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James Rosenquist Estate, Hyères (2026)

25/03/2026

On View🌞 𝘉𝘦𝘢𝘤𝘩 𝘊𝘢𝘭𝘭 5 𝘔𝘪𝘯𝘶𝘵𝘦𝘴 𝘓𝘢𝘵𝘦𝘳 in 𝘚𝘦𝘢, 𝘗𝘰𝘱 𝘢𝘯𝘥 𝘚𝘶𝘯 opening today at Villa Carmignac

“With its name inspired by the title of Serge Gainsbourg’s provocative hit, the exhibition invites us into the dreamworld of a seaside escape, and a time when the sexual revolution was overturning conventions, morals were shifting, and everything seemed possible. The South of France and its beaches were more than mere holiday postcards; they were gateways to new horizons of freedom and transgression.

Bringing together more than 80 works of art, including 15 from the Carmignac Collection, and curated by Dr. Dieter Buchhart and Dr. Anna Karina Hofbauer, 𝘚𝘦𝘢, 𝘗𝘰𝘱 𝘢𝘯𝘥 𝘚𝘶𝘯 places icons of Pop Art such as Roy Lichtenstein, Andy Warhol, Marjorie Strider, Evelyne Axell, and Martial Raysse in dialogue with contemporary artists who extend or interrogate the movement, including Théo Mercier, Derrick Adams, Cosima von Bonin, and Judy Chicago.

Through a selection of paintings, sculptures, photographs, and videos, the exhibition rekindles a state of mind: that of a world oriented toward a radiant 𝘫𝘰𝘪𝘦 𝘥𝘦 𝘷𝘪𝘷𝘳𝘦, conscious of its contradictions yet still driven by the same desire for freedom.” - Fondation Carmignac Press Release, 2026

Image: 𝘉𝘦𝘢𝘤𝘩 𝘊𝘢𝘭𝘭 5 𝘔𝘪𝘯𝘶𝘵𝘦𝘴 𝘓𝘢𝘵𝘦𝘳, 1979. Oil on canvas. 24 x 30 in. (60.96 x 76.2 cm). © James Rosenquist, Inc. Used by permission. All rights reserved.

14/02/2026

Happy Valentine’s Day ❤️

James Rosenquist and Henry Geldzahler met in 1961, shared a sense of humor, and remained lifelong friends. Geldzahler was an early advocate for Rosenquist’s work, notably including Rosenquist’s 𝘍-111 in the controversial exhibition 𝘏𝘪𝘴𝘵𝘰𝘳𝘺 𝘗𝘢𝘪𝘯𝘵𝘪𝘯𝘨: 𝘝𝘢𝘳𝘪𝘰𝘶𝘴 𝘈𝘴𝘱𝘦𝘤𝘵𝘴 at the Metropolitan Museum of Art, which opened 58 years ago this month.

“You’d always see Henry Geldzahler at these events. As the curator of the twentieth-century wing of the Metropolitan Museum, later the New York City cultural commissioner, and then chairman of the National Council on the Arts under Nancy Hanks, Henry was a champion of the arts for the city. He would call me up and say, “Hi. I’m alone. You’re alone. Come over and let’s be alone together.” Peter Rosen made a documentary about Henry Geldzahler a few years ago called 𝘞𝘩𝘰 𝘎𝘦𝘵𝘴 𝘵𝘰 𝘊𝘢𝘭𝘭 𝘐𝘵 𝘈𝘳𝘵? You see that Henry is the missing link to a period in the art world that people don’t know much about.” - James Rosenquist, 𝘗𝘢𝘪𝘯𝘵𝘪𝘯𝘨 𝘉𝘦𝘭𝘰𝘸 𝘡𝘦𝘳𝘰

Images:

Valentine’s Day note on a business card from Henry Geldzahler to James Rosenquist, ca. 1960s.

James Rosenquist and Henry Geldzahler (left to right) posing in Rosenquist’s painting 𝘈𝘪𝘳 𝘏𝘢𝘮𝘮𝘦𝘳 (1962) at his Coenties Slip studio, NYC, ca. 1962.

31/12/2025

Happy New Year! 💫

For the January 5th, 1969 edition of the New York Times, art journalist Grace Glueck asked several artists, including Andy Warhol, Billy Kluver, and James Rosenquist, for their New Year’s wishes. Rosenquist wished, in a surrealist twist, for the walking catfish of Arkansas to get their legs, as well as world peace (as mentioned in his 2009 biography, 𝘗𝘢𝘪𝘯𝘵𝘪𝘯𝘨 𝘉𝘦𝘭𝘰𝘸 𝘡𝘦𝘳𝘰) starfish ☮️🌟

James Rosenquist leaping through 𝘞𝘢𝘭𝘭 𝘋𝘰𝘨, installed at Leo Castelli Gallery, 1966. Photo by Bob Adelman, Photo © Bob Adelman Estate

New York Times clipping from 𝘔𝘢𝘺 𝘠𝘰𝘶𝘳 𝘕𝘦𝘸 𝘠𝘦𝘢𝘳 𝘉𝘦 𝘈𝘳𝘵𝘺 by Grace Glueck, January 5th, 1969.

04/12/2025

On view this week 💫🌴 𝘚𝘬𝘺 𝘏𝘰𝘭𝘦 at Miami Beach 2025 (Booth F11)

𝘚𝘬𝘺 𝘏𝘰𝘭𝘦, sister painting to 𝘞𝘦𝘭𝘤𝘰𝘮𝘦 𝘵𝘰 𝘵𝘩𝘦 𝘞𝘢𝘵𝘦𝘳 𝘗𝘭𝘢𝘯𝘦𝘵 𝘐𝘐𝘐, was painted in James Rosenquist’s Florida studio in 1989. That same year, he expanded that studio to accommodate even larger-scale immersive works with an airplane hangar-sized addition that was naturally lit.

“What gets me up out of my chair is the light in Aripeka; it’s so shimmering and incandescent. The chiaroscuro is so intense, the darks are strangely colorful—you see all sorts of blues and greens in them that are gorgeous. The light saturates everything. When it reflects off the Gulf, it brings energy everywhere.

In 𝘞𝘦𝘭𝘤𝘰𝘮𝘦 𝘵𝘰 𝘵𝘩𝘦 𝘞𝘢𝘵𝘦𝘳 𝘗𝘭𝘢𝘯𝘦𝘵 𝘐𝘐𝘐, there’s a water lily floating in space and above it is a sharded face over a stellar nova. I kept thinking of the painting’s surface as hovering, something not really part of the landscape, more like a horizon between matter and energy.” - James Rosenquist, 𝘗𝘢𝘪𝘯𝘵𝘪𝘯𝘨 𝘉𝘦𝘭𝘰𝘸 𝘡𝘦𝘳𝘰.

29/11/2025

Happy Birthday Jim! 🎈💫 James Rosenquist was born on this day in 1933 🎂

Though James Rosenquist is best known for using images collected from advertisements and publications in his work, he often experimented with photography and film as source material for paintings and larger works. This series of balloon motion studies, created in collaboration with photographer Jack Mitchell, served as inspiration and source material for two works, 𝘍𝘭𝘢𝘮𝘪𝘯𝘨𝘰 𝘊𝘢𝘱𝘴𝘶𝘭𝘦 and the 𝘉𝘶𝘯𝘳𝘢𝘬𝘶 series.

Images:

James Rosenquist manipulating balloons under strobe lights for studies for 𝘍𝘭𝘢𝘮𝘪𝘯𝘨𝘰 𝘊𝘢𝘱𝘴𝘶𝘭𝘦 and 𝘉𝘶𝘯𝘳𝘢𝘬𝘶 with photographer Jack Mitchell, 1969. (Photo by Jack Mitchell/Getty Images)

James Rosenquist manipulating balloons under strobe lights for studies for 𝘍𝘭𝘢𝘮𝘪𝘯𝘨𝘰 𝘊𝘢𝘱𝘴𝘶𝘭𝘦 and 𝘉𝘶𝘯𝘳𝘢𝘬𝘶 with photographer Jack Mitchell, 1969. (Photo by Jack Mitchell/Getty Images)

𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 (𝘍𝘭𝘢𝘮𝘪𝘯𝘨𝘰 𝘊𝘢𝘱𝘴𝘶𝘭𝘦), 1969. Cut-and-pasted paper with colored pencil and watercolor on paper. 22 5/8 x 30 ¼ in. (57.47 x 76.83 cm). Museum of Modern Art, New York, The Judith Rothschild Foundation Contemporary Drawings Collection Gift [2910.2005]

𝘍𝘭𝘢𝘮𝘪𝘯𝘨𝘰 𝘊𝘢𝘱𝘴𝘶𝘭𝘦, 1970. Oil on canvas, with aluminized Mylar. 9’ 6 3/16” x 22’ 11 15/16” (290.0 x 700.9 cm) [114 3/16” x 275 15/16”]; two 9’ 6 3/16” x 3’ (290.0 x 91.4 cm) [114 3/16” x 36”] Mylar end panels (fixed at 90° to the painting). Guggenheim Museum Bilbao [GBM1997.9].

18/11/2025

There are just two weekends left to see 𝘗𝘰𝘱 𝘗𝘦𝘳𝘴𝘱𝘦𝘤𝘵𝘪𝘷𝘦𝘴: 𝘙𝘢𝘮𝘰𝘴, 𝘙𝘰𝘴𝘦𝘯𝘲𝘶𝘪𝘴𝘵, 𝘙𝘶𝘴𝘤𝘩𝘢 at 🌸✨

“In an era defined by the rapid expansion and availability of popular imagery in advertising, films, comic books and everyday consumer products, Ramos, Rosenquist, and Ruscha each forged unique artistic identities while simultaneously celebrating and critiquing their shared cultural landscape. Their paintings engage with the glossy seductions of commercial culture, yet each artist twists the language of Pop in his own way—Ramos with his playful yet provocative figures intertwined with consumer goods, Rosenquist with his cinematic, fragmented, and surreal compositions drawn from advertising, politics, and consumer culture, and Ruscha with his minimal and poetic text-based works that reflect the landscape, architecture and culture of the American West. This exhibition isn’t just about three artists who happened to emerge in the same moment—it’s about how their work reflects, critiques, and ultimately reshapes the iconography of 20th-century America.” - Hall Art Foundation, 2025

Images:

𝘛𝘩𝘦 𝘔𝘰𝘯𝘴𝘰𝘰𝘯 𝘉𝘦𝘨𝘪𝘯𝘴, 1984. Oil on canvas stretched over board. 63 x 84 in. (160 x 213 cm). Hall Collection.

Installation view 𝘗𝘰𝘱 𝘗𝘦𝘳𝘴𝘱𝘦𝘤𝘵𝘪𝘷𝘦𝘴: 𝘙𝘢𝘮𝘰𝘴, 𝘙𝘰𝘴𝘦𝘯𝘲𝘶𝘪𝘴𝘵, 𝘙𝘶𝘴𝘤𝘩𝘢. 10 May – 30 November 2025. Hall Art Foundation, Reading, Vermont. Courtesy Hall Art Foundation. Photo: Jeffrey Nintzel.

31/10/2025

Happy Halloween 🎃 💀

Image:
𝘚𝘵𝘶𝘥𝘺 𝘧𝘰𝘳 𝘚𝘬𝘶𝘭𝘭 𝘚𝘯𝘢𝘱, 1989. Charcoal and chalk on paper. 44” x 36 1/2” (111.8 x 92.7 cm).

© James Rosenquist, Inc. / Licensed by Artists Rights Society (ARS), NY. Used by permission. All rights reserved.

22/10/2025

Happy Birthday Bob ✨
Today, we celebrate Robert Rauschenberg’s 100th birthday 🎉 💫

James Rosenquist on Robert Rauschenberg, in his biography 𝘗𝘢𝘪𝘯𝘵𝘪𝘯𝘨 𝘉𝘦𝘭𝘰𝘸 𝘡𝘦𝘳𝘰 :

“He would say there was no such thing as art, or everything is art—in other words, if you talked to him, you talked about all the stuff that could be art; he was one of the brightest inventors around. Ideas and concepts that would just blow you away would flow out of him. He taught me that one shouldn’t try to second-guess things, just do them and see what happens, be surprised or not. When he’d have an exhibition, he’d show everything that he’d done recently. Sometimes because you wouldn’t quite know where he was going with it. Then there’d be other stuff he’d do which was just genius, incredible things.

I’ll miss Bob’s impish presence, his mental agility, his startling intuitions. He would say the most amazing things. He could transform the whole moment in the blink of an eye. He approached his art as he approached his life, as an accidental encounter. Like the old billboard painters’ slogan goes, “We do good work and there’s no demand for it and there’s only a few of us left.” So, here’s to Milton—that’s his given name, Milton Rauschenberg! Hey, man!” - James Rosenquist, 𝘗𝘢𝘪𝘯𝘵𝘪𝘯𝘨 𝘉𝘦𝘭𝘰𝘸 𝘡𝘦𝘳𝘰.

Images:

James Rosenquist and Robert Rauschenberg at Gemini G.E.L. Photo: Sidney Felsen

James Rosenquist and Robert Rauschenberg in front of 𝘚𝘵𝘢𝘳 𝘛𝘩𝘪𝘦𝘧 (1980) during the opening of 𝘑𝘢𝘮𝘦𝘴 𝘙𝘰𝘴𝘦𝘯𝘲𝘶𝘪𝘴𝘵: 𝘚𝘵𝘢𝘳 𝘛𝘩𝘪𝘦𝘧, Leo Castelli Gallery, 142 Greene Street, New York, 1981. Photo: Gianfranco Gorgoni.

17/10/2025

Repost : .jacquet.official 🚀

Looking back at the Jacquet x Rosenquist Exhibition almost one year ago!

Alain Jacquet and James Rosenquist: two artists forever labeled as Pop artists but whose work (like that of most good artists) transcends labels. Born in the 1930s and coming onto the art scene in the 1960s, they could not help but be marked by social transformations of the postwar era, what the French later came to call les trente glorieuses: a period of economic expansion and prosperity but also of profound anxiety, the causes of which included the cold war and attendant fears of nuclear disaster. It was also the time when humans first ventured into space— science fiction fables seemed to be coming true—and this was another effort fueled by military competition between the Soviet Union and the United States; again, mixing optimism and unease. No wonder that evocations of outer space recur in both artists’ work, but curiously enough, starting only after the space program was receding from the headlines—in the 1970s in Jacquet’s case, and in Rosenquist’s, around 1980.

09/10/2025

𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 (𝘕𝘢𝘪𝘭𝘴), 1973, painted the same year as 𝘚𝘯𝘰𝘸 𝘍𝘦𝘯𝘤𝘦, is part of a series of paintings featuring black and white or multicolored nails that were initially inspired by James Rosenquist’s childhood experience of using the form of a fence to find your way home in the snowstorms of North Dakota. The silhouetted form of nails, unusually minimal for Rosenquist, also came to represent the passage of time.

“I rarely base a painting on just one image. 𝘚𝘯𝘰𝘸 𝘍𝘦𝘯𝘤𝘦 is about looking for a way home in a storm but it’s also about marking time, crossing off the days. This was a very dark period. The literal image of the lines marking off the days came from when I was put in jail after protesting against the Vietnam War in Washington. Being in the slammer and doing all that stuff in Washington. The nails are asking a question: Are you marking off days, or are you going to use the nails to build something? Sometimes it’s hard to tell whether you’re wasting time or using it well.” - James Rosenquist, 𝘗𝘢𝘪𝘯𝘵𝘪𝘯𝘨 𝘉𝘦𝘭𝘰𝘸 𝘡𝘦𝘳𝘰.

𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 (𝘕𝘢𝘪𝘭𝘴), 1973 is currently on view in Pop Perspectives: Ramos, Rosenquist, Ruscha at through November 30th, 2025.

Image: 𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥 (𝘕𝘢𝘪𝘭𝘴), 1973. Oil screenprinted, painted, and sprayed on canvas. 52 x 108-3/4 in. (132 x 276 cm). Hall Collection.

© James Rosenquist Foundation / Licensed by Artists Rights Society (ARS), NY. Used by permission. All rights reserved.

19/09/2025

We are deeply saddened by the passing of Agnus Gund, extraordinary supporter of the arts, visionary philanthropist, and wonderful friend. The Rosenquist studio extends our deepest condolences to her family and friends; her generosity, thoughtfulness and exceptional spirit will be missed.

Agnes Gund at MoMA in 2014 in front of James Rosenquist’s ceiling work 𝘋𝘰𝘰𝘳𝘴𝘵𝘰𝘱, 1963. Photo: Damon Winter/The New York Times

Agnes Gund and James Rosenquist at the Americans for the Arts National Arts Awards Benefit, 2012. Photo: Will Ragozzino, © BFA 2025

17/09/2025

Opening September 24th ✨ 𝘚𝘪𝘹𝘵𝘪𝘦𝘴 𝘚𝘶𝘳𝘳𝘦𝘢𝘭 at The Whitney Museum of American Art

“𝘚𝘪𝘹𝘵𝘪𝘦𝘴 𝘚𝘶𝘳𝘳𝘦𝘢𝘭 is an ambitious, scholarly reappraisal of American art from 1958 to 1972, encompassing the work of more than 100 artists. This revisionist survey looks beyond now canonical movements to focus instead on the era’s most fundamental, if underrecognized, aesthetic current—an efflorescence of psychosexual, fantastical, and revolutionary tendencies, undergirded by the imprint of historical Surrealism and its broad dissemination.” - Whitney Museum of American Art Press Release, 2025

In 1960, James Rosenquist moved his studio to the neighborhood of Coenties Slip, which was, according to Rosenquist’s recollections of that period, a little like living within a continuous surreal happening. The desire to eschew a typical routine and embrace the kinetic energy of the time, joined with Rosenquist’s visual language of combining seemingly unrelated images to form something entirely new, is present even in Rosenquist’s more monochromatic and mysterious works from the early 1960s, such as 𝘛𝘩𝘦 𝘓𝘪𝘨𝘩𝘵 𝘛𝘩𝘢𝘵 𝘞𝘰𝘯’𝘵 𝘍𝘢𝘪𝘭 𝘐.

“A title comes along, and you search for a painting. The title of 𝘛𝘩𝘦 𝘓𝘪𝘨𝘩𝘵 𝘛𝘩𝘢𝘵 𝘞𝘰𝘯’𝘵 𝘍𝘢𝘪𝘭 𝘐 was about daily routine, in which the teeth of the comb in the painting become the bars of a prison.” - James Rosenquist, 𝘗𝘢𝘪𝘯𝘵𝘪𝘯𝘨 𝘉𝘦𝘭𝘰𝘸 𝘡𝘦𝘳𝘰.

Images:

𝘛𝘩𝘦 𝘓𝘪𝘨𝘩𝘵 𝘛𝘩𝘢𝘵 𝘞𝘰𝘯’𝘵 𝘍𝘢𝘪𝘭 𝘐, 1961. Oil on canvas. 71 3/4” x 96 1/4” (182.3 x 244.5 cm). Hirshhorn Museum and Sculpture Garden, Smithsonian Institution Gift of Joseph H. Hirshhorn Foundation, 1966 [66.4402].

𝘚𝘰𝘶𝘳𝘤𝘦 𝘢𝘯𝘥 𝘗𝘳𝘦𝘱𝘢𝘳𝘢𝘵𝘰𝘳𝘺 𝘚𝘬𝘦𝘵𝘤𝘩 𝘧𝘰𝘳 𝘛𝘩𝘦 𝘓𝘪𝘨𝘩𝘵 𝘵𝘩𝘢𝘵 𝘞𝘰𝘯’𝘵 𝘍𝘢𝘪𝘭 𝘐, 1961. Collage and mixed media. 12 3/16” x 13 7/8” (31.0 x 35.2 cm).

© James Rosenquist Foundation / Licensed by Artists Rights Society (ARS), NY. Used by permission. All rights reserved.

James Rosenquist Estate