Marilyn
1962
Oil and spray enamel on canvas
7' 9" x 6' 1/4"
Gallery label text from MoMA:
"Screen icon and sex symbol Marilyn Monroe (1926–62) was a favorite subject of many pop artists, and she figures prominently in more than fifteen works in the Museum's collection. Here, in a tribute to the actress created soon after her death, Rosenquist inverted, fragmented, and partially obscured her image with a superimposed portion of her name. He also included a segment of the brand name "Coca–Cola," rendered upside–down in its trademark script. In pairing Monroe with this famous logo, Rosenquist was suggesting that she is as iconic an example of American popular culture as the ubiquitous soft drink."
Look carefully at these 10 Paintings by James Rosenquist.
READ THIS article and take notes
Image below: F-111, as described in the reading and in this audio/video
Installation view of James Rosenquist: F-111 (1964-65) at MoMA. Oil on canvas with aluminum, 23 sections. 10 x 86’ (304.8 x 2621.3 cm). Gift of Mr. and Mrs. Alex L. Hillman and Lillie P.Bliss Bequest, both by exchange. © 2012 James Rosenquist/Licensed by VAGA, New York, NY. Photo by Jonathan Muzikar
Excerpt from http://www.moma.org/explore/inside_out/2012/02/14/f-111-1965:
"A special installation recently opened at MoMA of James Rosenquist’s F-111, an 86-foot-long painting that the artist designed to extend around all four walls of the Leo Castelli Gallery, at 4 East 77 Street in Manhattan. Rosenquist began the painting in 1964, at a decidedly tense and tumultuous moment in this country, as the Vietnam War steadily escalated abroad and anti-war activism gained momentum at home. The subject, the F-111 fighter-bomber plane, was in development at the time as part of a military initiative that ended up costing $75 million; funded by American tax dollars, it was meant to be the most technologically advanced weapon in the U.S. Air Force’s arsenal. Rosenquist painted the body of the plane to span the work’s 23 panels, interspersed with spliced-in images of commercial products and references to war—fragments of what he has called “the flak of consumer society.” Through this expanse of colliding visual motifs, F-111 points to what the artist has described as “the collusion between the Vietnam death machine, consumerism, the media, and advertising.”
Excerpt from http://www.moma.org/explore/inside_out/2012/02/14/f-111-1965:
"A special installation recently opened at MoMA of James Rosenquist’s F-111, an 86-foot-long painting that the artist designed to extend around all four walls of the Leo Castelli Gallery, at 4 East 77 Street in Manhattan. Rosenquist began the painting in 1964, at a decidedly tense and tumultuous moment in this country, as the Vietnam War steadily escalated abroad and anti-war activism gained momentum at home. The subject, the F-111 fighter-bomber plane, was in development at the time as part of a military initiative that ended up costing $75 million; funded by American tax dollars, it was meant to be the most technologically advanced weapon in the U.S. Air Force’s arsenal. Rosenquist painted the body of the plane to span the work’s 23 panels, interspersed with spliced-in images of commercial products and references to war—fragments of what he has called “the flak of consumer society.” Through this expanse of colliding visual motifs, F-111 points to what the artist has described as “the collusion between the Vietnam death machine, consumerism, the media, and advertising.”
AFTER CAREFULLY REVIEWING THE RESOURCES ASSIGNED ABOVE: Answer the following questions completely and with specificity to the provided resources, previous Artist Spotlight information, personal reflection, and additional research as needed:
1. Explain the connections between Rosenquist's career as a billboard painter and his own, developing painting style.
2. Define the following terms: 1) New York School style, 2) motif, 3) iconography, 4) grisaille, 5) disparate, 6) banal
3. Explain how Rosenquist felt that the label of "Pop artist" was inaccurate.
1. Explain the connections between Rosenquist's career as a billboard painter and his own, developing painting style.
2. Define the following terms: 1) New York School style, 2) motif, 3) iconography, 4) grisaille, 5) disparate, 6) banal
3. Explain how Rosenquist felt that the label of "Pop artist" was inaccurate.
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