Word: mural
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...city youth. Lauren grew up in the 1940s and '50s in the Bronx's middle- class Mosholu Parkway section, the youngest of three boys and a girl born to Frank and Frieda Lifshitz. His father, an Orthodox Jewish immigrant from the Soviet city of Minsk, was a talented mural painter whose rendering of the Manhattan skyline still decorates the ceiling of a furriers' building lobby in the garment district...
Looking at a big Rosenquist (a small one is 10 ft. wide, and Star Thief, 1980, the mural whose installation at Miami International Airport was successfully opposed by Frank Borman, then president of Eastern Airlines, is 17 ft. by 46 ft.) is a bit like seeing one of the lost panoramas that were so popular in 19th century America scrolling creakily past, a journey re-created as spectacle, stripped of its pastoral imagery and retooled in terms of media glut. Hey, look! you hear the nasal voice of the artist saying: this is what the banks of the electronic Mississippi...
Though he was never a "political artist" as such, a political current --generally of a milky, liberal kind--surfaces in Rosenquist's work. It produced a number of bland icons but one real masterpiece as well: F-111, 1965, the 86-ft.-long, multipanel anti-Viet Nam mural that caused a hullabaloo when the Metropolitan Museum chose to exhibit it in the '60s. Unlike most political art of the time, it looks unpolemical at first, and that is the source of its power. It sums up Rosenquist's vision of America as an Eden compromised by its own violence...
...cultural transactions between North and Central America in the first half of the 20th century. He played his role for Mexico, part ambassador and part genius loci, to the hilt. His energy had a titanic quality: he covered many acres of wall in Mexico and the U.S. with his murals and left behind a huge output of easel paintings, drawings and prints. Few 20th century artists have been as popular in their own societies. None is more relevant to the debate over "indigenous," or "national," art language as against "international style." A Marxist who read little Marx, he found...
...display such sympathies in the Depression made management look benign. When Edsel Ford wanted to celebrate the Rouge complex and the auto industry, he got Rivera to paint a mural cycle in Detroit; it attracted 86,000 visitors in its first month. Rivera had no problems in casting American engineers as the heroes of a new age. Encouraged by this, John D. Rockefeller in 1932 commissioned a Rivera mural, Man at the Crossroads Looking with Hope and High Vision to the Choosing of a New and Better Future, for the RCA Building in Rockefeller Center. Rivera put in a head...