James Rosenquist’s Dream World: Exploring a Decade of Pop Art Innovation in Seoul
Jason Yim / Published November 6, 2024 02:55 AM
Jason Yim
Professional Courtesy, 1996, Oil on canvas, 121.9 x 121.9 cm, Courtesy of Thaddaeus Ropac
Galerie Thaddaeus Ropac in Seoul will soon present Dream World: Paintings, Drawings and Collages, 1961-1968, a unique exhibition that highlights a transformative period in James Rosenquist’s career, showcasing his pivotal role in American Pop Art. Running from November 21, 2024, to January 25, 2025, this show revisits Rosenquist’s groundbreaking early years, when he experimented extensively with collage, commercial imagery, and the limits of the picture plane.
Following a retrospective at The Sehwa Museum of Art, Dream World offers insight into Rosenquist’s exploration of popular imagery, a practice influenced by his background as a billboard painter. His work redefined art by incorporating advertising’s large-scale visuals and dramatic compositions, creating an iconic visual language that positioned him among Pop Art giants like Andy Warhol and Roy Lichtenstein.
The portrait of the artist, Courtesy of Thaddaeus Ropac
One of the highlights from this period, F-111 (1964–65), is a monumental installation now permanently displayed at New York’s Museum of Modern Art. This work, emblematic of Rosenquist’s provocative style, uses fragmented images to explore complex themes of war and consumerism, compelling viewers to question reality and perception. The Seoul exhibition will delve into Rosenquist’s examination of America’s cultural landscape during the 1960s, a decade marked by rapid change and social tension.
Born in North Dakota in 1933, Rosenquist studied art at the University of Minnesota before moving to New York, where he connected with Abstract Expressionist figures like Willem de Kooning. However, his style diverged from theirs as he incorporated bold, advertising-inspired techniques, positioning himself within the emerging Pop Art movement of the 1960s.
An Intrinsic Existence, 2015, Oil on canvas with painted and rotatable mirror, 205.7 x 170.2 cm, Courtesy of Thaddaeus Ropac
Rosenquist’s artworks often juxtapose familiar yet decontextualized images, reflecting on themes of identity, consumer culture, and existential dilemmas. Dream World captures this exploration, showcasing Rosenquist’s ability to infuse everyday imagery with deeper societal meaning, presenting Pop Art as a commentary on the post-war American experience.
The exhibition will present a curated selection of Rosenquist’s iconic pieces, emphasizing his unique approach to combining collage and figuration. His works exemplify Pop Art’s redefinition of art, using familiar images to challenge conventions and prompt viewers to reflect on society’s values and contradictions.
Terrarium, 1977, Oil on canvas, 4 panels, 204.5 x 372.1 cm, Courtesy of Thaddaeus Ropac
As Dream World makes its Seoul debut, it invites audiences to experience Rosenquist’s vision, his layered symbolism, and his cultural critique. His integration of commercial visuals into art underscores the tension between mass production and individuality, a concept that continues to resonate.
In sum, this exhibition provides a rare opportunity for Korean audiences to engage with Rosenquist’s impactful works and legacy. Dream World showcases how his art transcends time, echoing today’s cultural dialogues and reaffirming the artist’s place in the history of contemporary art.
James RosenquistBedspring, 1962, Oil on canvas, with painted twine and painted wood stretcher bars, 91.4 x 91.4 cm, Courtesy of Thaddaeus Ropac
Sayart / Jason Yim, yimjongho1969@gmail.com
Professional Courtesy, 1996, Oil on canvas, 121.9 x 121.9 cm, Courtesy of Thaddaeus Ropac
Galerie Thaddaeus Ropac in Seoul will soon present Dream World: Paintings, Drawings and Collages, 1961-1968, a unique exhibition that highlights a transformative period in James Rosenquist’s career, showcasing his pivotal role in American Pop Art. Running from November 21, 2024, to January 25, 2025, this show revisits Rosenquist’s groundbreaking early years, when he experimented extensively with collage, commercial imagery, and the limits of the picture plane.
Following a retrospective at The Sehwa Museum of Art, Dream World offers insight into Rosenquist’s exploration of popular imagery, a practice influenced by his background as a billboard painter. His work redefined art by incorporating advertising’s large-scale visuals and dramatic compositions, creating an iconic visual language that positioned him among Pop Art giants like Andy Warhol and Roy Lichtenstein.
The portrait of the artist, Courtesy of Thaddaeus Ropac
One of the highlights from this period, F-111 (1964–65), is a monumental installation now permanently displayed at New York’s Museum of Modern Art. This work, emblematic of Rosenquist’s provocative style, uses fragmented images to explore complex themes of war and consumerism, compelling viewers to question reality and perception. The Seoul exhibition will delve into Rosenquist’s examination of America’s cultural landscape during the 1960s, a decade marked by rapid change and social tension.
Born in North Dakota in 1933, Rosenquist studied art at the University of Minnesota before moving to New York, where he connected with Abstract Expressionist figures like Willem de Kooning. However, his style diverged from theirs as he incorporated bold, advertising-inspired techniques, positioning himself within the emerging Pop Art movement of the 1960s.
An Intrinsic Existence, 2015, Oil on canvas with painted and rotatable mirror, 205.7 x 170.2 cm, Courtesy of Thaddaeus Ropac
Rosenquist’s artworks often juxtapose familiar yet decontextualized images, reflecting on themes of identity, consumer culture, and existential dilemmas. Dream World captures this exploration, showcasing Rosenquist’s ability to infuse everyday imagery with deeper societal meaning, presenting Pop Art as a commentary on the post-war American experience.
The exhibition will present a curated selection of Rosenquist’s iconic pieces, emphasizing his unique approach to combining collage and figuration. His works exemplify Pop Art’s redefinition of art, using familiar images to challenge conventions and prompt viewers to reflect on society’s values and contradictions.
Terrarium, 1977, Oil on canvas, 4 panels, 204.5 x 372.1 cm, Courtesy of Thaddaeus Ropac
As Dream World makes its Seoul debut, it invites audiences to experience Rosenquist’s vision, his layered symbolism, and his cultural critique. His integration of commercial visuals into art underscores the tension between mass production and individuality, a concept that continues to resonate.
In sum, this exhibition provides a rare opportunity for Korean audiences to engage with Rosenquist’s impactful works and legacy. Dream World showcases how his art transcends time, echoing today’s cultural dialogues and reaffirming the artist’s place in the history of contemporary art.
James RosenquistBedspring, 1962, Oil on canvas, with painted twine and painted wood stretcher bars, 91.4 x 91.4 cm, Courtesy of Thaddaeus Ropac
