LONG ISLAND S BEST 2016 RESOURCES. August 15 November 22, 2015

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1 LONG ISLAND S BEST 2016 RESOURCES August 15 November 22, 2015 ARTWORK IMAGES EXHIBITION LABELS 2 Prime Avenue Huntington, NY Education Department education@heckscher.org These artwork images and exhibition labels for the exhibition James Rosenquist: Tripartite Prints are to be used for educational purposes in coordination with the high school student exhibition Long Island s Best: Young Artists at The Heckscher Museum 2016.

2 Introduction : Tripartite Prints One of the pivotal figures of the Pop Art movement in the United States, James Rosenquist has pushed the traditional boundaries of printmaking since the mid-1960s. At a time in which most artists were producing modestly sized black and white prints, Rosenquist challenged himself to create vibrantly colored works that rivaled the scale of paintings, partially inspired by his experience as a billboard painter in Times Square. Crucial to Rosenquist s development as a printmaker was his experience with Universal Limited Art Editions (ULAE), a workshop founded by Tatyana Grosman in West Islip, Long Island. At ULAE, Rosenquist explored a variety of techniques and materials that helped him reconceptualize his approach to printmaking. Above all, he embraced lithography, a planographic process that relies on the natural antipathy of oil and water. To produce a lithograph, artists typically create an image using a waxy crayon or greasebased ink on a smooth stone, which is then treated with a chemical solution, sponged with water, inked, and run through a printing press. With Grosman s guidance, Rosenquist boldly began to use an airbrush and stencils instead of a crayon and paintbrush. He also came to favor aluminum plates to lithographic stones, which enabled him to produce larger prints. In the 1970s, Rosenquist created a series of lithographs characterized by their horizontal, tripartite compositions. Stimulated by his innovative experiments at ULAE, he collaborated with printers at the Derriere L Etoile and Styria Studios, both in New York City, and at Topaz Editions in Tampa, Florida. Constructed of fragmented, geometric forms, these prints reference many of the artist s persistent themes: American culture, commerce, science, and technology. This exhibition features six tripartite prints from the Museum s Permanent Collection. Displayed together for the first time, they are exemplary of Rosenquist s inventive methods and pioneering contributions to the field of printmaking. : Tripartite Prints is sponsored in part by Suffolk County.

3 Visual Motifs incorporates imagery from everyday American life into his art, juxtaposing elements from the mass media and popular culture in unexpected, often puzzling relationships. Characteristic of his style, a trio of mundane, seemingly unrelated images dominates the compositions of his tripartite prints. Rosenquist s preoccupation with trinities arose from his interest in the 19th-century Japanese artist and Zen philosopher Sengai Gibon ( ). According to Sengai, the universe can be essentially reduced to a circle, square, and triangle. In this scheme, the circle represents infinity as the formless basis of all beings; the triangle is the beginning of all forms and the square is the triangle doubled in a doubling process whose infinite unfolding gives us the multiplicity of the forms that comprise the universe. Rosenquist repeats, rearranges, and transforms circular, triangular, and rectangular motifs across the series. Rather than acting as fixed metaphors, they invite a multiplicity of associations. Circular nebulas, spirals, spoked wheels, and pinwheels evoke subjects as diverse as outer space, science, technology, and motor vehicles, while the colorful, overlapping triangles recall musical instruments, dinner triangles, and even the Star of David. The triangular American flag in Elbow Lake seems to allude to the custom of folding a flag at military funerals, yet its stripes composed of listings from the New York Stock Exchange provoke thoughts on the relationship between American culture and commerce. Other recurring motifs are the cluster of nails, which Rosenquist has called an ugly time reminder, and skid marks, which reference the artist s 1971 car crash when he, his wife, and their son were seriously injured. Deliberately obscure and openended, Rosenquist s symbols conjure a vast array of meanings through their shifting combinations.

4 Derriere L Etoile, 1977 Elbow Lake, 1977 Violent Turn, 1977

5 Fast Feast, 1977 Black Tie, 1977 Coin Noir, 1977

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