{"id":46103,"date":"2020-06-02T13:26:35","date_gmt":"2020-06-02T11:26:35","guid":{"rendered":"\/?page_id=46103"},"modified":"2020-06-02T13:37:07","modified_gmt":"2020-06-02T11:37:07","slug":"james-rosenquist","status":"publish","type":"page","link":"https:\/\/ivam.es\/en\/james-rosenquist\/","title":{"rendered":"JAMES ROSENQUIST"},"content":{"rendered":"

\"\"<\/a><\/p>\n

Red Applause,<\/em> 1966
\nAcrylic on canvas, two attached mobile panels and an electric engine
\n148 \u00d7 174 cm
\nDonation of the artist<\/h4>\n

 <\/p>\n

James Rosenquist (Grand Forks, North Dakota, 1933 \u2013 New York city, 2017)<\/strong><\/p>\n

\u201cI should say that I admit to only five hard-core Pop artists in New York […]. They all employ more or less hard-edge, commercial techniques and colours to convey their unmistakably popular, representational images, but what they do stylistically with these characteristics is not necessarily similar. The New York five […] are: Andy Warhol, Roy Lichtenstein, Tom Wesselmann, James Rosenquist and Claes Oldenburg\u201d. The American art critic Lucy Lippard expressed herself in such a forceful way in her seminal book Pop Art, published in 1966, about the artists associated with pop art in the American city.<\/p>\n

James Rosenquist (one of \u201cthe five\u201d), is the author of the mechanised diptych Red Applause<\/em>, which is part of the IVAM collection along with four more works. Painted, as the artist himself states, with the method he learned as a commercial – billboard – painter, Red Applause<\/em> introduces a great novelty: motion in painting. The work exactly reproduces its title, a red applause, and needs a mechanism powered by a 220V engine to move the two canvases of which it is made up.<\/p>\n

Rosenquist\u2019s decision to use popular techniques and themes was more than just an appropriation of ad paint. It was a matter of choice, a new basis for making art. Trained at the University of Minnesota and the Art Student\u2019s League in New York, during the years he was working as a billboard painter, he always distinguished between his commercial work and his study practice. Nevertheless, this distinction was never strict or permanent, painting billboards gave him the opportunity to see an enormous composition displayed, and the possibility of investigating the textures of pictorial surfaces. And in Red Applause<\/em>, he added movement, which is essential when trying to visualise the action of applauding, and puts the work in relation to another, also in the IVAM collection: The Critic Laughs<\/em>, by Richard Hamilton, who also uses an engine to express laughter, in this case an electric toothbrush.<\/p>\n

Teresa Millet
\nCurator<\/h4>\n","protected":false},"excerpt":{"rendered":"

Red Applause, 1966 Acrylic on canvas, two attached mobile panels and an electric engine 148 \u00d7 174 cm Donation of the artist   James Rosenquist (Grand Forks, North Dakota, 1933 \u2013 New York city, 2017) \u201cI should say that I admit to only five hard-core Pop artists in New York […]. They all employ more […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":230,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-46103","page","type-page","status-publish","hentry"],"yoast_head":"\nJAMES ROSENQUIST - IVAM<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ivam.es\/en\/james-rosenquist\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"JAMES ROSENQUIST - IVAM\" \/>\n<meta property=\"og:description\" content=\"Red Applause, 1966 Acrylic on canvas, two attached mobile panels and an electric engine 148 \u00d7 174 cm Donation of the artist   James Rosenquist (Grand Forks, North Dakota, 1933 \u2013 New York city, 2017) \u201cI should say that I admit to only five hard-core Pop artists in New York […]. 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