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James RosenquistSomewhere to Light, Waco, Texas (16, Glenn) Classic 1960s Pop Art silkscreen1966
1966
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:
- Movement & Style:
- Period:
- Condition:Not examined outside of original vintage metal frame but appears fine;.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745213335992
James Rosenquist
Although he insisted that he and his fellow Pop artists developed their art-making styles independently, American painter James Rosenquist belonged at the table with Andy Warhol and Roy Lichtenstein.
Known for his distinctive use of visual montage, Rosenquist produced large, vibrantly colored tableaux marked by fragmentation and overlap. He often employed familiar motifs and objects drawn from popular contemporary culture — hot dogs, lipstick tubes, American flags — which he manipulated to form disorienting compositions whose constituent elements are nearly unrecognizable.
Born in North Dakota to Swedish parents, Rosenquist was encouraged to pursue painting by his mother, who was also an artist. He studied painting for two years at the University of Minnesota, but dropped out at the age of 21 to attend the Art Students League in New York on a scholarship. A job as a billboard painter in the late 1950s set him up to pursue his signature style, which borrowed its bold graphics and remixed kitschy aesthetic from the visual vocabulary of advertising. Works like Flamingo Capsule (1983) embody his trademark visual dissonance, drawing cigarette-ad motifs into conversation with stripes from the American flag and aluminum foil wrappers.
In addition to enormous paintings, Rosenquist created drawings, prints and collages. The 2011 lithograph The Memory Continues but the Clock Disappears is a montage of melting clocks and confetti, all submerged in a pool of water. While wryly hinting at the inevitability of decay and deterioration — suggesting that life is a ticking clock — the composition also alludes to Salvador Dalí's signature motif, the defining symbol of Surrealism. Such compositions demonstrate how Rosenquist masterfully combined seemingly incongruous elements into a harmonious and poetic whole.
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