sanchez: Artist and Printer, A Decade of — High Technology and Mysticism: A Meeting Revisited." Irtnews (NewYork) 85 no.6 Nov. 8, 1984-Jan. 20, 1985. Castelh-Feigen-Corcoran Gallery, New York, Collaboration, Point, Oct. 30-Nov. 30. ,, iimiii,! 1986) pp 98 103 James Rosenquist, opened Nov. 9 l Rosenquist —Addington, I ran "Rosenqui Russell, [ohn fVrt James 1985 Tinu . New Directions." Minneapolis Tribune, in Retrospective." Tlie NewYork Leo Castelli Gallery, New York, James 1981, sec. G,p 14 1983 |n»e 27. 1986. sec C,p.28 Nov 15, The Persistence of Electrical Fine Arts, Miami, James Rosenquist: Center for the Wallach.Amei "New Flights ol Fancy." Apr. 27-June 18. — 5. Nymphs in Space, Rosenquist, Apr. 22-June (New 29, 1986, part 2, 1982 Rosenquist." Newsday York),June Bacoi —Glueck, Grace "Art: James Gallery, New York, rasker.Frcdi I lying Castelh-Feigen-Corcoran l -5, I 3 tei . pp Tin NewYork rimes, May I 1985, ( 3- Polii Sizzling \gain." flic Miami Herald, James Rosenquist: House of Fire, Mar. j Sozanski, Edward "A Superstar 23 J C,p. 1 P Apr. 17. Pop Artist rwenty-five Years I i St u Paula "A Spai I ml —Harper, I —Larson, Kay "The Fire Within.' Neu York Hi, Philadelphia Inquirei July J, 1986, "" The Denver Art Museum, James Rosenquist Iliui 17k Miami Vow, Apr 22. 1983 15 no sec M.p 12 Paintings 1961-1985, May 15-July 14. see 5 ' I ook Dp NewYork 19 "Art A Good Way to I ire and Ice — Russell |ohn Arts Museum, —Larson.Kay linn Wis the Traveled to Contemporary Tiehs, I aurel "Stai at Frcni h « >ld Masters.' Tlu NewYork — no 28 21, 1986) pp 58 59 Aug. 24-0ct. 20; Des Moines Art (July Stole the Show." The Miami Houston, Star, but Fans I inds l of Pop \rt runes, Mar 26, 19 , 24 Pincus, Robert "Poet Center, Nov. 29, 1985-Jan. 26, 1986; — 1983, ice B.p 2 Herald, \pr 27 Diego ' nion, Bigger Is still Better." Tlie San Albright-Knox Art Gallery, Buffalo, Mar 14 ( I i •"' I High Gluei k > ^" "" I. 4 Barbara Gillman Gallery, Miami, — 27, I986,se< I ,pp Whitney Museum of American [uly 1983 sec C,p L5 May 4, 1986, Technology and Mysticism: A Meeting Point, NewYorl Times, [uly 21 —Hughes. Robert "Art Memories S< iled Art, New York, June 26-Sept. 21, 1986; June. md Scrambled." rime (New York) 128, National Museum of American Art, Van Straaten Gallery, Chicago, James —Kohen. Helen L "Rosenqui no 6 Vug li 1986) p 69 Institution, Washington, D.C., Paintings and Works on Paper, Smithsonian Herald |un Rosenquist: e 'B oscnquist i, Miami —Tout igny, Maurii Oct. 24, 1986-Jan. 11, 1987. Cat., James May. " '-< Devoii I raisons p 2 l pi intn a ses Rosenquist (NewYork: Viking Penguin, 1985), { \\, „,.,. ,l Sept 6 1986 ' Goldman. Wetterling Galleries, Goteborg, by Judith Mayor Gallery, London, James Rosenquist: Thorden Sept. 17-0ct. 16. Paintings from the Sixties, June 1-July 3. James Rosenquist, 1991 Museum of Modern Art, New York, Galerie Daniel Templon, Paris, James The Zero.' Tht I illagt I bio Central Hall of Artists, I evin, Kim "Below Tretyakov Museum, James Rosenquist: Welcome To The Water Rosenquist, Apr. 29-May 30. (New York) 31, no J6 (Sept 9, 1986), p 76 Moscow, Rosenquist: Moscow 1961-1991, Planet, Feb. 7-May 1 Traveled to Laguna William. "James Rosenquist Put 5. Exh. cat. in Russian and —Wilson, Austin, Tex., Sept Feb. 5-Mar. Wetterling Galleries, Gloria Art Museum, Daytona Heland Thorden Donald J. Saff and I Sreat \merican Artist?" English with essay by On oi 1990; University of Missouri, Stockholm, James Rosenquist: Paintings 8-0ct. 21, Sunday News-Journal, Sept 21, 1986, previously published essay by Craig Adcock Beach 20-Mar. 22, 1991; The Art 1987-Jan. 17, 1988. Exh. cat Kansas City, Jan. I" 1987, Dec. 3, sec H p of California, Santa Rosenquist. Museum, University York with statement by Julio Gonzalez, Valencia, Donald "New | IVAM Centre —Kuspit Barbara, June 25-Aug. 11, 1991, Center for Exh. Rosenquist: Whitney Museum ofAmerican James Rosenquist, May 17-Aug. 18. the Arts, Vero Beach, Fla., Dec. 1-Jan. 19, i by " (New Y.>rki 25, no 2 1988 cat. in Spanish and English with essay Art \rtfoTum University of Kentucky Art Museum, University Gallery and Museum, 1992; 128-29 Florida State Craig Adcock, previously published statements 1986) pp Mar. 22-May 10, 1992. Exh. cat. James Rosenquist, Mar. 11- Lexington, •'Exhibition Reviews Tallahassee, by Rosenquist, interview with Rosenquist by —Tillyard,Virginia (Mount Kisco, New York: Tyler Graphics, Traveled to the University Gallery at Whitney Museum Rosenquist Apr. 17. David Shapiro, and previously published NewYorl 1989), James Rosenquist: Welcome to the State, Memphis, Apr. 29-June 12; Doon Arbus, The Burlington Magazine Memphis interviews with Rosenquist by Retrospective." Water Planet and House of Fire, 1988-1989. of Art, Lakeland, Fla., Gene 1003 (Oct 1986), Polk Museum Richard Bernstein, Jeanne Siegel, I ondon) 128.no Goldman. Published in with essay by Essay by Judith Sept. 16-Nov. 25. Exh. cat. Swenson, Mary Anne Stamszewski. Trans. 71-72. conjunction with this exhibition and the Craig Adcock. Raffi and Harry Smith Paul "James Rosenquist's in Javier Garcia —Richard, traveling European exhibition originating ffett. William "Publication! P I ime flu I I andmarks in Dreamy 1989 at Heland Wetterling Gallery, Castelli Gallery, New York, James in \" lames Leo [wi mi th 1 1 ntury \meru Washington Post, Ocl 1 V 1986, se< < organized by Tyler Graphics. of the Needle to Stockholm, and Rosenquist: Through the Eye Rosenquist." Buriington M Ion) 1-2 -\'"" Explorations in S| pp. —Wallai l' Apr. 23-May 14. ' 159 "'Pop Prince the Anvil, [34.no I"" |uly 1992 p —Allen, Jane Addams Newsda] (New York),Feb 8 I990.part 2. Washington Rosenquist Looks Ahead." 111. Chicago, IT i Richard L. Feigen & Company, I 1992 24. I986.sec B.pp 9 1 ol nm«,Oci —"James Ros< nquist it 1" Museum Rosenquist: New Work, May 5- York, James Rosenquist at James Gagosian Gallery, New —Schwabsky, Barry "James Modem Art." I" Vow Caller] i Early Pictures 1961 -1964, June 24 1 Rosenquist: The Whitney Museum." Artscribe , 20. no. (Mai 19 the i, Plains. NJ.) 7 11. Exh. cat. (New York: 60 (Non Dec May 2-July International (London).no p 'ii, USF Art Museum, College of Fine Arts, Gagosian Gallery in association with Rizzoh, [986), pp 77-78. James University of South Florida, Tampa, Judith Goldman, with essay by "Rosenquist in Francisco, 1992) by — Narrett, Eugene Erika Meyerovich Gallery, San Rosenquist at USF, Oct. 10-Dec. 3. Exh. cat. Goldman and interview with Rosenquist by Retrospect Wrestling with the American James Rosenquist, Welcome to the Water with essay by Donald J. Saff. Goldman. \" Examinei (( hi< igo) 14, 1988-1989, i loddess.' New Planet and House of Fire, —Kimmelman, Mil had I rom no 4 (Dec 1986). pp 23 25 Apr. 6-May 12. Look it I irlj P 1989 Rosenquist, a Pli ising —Jones, Roland. "Reviews: Nev, York Company, Chicago, wYork fltnei I 1985, Richard L. Feigen & James Rosenquist Paintings 1961- Glenn-Dash Gallery, Los Angeles, James Flashl.fe, opened May 12. James Rosenquist: Planet and P 33 Whitney Museum." Flash irt International Rosenquist, Welcome to the Water "Unloading the * inon I u Kay 7-May 5. (Milan).no 131 (De< 1986 [an 1987), House of Fire, 1988-1989, Apr. Richard L Feigen & Company, London, p 88 Rosenquist: New Paintings, 62 63 "Advertisements for a James Company, Chicago, pp ( otter, Holland Richard L. Feigen & "« I lassi. Pop.' York) June 27-July 28. I" in Imerica (New Welcome to the Water '' M, m \_ topia James Rosenquist, '"" Y[ood] ,J[ames] Reviews I Village Voice (New York 82 89 — of Fire, 1988-1989, I 1987). House 75, no (Jan pp \rtforum Planet and Feigen & Company p 96 Rosenquist en el Rosenquist: Camnitzer, I uis 'James May 5-June 2. Smith \ — I David \ (New York) 28, no 2 (Oct 19* —Bart ray I hitney ' I"' en Colombia Museo\* (Madrid s 229 10 s,. Rosenquist." Coya i 81 4 19 pp New York, James (Bogota),no 33 (May 1987) pp Leo Castelli Gallery, 05 I 104 i »cl 1992). pp 20-Nov. 17. [uly Rosenquist, Oct. l |ami Rosenquist Gallery, Stockholm, Guti an I Saint Paul, Heland Wetterling "Reviews James Roi [uisi Catherine G. Murphy Gallery, —Bass.Ruth Sept the Water Planet, Nov Uelia (Tokyo).no 78 to I Sept. 4-27. Welcome \rtneun (New York) 90 qo James Rosenquist Prints, Leo< astelli ind |apai 1989-Jan 1990. Exh. cat. with essay by pp jo >9 In I nglish [an 1991). p 143 K[uspic].. D(onald] B Judith Goldman. [ames Rosenquist , Mi | Rourk- 1986 Rosenquist Gago ian Gallery." \rtfoi 65.no 5 (Jan Wetterling Galleries, i,,, Uagazim (Nev, York) l4 Heland Thorden (NewYorl " Ladies 1990 James Rosenquist Prints: [991 83 Stockholm, Editions, New York, p Universal Limited Art James Terrace, Oct. Decter, [oshua "Reviews Cobo, Madrid, of the Opera Never Mind: From Galeria Weber, Alexander y James Rosenquist— F/ 49 1997 Malevolent 1995 Heartney, I leanor "Reviews Thaddaeus Ropac, Paris, James — Galerie Thaddaeus Ropac, Paris, Galerie Pyo Gallery, Seoul, James Rosenquist: Ii « York) 92, no 6 Paintings, Oct. 17- D,,ll-. Rosenquist: Three Large Paintings, Rosenquist: Recent The Big Paintings, Mar. 7-30. Exh. cat. in James p 167 The Serenade for the Doll 4-Mar. 8. Nov. 21. Exh. cat., Korean and English with previously published Feb. —Adams. Brooks 'Review .'t Exhibitions Debussy or Gift Wrapped Dolls after Claude essays by Kay Larson, Meg 0'Rourke, Carter |ames Rosenquist at Castelli." -1" "' Target Masquerade of the Military Industrial Heland Wetterling Gallery, Stockholm, and ( Smith. I9 Ratcliff, and Roberta \merica (New York) 82 no I Jan Complex Looking Down on the Insect World, Practice, Mar.-Apr. Exh. cat. with statement 109 English with essay by Ann P Rosenquist. in French and Seattle Art Museum, James Rosenquist by statements by Rosenquist, trans. Hindry and Paintings, May 15-Aug. 6. Alyce de Roulet Williamson Gallery, Art and Nathalie Brunet, Neal Copper, Helene Gille. Center for Contemporary Graphic Art Center College of Design, Pasadena, Tyler Graphics Archive Collection, Fukushima, Civico Museo Revoltella, Galleria d'Arte Rosenquist: Recent Paintings, James Japan, The Graphics of James Rosenquist, 1993 Moderna, Trieste, James Rosenquist: Gli anni Mar. 27-May 29. Center, Minneapolis, James Mar. 1-June 15. Exh. cat. in Japanese and Walker Art novanta, June 11-Sept. 15. Exh. cat. in Time Dust, The Complete English with essay by Judith Goldman and Rosenquist: Italian and English with introductions by Galerie Thaddaeus Ropac, Salzburg, Mar. 7-May 9. interview with Rosenquist by Kaoru Yanase Graphics, 1962-1992, Roberto Damiani and Maria Masau Dan and Rosenquist. Recent Paintings, Honolulu Academy of Arts, James and Shunichi Kamiyama. Traveled to essay by Craig Adcock. Blaffer Apr. 3-May 22. Exh. cat. June 16-Aug. 8; Sarah Campbell 10-0ct. Singapore, Gallery, University of Houston, Sept. 1996 Wetterling Teo Gallery, Akira Ikeda Gallery, Japan, James Works 1996, P. Harn Museum of Art, James Rosenquist: New 31, Samuel Indigo Galleries, Boca Raton, James Rosenquist: The Serenade for the Doll after Florida, Gainesville, Dec. 5, 15-Sept. 30. Exh. cat. with statement University of Rosenquist: New Paintings and Constructions, Aug. Claude Debussy or Gift Wrapped Dolls, 1993-Feb. 1994; Montgomery Museum of by Rosenquist. 6, Feb. 8-Mar. 2. Sept. 3-30. Exh. cat. in English. Fine Arts, Mar. 8-June 13, 1994; Huntsville Oct. 23, 1994-Jan. 8, Museum of Art, Ala., Graphicstudio Gallery, University of South Feigen, Chicago, James Rosenquist: Gift Museum of Art, Madison, 1995; Elvehjem Florida, College of Fine Arts, Tampa, James Wrapped Dolls or Serenade for the Doll after 4-Apr. 30, 1995; Joslyn Art Wise, Mar. Rosenquist: A Retrospective of Prints Made Claude Debussy, Sept. 10-0ct. 9. Exh. cat. Omaha, June 17-Sept. 10, 1995, Museum, at Graphicstudio 1971-1996, Apr. 11- with poem by Jessica Hagedorn and Museum of Art, State University Neuberger June 27. previously published essay by John Russell. Purchase, Oct. 22, 1995- of Mew York at —Milani. Joanne "Rosenquist: The Vision San Diego Museum of Art, San Jan. 7, 1996; Tampa Tribune, M.i\ 5, 1996 1994 Quest Fhi Diego, Mar. 2-May 5, 1996; Davenport i : Richard L. Feigen & Company, London, pP Museum of Art, Iowa, Mar. 1-Apr. 27, 1997. Rosenquist: Gift Wrapped Dolls, The University Art Museum, James Organized by Castelli Gallery, New York, James 25-June 24. Leo State University, Long Beach. Exh. May California Rosenquist, 4 E 77 St 1970 Revisited and of Rosenquist's prints cat, catalogue raisonne New Paper Constructions from Gemini Leo Castelli Gallery, New York, James Rizzoli in association with the (New York: Apr. 20-May 18. Exh. cat. with The Thirtieth Anniversary G.E.L., Museum, California State Rosenquist: University Art statement by Rosenquist. Exhibition, Oct. 15-Nov. 12. Exh. cat. University, Long Beach, 1993), Time Dust, "Reviews [amej Graphics, — Aukcnun. Anastasia James Rosenquist: Complete Ropac, Paris, Irtnews Galerie Thaddaeus Rosenquist I eo ( astelli 1962-1992, by Constance W. Glenn. 122 James Rosenquist: Target Practice, (New York i 94 no 2 Feb 1995). p and Steven Henrj Mjdoff. — Abbe, Mar) May 14-June 15. Exh. cat. with statement —Kahna, Richard "Review of Exhibitions Prii \rtnewi I" '" by Rosenquist. fames Rosenquisi at Leo ( istelli (New York) 9 Inuriu Mev, Yorl Mai 1995 p 125 Feigen, Chicago, Target Practice: Recent p. 100 Paintings by James Rosenquist, May 31- Castelli Gallery, New York, James Leo July 26. Exh. cat. with essay by Craig Adcock Wetterling Teo Gallery, Singapore, James The Serenade for the Doll after Rosenquist: and statement by Rosenquist. Rosenquist— Paintings, Oct. 31-Dec. 4. Claude Debussy or Gift Wrapped Dolls and Military Industrial Masquerade of the Brenau University Galleries, Gainesville, Ga., Wetterling Teo Gallery, Singapore, Flower Down on the Insect World, Complex Looking Rosenquist. Painting and Prints, Paintings, Nov. 1994-Feb. 1995. Exh. cat. James Mar. 20-Apr. 17. Exh. cat. with statements July 13-0ct. 4, Exh. cat. with essay by Craig and interview with Rosenquist by Rosenquist Adcock. Portland Art Museum, Oreg., James by David Whitney. Rosenquist: Recent Work, Dec. 9, 1994- "A Painter I inds I hat — Russell.John Gemini G.E.L., Los Angeles, New Paper ' \nrVork Apr. 2, 1995. I ( Dynamitt Thi lolls in Bi Constructions, Sept. 20-Dec. nma.Apr 11 1993. p JO 50 SELECT BIBLIOGRAPHY 1982 9 1995 Moonlight \rtnews (New York) 1 no with Janice Yang ' Snodgrass, Susan d« Mba "An Intervii m Compiled by si itement in 'Returned to (New 1978), p 62 original-publication \i ,n w ho Painti d I lying Bacon Mosl citations provide Remembering Ray Johnson R S.V.P." irtfontm th, I I I I982.se< B only Reprints or later versions aw lh. Miami \<« |unt pp information (NewYork) 13, no B ^pi 1995).pp 75,113 or significant!) 1979 given it commonly referenced Rosenquist, James Drawings II hile Waiting originals, 01 il original sources 1983 revised from the 1979 1996 Nev, York I app Princess Press, foi an Idea. Paul Inti rview |ames Rosi nquisl uli to i s '"' " ( ummings are partii ularly diffi< fames Rosenquist, 4 ' ' Statemenl in (New ( ummings Drawing l Paul nstructiom from Gemini jia with I and V" Pai Statements 1987 0r 5,no 2 |uly r\ug 1983) pp 10 14 Books, Writings, and istelli I Gallery, Y y Artist C.E.I p. 1.1 -li cat Leo< Statement in James Rosenquist Paintings 198 . the Artist 1. by T/hordcn New V- 1 unpaginated Exh cat . Heland othei pan 1987 Sources died below may also appeal in Stoi kholm Galleries, i Ros< nquisi WetterUng s, ,.. iki Mary \ntu |am< 01 in the Exhibition History Paintings by in j I, ,/„ Seleei Bibliography Statemenl in Etisei Practici Retenl "' (New York 21 (fall 1987 pp !4 Feigi n I Bomb /.,„„ Rosenquist, p. 1 Exh.cal 1988 ]anu Rosenquist VewWbrl 1963 Wis- M n Reprinted in Statement in ( atherine Barnett Rosenquist's 'New Realism.'" In "Young reo Gallery, Singapon 1990 |ames Feb. h cat .Wetterling York). • Fish Hero Irt and Uniques (New [ames Rosenquisi Inti special issue ol I" in l"""-' Talent USA." '"'"' 1988, 91 < I 48. p i„, i (New York) 51, no. 3 (June 1963), p Interviews 58 ' ommissioned Works pp 8 othei parts oj Rosenquist'i Sources cited below may also appeal in • with i ion [mericans 1990 Stockholm Paintei Po tci ii ( Miller, ed in tlu I xhibition History Statement in Dorothy th, Select Bibliography oi Rosenquisl's < ommissioned Museum of Modem Statement in James rling Gall ry 1990 iw,i, 87 I ich cai rhe p Painters Posters in II, „k p 6 Stockholm Art. New York 1964 ,„„,„ with WetterUng Gallery 1990 Part II 1991 Swenson. G[ene] R "What is PopAri |U»« I 1 '^ Durand,Rcgis 1968 Stephen Durkei [aspei [ohns |a i l '' |,|r,sl ,. di imagi 1992 i | ini arnation " l ' l2 ss ! '' In James Rosenquisl,p I" Vet " "Experiences." Paintings romWesselmann." si itement in James Rosenquist no 158 (May I991).pp 14 21 C anada, Ottawa 64 II"-- National Galley ol ,„, |0 (Feb 1964), pp 41.62 cat., 'I nglisl \Q90-i992 pp i Spanish), J1 < "I"' Madrid In Alexandei j ' I verything." cat., Galena Weber, Shapiro David elebrating 1969 1965 ' 76 84 (Spanish), 209 I Interview 'ami Rosenquisi pp Horse Blinder* I" Now .Glene] R rh( I 111 \n "James Rosenquist foi Swen Rosenquist flu Serenade I entn |uUo I cai IVAM Statements in James (] nglish) «h 2 (Feb 1969 Rosenquisi by G P Swen l.no l VewYork (New York) CiftWrapped with |ames r lUl "" Debuss) o\ , I ,/„ Dollaflei Claud, il Valencia previously Vbrk) J2 no. 4 (fall 19 Excerpt from a artiian Review (New unpaginated Military Industrial p Dolls and Masquerade of tlu Harry Smith dated De< 12, 1968 .,n| unpublished statement World, pp 589 Looking Doivn on f/ii bisect l ompla appears in its entirety in James rhe statement ' Galeric rhaddaeiw Ropa< Interview with James Rosenquisi pp iv I Oi cat faylor, Paul 21 29 (Spanish), 196 (English) 1968 Rosenquist,?? French trans Nathalie no 28(1991 pp 11" Paris In English ind Blue Parketi (Zurich), Centre Julio Gonzalez Swenson, Gem Social Realism in Exh [ u IVAM Gillc Reprinted 25 German Irans Brigii Brunet,NeaK ooper, Hclene , lvhl [22 Raffi ind with |ame R iquist." Studio Valencia, 1991 Irans Javier Garcia A,, Interview astelli Gallery. NewYork, in exh cat ,Leo< \\, tutein Internal al London I I t.i 1 1\ Smith. 1993, pp 5, 15 76 83 pp 1992 "" Really a ui Ml1 " 1971 Paul Gardner 'Do rides Bonami.Frati 27 International I 1 Ocl De< 1971). pp. 24 quist") Opus |am« Kansas) 4. (udith \n Interview with 1993 (French), Goldman 29 30 (De< 1971 pp 16 *9 "The Second nos Goldman lames Rosenquist Statement in Milton Esterow nqi (English) Irans Nicola Raw Ml 15 104 I ' quisi Irlfomm 1977 \nnews (NewYork) 92 no B I 1993 Dream?' > rhe Iwentieth- 1972) p| Ini Statement in Grace Glueck (June Whitney David "James Rosenquisi l 19 [99 i p "" Most Admired by Other Inj R /'«'" ( entury \rtists ofFebruary '.5 1993 (Nov York) 76.no 9 1974 ( laud, D Amsts" Arlnews (Nw ,,, fonhi Doll after 1994 "Pop! Interviews wit! ruchman.PhyUii ''« W«'/Mr] 1977) pp 98 99 Welcome to Wrapped Dolls and W Statement in Eugenia Bom Lichtenstein. James Vndy Warhol Roy Down on tlu Insect ei May 9, omple* Looking flu VeivYork Ol Industrials Sponge ( icy." I nquist. and Robert Indiana 1978 is 1994, p May I974).pp ! ' touching (NewYork) Statement in Judith Goldman 51 New 1 langar for Geldzahlei Henrj "James Rosenquist's F-lll Kramer. Hilton "Art A ascelli Gallery, Boorsch Suzanne 'New Editions: James il,.-/,/ pp 2-3 Exh cat . Leo ( Bulletin Rosenquist's Jet-Pop 'F-lir." /'" NewYork (New York) 74, no I In Metropolitan Museum oj in New York Rosenquisl irtnem 81 Inn,-. Kb 17, 1968, p 25 scpt (NewYork) 26.no 7 (Mai I968),pp 276 ( 1975), p. 52 1994 Rosenquisl -The Gladstone Valerie 'James Rosenquisl Vikings Kuspit, Donald 'James Interview with James k h Suzanne 'New I ditiom James VK ocl of the irtnews (New York) 90 no * Fragments of a Romance rhe Romance /Irfrifiw (NewYork) 77 no 1 (Jan, indVodka Rosenquist." In Susan Brundag Rosenquist." Fragment." C Magazim (Toronto) no 11 (June 136 Ocl i "''I pp 73-74 in ../ //„ Big Paintings Thirty Yeai p 1986), pp 70-73 unpaginated New York Leo ( astelli "Art People.' Tin NeivYork I e Painting / ifi Grat association with Rizzoli, 1994 Brewster, Ibdd 'Evolution ol a Gallerj in Frankfurtei I eiser. Erwin."James Rosenquist." *4-'>4 1982. sec ( 25 igo) 4,no.2 deb 1981), pp rimes. Apt 16. ,p 4 llgemeine Magazin (Frankfurt) J4, no 338 Photographs bj Roberl \delman 1997 13-18 Goldman, Judith. "James Rosenquist." In (Aug ::. 1986). pp. Yanase Kaoru and Shunichi rCamiyanu M.irket Rosenquist's Contemporary Masters Tin World Print Awards, In Brooks \ ilerie I 'The -\rt ;, « with James Rosenquist ' "Mystikei mil Hang air •. Susanne |o- < il, in Lingemann, Art Performs Irfnn NewYork) pp 52 i h cai World Prim oum Ih, Graphics oj'Jama Rosenquisl pp 16-20 Market: Pop -1" Kunstmagazin (Hamburg), 2" cooperation with the San Francisco Museum ol Crosse". Das 83 no J (Mai 1984), p 44 i at . Centei |apanesc I, 49 (English) Exh l I no | (Mai 1993), 7x- M Modem Art. i alifornia ( ollege ofArts and pi' i,, i ( ontemporai I !raphi< An and rylei j of Arts ( Mtts and Osaka University Nicolas and Elena < alas "James (Oakland), \rchive ( ollection, Fukushima Graphics Rosenquist Aspects ol Prim t ouncil, 1983 1 ippard, Lucy R "James Rosenquisl Vision in the Vernacular." In San Francisco World tl os 4. 4 .i Multiple Art [rtforum Angeles) no Articles and Essays Magazim (New York) 44,no 2 (No\ I (Dec 1965), 41-45 Rosenquist's man, < athj Lynn "Deserving 1 qual pp : in periodicals, 38-39 Reprinted as "James n'on includi fi appearing PP .""/ nil Miami Herald De< 10, 1981, ista In ( al is ind ( alas r«mj Space." ollaiiom oj essayi and growp-i ehibition catalogui Angular\ Litt. Steven "Icon of the Sixties." The Plain sec I i ii„ Sixties NewYork E I' Dutton, B, p Dealei (< leveland, Ohio). Ocl 26, 1991, sec K 1971, 117-22 Mloway, 1 awrenct I »erealized Epic." Arifonm pp is I In Peak 1-2 I lamilton, Susan Big Beautiful pp. (New York) 10, no 1" (Junt 1972) pp 35-41 t (Singapore) ll.no 1 18 53 <. anaday, |ohn Art Well the House aughl Rosenquist -" I oft, Kurt Film on James TTti NewYork Finn Mai 17, 1968 i fire, and- Amaya, Mario "Artist's I ation a I orner." I h< Tampa Tribune, Ii It Shouldn't Paints Artist into H|ess| . r|hom.is| "Editorial sec I ), 33 with iquist." Architectural Digest I os p. | Mi) 22. 1987, set F,p 3 Happen to . Hoving Happening." \rtnews Angeles) J7,no 2 (Mai 19 50 52 It.' (NewYork) 67 no 2 (Api 1968). p 29 i anaday.John "It Would kwfullj Nice If We /'" /,»"/>.' I ,,n Knrt "James Rosenquist." about Nihil;" Arbus, Doon.'The Man in the Paper Sun" Were All Wrong theWholi sei 1- 2 < mi. the ( enter" Tribune, Ma) 20, 1984, G.pp I An I 'Playing at nil Urnes, Feb 25, 1968. se< 2, p. 23. lorn, aurie I Journal Tribum Magazim SewYork //„ Miami Hew/rf.Apr 2<>, 1983, ecJ p.6 I \,n 6 I966,pp I oring, |ohn James Rosenquist's Horse ( harbonneaux, ( atherine. "Marche Le Pop Blinders." Irts Magazim (NewYork) 4~.no 4 It's Imiinv Rosenquist — An Artist in the ( '.onnaissana fi I',,, i Rosenquisl "Art: Pop Bing-Bang L indsi apes Tiim unes 1 '.4 ' 5-6 |arring Blend of Billboard Pie ces.' 1 i/< pp. /-///" a h„ ago) 52, no 24 (June 15, 1962 ,p I 16 c I Rosenquisl B|atu 52 1 Rosenquisl In Vmaya Reit". Kit.i Rosenquisl Painting Tallman, Susan "Big." irts Magazine (Nev. Y Amaya, Mario. "James < ( Brush" "James Mi .ill I touglas "Pop Goes the Ness The NewYork 65, no 7 (Mar 1991), 17-18 and iftei York Viking P I I tor Price." pp I Auctioned Record St Petersburg Timt f, |ul) 6, 1986, se< pp 1966, pp ''i 96 McGuigan,( athleen "Newsmakers." Newsweek rimej,No\ 13, 1986 p 21 -\ I illiui. Sidne) "Rosenquisl at the Met (Los Angeles) 99, ao, 4 (Jan 25, 1982), p 61 i Rosenquist, Hi "Rosenquisl Hearst Mural." I" World (New Garde or Red Guard: Irtfomm (Nev. York) '>. Brundagi Susan d James Castelli is, 8 1968), 46 49 Paintings Thirty Years, Leo NewYork 12, no I (Ocl No> I987),p. 1. no (Apr pp M[essinger] 1 [isa] M "Twentieth < entur) York) ... i ,..i, Rizzoli, i Hi Galler) in assoi iation with James Rosenquist " In "Recent Acquisiti.nr. i ously with the Trini.Tommaso "L la via Rosenquist." Domus 199 Published limultani I Rosenquist." \ Selection 1993-1994," special issue ol Tht Sandberg, Bets) ife James JS-s 4'' exhibition James Rosenquist i7i< Thirtieth Freeman (Kingston, NY), Dei (Milan), no (< » C | 1967) pp 46 Metropolitan Museum oj \>t Bulletin (New York) rhi Daily [nniversary I xhibil • Hi < rallery, In Italian uid I nglish 52,no 2 (fall I994),p 73 1986. p. 7 New V "Rosenquist Work Brings —"What It Is" Irtnews (New Yorl 94 Robert ( the F-lll r\ ( oil Tully.Judd M[essinger]., L[isa] M "Twentieth < entur) Scull "R« ' Post, 13,1986, no ! (Feb 19 " Notes" Metropolitan Museum oj I" Bulletin Million The Washington No\ fames Rosenquist In "Recent Acquisitions The (NewYorki 7 (Mar I968),pp 282-83 p 13 A Selection 1995 1996 "special issue ol Tin 26,no t I i Henn ( onstam i W Timi Hut, Jam* Metropolitan Museum oj in Bulletin (New York) < 1962 1992 New Art Ivkr. Ken "The Piper Dance.' In Masiet Prints Rosenquist omplett Graphics Shepard, Richard I loWhat Lengths Can S4.no 2 (fall I996).p 64 tin I Iniversit) and Stella from the York Rizzoli, in association with I by Hockm Johns, Rosenquist, i „, //„ NewYork Times, May 13, 1965, p. y, Vaduz Art Museum, ( .ihiornia State Univei lit) I ong Ulja Collection, pp 1 14-47. Exh cal 1 »IA Detroit Miro, Marsha Stai I Kiel Invades the Published in i onjuni don with I in Beach, 1993 1 iechtenstein I he Lilja Art I und oundation Slesin, Suzanne New York Artists in Residence: /•„... I". se< I >. 8 Photographs i „, Feb 1987, p Art enter. exhibition organized b) the Univenit) York) 77. association with the Henie-Onsl id Arl < Mann\ Crisostomo James Rosenquist." Artnews (Nev. by University I ong Hovikodden, Norway, and Azimuth Editions Museum ( ilifornia State no. 9 (Nov 1978), p. 70. Walker Art (. enter. Bi a< h. and originating at the 1 ondon, 1995 lor Nelson. Garet "Artist Honored I'op Minneapolis Sparks, Esther "James Rosenquist." In Sparks Prowess." Si Petersburg rimes, Hernando van der Marck.Jan ' Of< ours, it- Art, and the / un;".il limited Art Editions 1 History and . 1,7 rimes ed Ma) 7, I987,pp. is Judith James Rosenquist NewYork Bacon Reall) Flies." Thi Miami News Feb Goldman, Catalogue The First Twenty-five Years, pp 256 69 Viking Penguin, 1985 Published simultaneous!) The Art Institute ofChii 1982, set r\ p 9 brush with Greatness." Exh cal ( hicagO Osborne, < atherinc "A with the exhibition Janus Rosenquist Paintings NewYork: Harry N Abra.ns. 1989 York) I. I (Mar 1988), (New no I Profiles, in, the lenvi i \ri a Rockei into 1961 1985 organized b) "The 'V.is.in' I )i..r\ 'Like Sending 14-35 72 pp (Ma) 5 Museum " spue" Irtnews (Nev. York) 78,no 5 Stallings, Dianne The Good News:Aripcka I —Heaiiin s. I leanoi Hooks Mixing u i 12-13 Artist's Mural Lures S2 09 Million" Si Petersburg I979),pp [bo Much of the Same." Irtnews (Ni h Perreault, John "An ( lirls and Pipe romatoes Times ed., No\ 14 1986, (New York) 13, no 19 (Feb. 22, Times, Hernando 44 -^ The I Wage Void York) HS.no J (Mai 1986), pp Wallach.Amei "Making a Mural Emerge fo 1,10 ' 1968). 18 pp. Sandback.Am) Bakei Hooks | p Printing Press." Newsday (NewYork) Ma) 19, Rosenquisl Irtforum (Ni w York) 'A no I 1974, pan 19 20 Sterckx, Pierre 'La peau du collage selon Ibm 2,pp Rosenquist and i > Pincus-Witten, Robert D, 198 i pp 16 ' Irtstudio wesselman [sic] et James Rosenquisl Samaras The Obsessive Image and Post- Wolf. Erie.. "James Rosenquisl In Sam (winter 1991), *4 95 I (Paris).no 23 pp Watei Planet and MinimaUsm." irtforum (New York) ll.no. Jam< Rosenquisl Welcomt to tin Hunter Selections from tin Ueana and Michael 7 '< b) fudith (Sept 1972), pp ' 69 and House o) Fire, 1988 1989 Essa) Sonnabend < ollttlion Wbrh from the 1950s Wade. "Rosenquist, le peintre de Stevenson, Museum Goldman Mouni Kisco n V [yiei Graphics J' 1960s pp 85-87 Exh cat.,TheArl I'imaginaire-reel." KXt Siich (Paris) no uropi >l i I Porter. Hob "Rosenquisl Has Local he" 1989 Published on the o< i asi Inns Georgette Princeton University, 1985 (June 1975), pp 155 61 Planet Dallas nimei Herald, [an 6 I966,sec A.p 14 exhibition Welcomt to tin Watei Minazzoli. I laller) ai Heland W tterling to I inal originating Ynclan, Nery "'Star 1 hiefTakes Ofl Published [ames Stockholm, and organized b) Met Graphics, "Prints and Portfolios Miami Herald June 6, 1983, Rosenquisl " USA Day Acclaim." Uf Story, Richard David "James exhibition /. Rosenquisl Night Transitions." Thi Print and a traveling Ami rii an set B,p J Arlington. Va.). Nov 13, 1986, se< D, p 5 Today | ..„,., On Watei Planet Collector's Newsletter (New York) l6,no 5 Wtlconu to 17'' organized b) ["he Museum ol (Nov.-Dec. 1985), p, originating al and Makes' Books Swenson.Gem "The Figure a Man Modern Art, New I includes books, chapter: oj books, sections I This tection Irtists (NewYork) 3. no Parts I 2 in and Prints and Portfolios Published James to xhibitions, dissertations, and brochures unrelated 26- 29; no 2 (Ma) I9i qj d 1968), pp [if /it! I ommi lioned H Rosenquist, Off the Continental Divid* s ""'" «ted below may as well as telecl book reviews 42 4S Reprinted is "James Rosenquisl in usociation with York) 5, pp Painters Posters I'h, Print Collector's Newslettei (New Stockholm appeal in the I thibition History in "Gene Swenson also The Figure a Mm Makes" Wetterling Gallery, 1990 „o 1 (Jul) \ug 1974), p 66 24-1 Retrospective for a Critic Ocl •\dlei Edward |crome "James Rosenquisl 17i« Register the Museum 1971 "special issu* ol of Philip James Rosenquist Tim I "Prints Portfolios Published James the I arson, and Chaptei in "American Punting and publication ol the University 1992 oj \n (Lawrence; a Mourn Kisco N \ tylei Graphics, Moor I D'Oi I ime '" diss . Rosenquisl ime I Ph D 53-81 Vietnam War, pp 92 Kansas) 4 nos ',-7 (1971), pp //„• Newslettei (New York) 21, of Pn'fii ( ollector's New York University, 1985 26 no. I (M.ir-Apr 1990), p 53 Acknowledgments worked with her. Thanks major mural Groom, Exhibition Design Coordinator, who has Oceans and continents have been crossed in order to realize a Quigley, Head Registrar, Collections and Exhibitions, spaces of the Deutsche are also due to Suzanne by James Rosenquist within the new exhibition and insurance of the works, and this who has expertly coordinated the shipping Guggenheim Berlin. The idea of commissioning Rosenquist to create and Julie Paul Schwartzbaum, Chief Conservator, Guggenheim Museums, monumental work—an important act of international patronage—was that to Conservator, who have supervised the preservation of the After the project was Barten, Assistant of the Guggenheim's Director, Thomas Krens. and drawings. David Heald, Chief Photographer and Director of Chief Curator, and I made paintings launched, he, Lisa Dennison, Deputy Director and provided counsel on photographic issues, ensuring studio in Aripeka, Photographic Services, several trips from New York to the artist's home and murals be reproduced with the utmost accuracy, and to discuss with the that Rosenquist's Florida, in order to survey the work in progress and photographed the drawings and might take en route Ellen Labenski, Assistant Photographer, artist the various and changing directions that the work Installation plans. installation team, consisting of Steve Plaxco, one of the three paintings that working The to its final destination in Berlin. Meanwhile, Rommel, and Kai Volkmann, was the opening of Specialist, Claus Maier, Jan Pippardt, Uwe comprise The Swimmer in the Econo-mist made its debut at thankful for the contributions made by Marilyn JS sneak preview outstanding. I am also the Guggenheim Museum Bilbao in October 1997, offering a Judith Cox, General Counsel and Deputy 1998. Goodman, Director of Education; of its final and complete display in Berlin in March Assistant Gail Scovell, Associate General Counsel; Julie Lowitz, thanks to James Rosenquist himself. Director; I must extend my greatest Public Affairs; Julia responding General Counsel; Scott Gutterman, Director of Throughout this evolutionary period, he was admirably flexible, Coordinator; Jocelyn Brayshaw, Chief Preparator; turn next. The immense Caldwell, Public Affairs to questions and suggestions about which way to Laura Latman, Collection Registrar; sheer dimen- Liz Jaff, Assistant Preparator/ Paper; problem of completing a wrap-around mural revived, in both Video Production; and Allison Lane, Italian Ultan Guilfoyle, Director of Film and sions and lofty ambition, many of the frescoed walls of the an Producer. Renaissance. In effect, he has created, more than three decades later, Joanna Clark, Thanks also go to curatorial interns Joanna Berman, update of his epic masterpiece, F-lll (1964-65). enthusiastically pro- Lai Orenduff, Sonya Sinha, and Daphne Walker, who Supporting this complex enterprise was a curatorial staff that was project. wonderfully vided assistance on numerous aspects of this not only well informed about the artist's work, but that was Project Director, like to express my gratitude to Paul Pincus, Blaut, Assistant Curator, who coordi- I would efficient and reliable. I refer to Julia Communications; Max Hollein, Executive Assistant to the to Janice Yang, Development and nated all aspects of this exhibition and catalogue, and Communications; and Kira von Eichel, her many Director; Ben Hartley, Director of Project Research and Exhibition Assistant, who in addition to coordination of prepara- and Project Assistant, for their tireless efforts and deft other responsibilities, compiled the exhibition history, bibliography, tions between cities separated by land and sea. text photographs. bringing this exhibi- Our colleagues in Germany have been crucial in Many other individuals at the Guggenheim contributed their expertise thanks especially to Dr. Ariane tion to fruition. I wish to extend my exhibition. I thank all of them to ensure the successful realization of this Bank, and to Grigoteit, Friedhelm Hutte, and Britta Farber of Deutsche I extremely grateful for their indispensable assistance and dedication. am Deutsche Guggenheim Berlin. This exhi- Collection Management and Svenja Simon, Gallery Manager, to Karen Meyerhoff, Director of Exhibition and hard work and support. Jocelyn bition would not have been realized without their Design, who has been invaluable in planning the installation, and to 54 The catalogue could not have been published without the adept super- vision of Anthony Calnek, Director of Publications, and the efficiency of the Publications Department. I am grateful to Elizabeth Levy, Managing Editor/ Manager of Foreign Editions, and Melissa Secondino, Production Assistant, for expertly overseeing the catalogue production. My appreciation also goes to Jennifer Knox White, Associate Editor, and Domenick Ammirati, Editorial Assistant, for their careful editing of the text. Special thanks must go to Margot Perman and Catherine Woodman of Real Design for designing this elegant publication. We are also grateful to contributing author Judith Goldman, preeminent Rosenquist scholar, who contributed an important essay. In organizing this exhibition and compiling the catalogue, many people generously supported our research efforts. I would like to acknowl- edge in particular Richard L. Feigen, Frances Beatty, and Lance R.D. Thompson of Richard L. Feigen & Co. and Thaddaeus Ropac of Galerie Thaddaeus Ropac for sharing their expertise. I also thank Joanna Stasuk and Amy Poll at Leo Castelli Gallery for their assistance in compiling pho- tographic materials. The staff at the artist's studio provided valuable assistance every step of the way. Beverly Coe, Administrative Assistant, and Cindy Hemstreet, Administrative and Curatorial Assistant, were unflappable and always gracious and precise in responding to our myriad requests. Michael Harrigan, Curator and Archival Specialist, provided important materials for establishing an accurate account of the artist's career. Thanks must also go to Tony Caparello, Color Mixer, Painter, Studio Assistant; Kevin Hemstreet, Carpentry, Installer; Darren Merrill, Carpentry, Installer; Vadim Syrovoy, Studio Assistant; and John Spinks, Studio Manager. Robot Rosenblum Curator of Twentieth-Century Art 55 The Solomon R.Guggenheim Foundation Trustees Honorary Trustees in Perpetuity Giovanni Agnelli Solomon R. Guggenheim Jon Imanol Azua Justin K.Thannhauser Peter M. Brant Peggy Guggenheim The Right Honorable Earl Castle Stewart Mary Sharp Cronson Chairman Elizabeth L Dingman Peter Lawson-Johnston Gail May Engelberg Daniel Filipacchi President Robert M. Gardiner Ronald O. Perelman Barbara Jonas 1 >avid H Koch Vice-Presidents Thomas Krens Robert M ( Gardiner Peter Lawson-Johnston Wendy L-J. McNeil Samuel J. LeFrak Rolf-Dieter Leister Vice-President and Treasurer Peter B. Lewis Stephen C. Swid Peter Littmann Wendy L-J. McNeil Director Edward H. Meyer Thomas Krens Ronald ( > Perelman Frederick W Reid Secretary Richard A. BJfkind Edward 1 Rover Denise Saul Rudolph B. Schulhof Honorary Trustee Terry Semel (. I.nuie Pompidou |. mies B. Sherwood Trustee Ex Officio Raja W Sidawi Slive Luigi Mom hen Seymour Stephen C. Swid Wadsworth.Jr. Director Emeritus John S. Thomas M Messer Cornel West Michael F.Wettach John Wilmerding William T.Ylvisaker -jjA fc