Items Similar to Somewhere to Light, Waco, Texas (16, Glenn) Classic 1960s Pop Art silkscreen

Keith Haring - Untitled

Bob Pardo - Untitled

Bob Pardo - Belly Dancer II (Edition 135/150)

Bob Pardo - Untitled ( Artist Proof )

Robert Indiana - THE HARTLEY ELEGIES - KvF VI

Want more images or videos?

Request additional images or videos from the seller

1 of 8

James Rosenquist
Somewhere to Light, Waco, Texas (16, Glenn) Classic 1960s Pop Art silkscreen
1966

Name: Somewhere to Light, Waco, Texas (16, Glenn) Classic 1960s Pop Art silkscreen
Brand: James Rosenquist
Price: 3850 USD
Availability: InStock

About the Item

James Rosenquist Somewhere to Light, WACO, Texas 1966, from the New York International Portfolio Lithograph on wove paper Pencil signed and numbered 112/225 on the front Vintage frame included: Measurements: Framed 22.25 inches (horizontal) by 17.25 inches (vertical) Sheet 22 inches (horizontal) by 17 inches vertical "Somewhere to Light: Waco, Texas" was created by Pop Art legend James Rosenquist in 1966, during one of the most desirable and influential eras in Pop art. It was part of the celebrated New York International portfolio curated by Rosa Esman, which featured prints by nine other important international artists of the era. Many impressions of this striking stunning screenprint are in the permanent collections of major institutions such as the Brooklyn Museum. Catalogue Raisonné: 16, Glenn About James Rosenquist: "There's no scale in the brain. An image of the most colossal monument and the tiniest ant can rest side by side in your mind. The mundane and the bizarre can fuse into a language of images that float to the surface when you least expect it." —James Rosenquist One of the most important painters of post-war American art, James Rosenquist established a reputation as a founding member of... One of the most important painters of post-war American art, James Rosenquist established a reputation as a founding member of the Pop art generation, radically altering the face of graphic culture and the art world. Having sharpened his expert visual communication skills through early commercial and billboard work, Rosenquist came to prominence creating high-impact paintings charged with cultural commentary, examining themes from the social, scientific and political, to the romantic, cosmic and existential. His work was described by the late American curator Walter Hopps as “visual poetry.” Realized over the course of six decades, the work of James Rosenquist spans painting, sculpture, drawing, collage, and printmaking, and remains searingly immediate and relevant today. Pulsing with the political tenor of the 1960s, Rosenquist’s work began to critique a growing sense of mass consciousness pitched against the calamitous backdrop of the Vietnam War. Portraits of politicians collide with images of middle-class wealth and consumerism, asking us to question the impact of the dominant narratives encouraging dogmatic conformity in the U.S. Born in Grand Forks, North Dakota, Rosenquist studied painting at the University of Minnesota with Cameron Booth. In 1955, he moved to New York having won a scholarship to the Art Students League, where he studied with Will Barnet, Edwin Dickinson and Robert Beverly Hale, among others. In 1957, he took a job painting billboards, working on scaffolds in Brooklyn and, a year later, high above Times Square. By 1960, Rosenquist had stopped painting commercial advertisements and rented a small studio space in Lower Manhattan where his neighbors included artists Robert Indiana, Ellsworth Kelly, and Jack Youngerman. During this period, Rosenquist, working against the prevailing tide of Abstract Expressionism, developed his own brand of New Realism—a style soon to be called Pop art. Rosenquist’s first solo exhibition at the Green Gallery in 1962 sold out and, in 1965, after working a year on the painting, Rosenquist exhibited his iconic fifty-nine panel F-111 at Leo Castelli Gallery. The 86 foot-long work, one of Rosenquist’s most explicitly political, is now in the collection of the Museum of Modern Art, New York. In the 1970s, after a move to south Florida, Rosenquist began an ongoing series inspired by the vibrant tropical flora surrounding his studio. This interest in ecology develops in the artist’s Water Planet series of the late 1980s that pushes further into new modes of abstraction and addresses the fragility of life on earth. These themes are fully-realized in his Speed of Light (2000) and his Multiverse series (2011), in which Rosenquist expands his visual language into the extraterrestrial to present themes of perception and non-objectivity. Curator Sarah Bancroft has described this instinct as such: “The artist’s grand and global narratives comment on the failures and foibles of humankind. Yet the very fierceness of these critical commentaries convey a sense of hopeful optimism about the survival of humans, their colonies, and social environments." In 2017, the Museum Ludwig, Cologne organized Rosenquist’s most recent retrospective, James Rosenquist: Painting as Immersion, which traveled to the ARoS Aarhus Art Museum, Denmark. He has also been the subject of major retrospectives at the Whitney Museum of American Art (1972) and the Solomon R. Guggenheim Museum (2003-04). In 2022, Kasmin mounted a major solo exhibition of works realized between 1989 and 1992. In 2019, Kasmin staged Two Paintings, an exhibition of monumental work by James Rosenquist, reflecting his lifelong fascination with space, real and imagined. James Rosenquist’s work is included in major private and public collections worldwide, including the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Solomon R. Guggenheim Museum, New York and Guggenheim Museum Bilbao, Spain; Los Angeles Museum of Contemporary Art; San Francisco Museum of Modern Art; Centre Georges Pompidou, Paris; Tate Gallery, London; Stedelijk Museum Amsterdam; and Moderna Museet, Stockholm, among many others. Courtesy of Kasmin Gallery

Creator:

James Rosenquist (1933, American)

Creation Year:

1966

Dimensions:

Height: 17.5 in (44.45 cm)Width: 22.5 in (57.15 cm)Depth: 0.5 in (1.27 cm)

Medium:

Screen

Movement & Style:

Pop Art

Period:

1960-1969