James Rosenquist - Works from the James Rosenquist Estate New York Thursday, February 15, 2024 | Phillips

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  • “You weren’t allowed to walk around by yourself. ‘Nyet’ to walking around. No cameras. No pictures of anything. The KGB followed you everywhere.”
    —James Rosenquist
    In 1965, James Rosenquist arrived in Leningrad wearing his cowboy hat, cowboy boots, and rain slicker. He had embarked on an adventurous detour from Sweden, following the exhibition of F-111 at Stockholm’s Moderna Museet, to find someone he knew well, but had never met: the Russian Non-Conformist painter Evgeny Rukhin. Rukhin and Rosenquist had been pen pals, Rukhin, having first seen Rosenquist’s work in a Museum of Modern Art exhibition catalogue. Over the years, they exchanged art supplies, books, and records through the mail, finally meeting in Rukhin’s native Russia.

     

    Rukhin gave Rosenquist a tour of his Soviet life: his small studio with a trap door stashed with Cuban cigars and alcohol, sparsely stocked department stores, and his magnificent found object paintings, which teemed with paint drips, layered surfaces, and stenciled text.i A trained geologist, Rukhin revealed to Rosenquist that he started painting in 1963 and decided to dedicate himself to being an artist later that same year, after seeing a rare Soviet exhibition of American graphics that presented the works of Jasper Johns, Robert Rauschenberg, Jim Dine, Robert Indiana, and of course, James Rosenquist. With the support of other dissident artists, Rukhin became a key figure in a movement of radical artists, a legendary character in Soviet art circles. 
    “He had moxie; he was on the verge of doing something really great and becoming known internationally. In 1976 he was killed.”
    —James Rosenquist, on Evgeny Rukhin

    When Rosenquist returned to the United States, he maintained their transcontinental correspondence and dedicated the screenprint Whipped Butter for Eugen Ruchin to the Russian artist, the flat planes of red, yellow, and blue reminiscent of 1930s Soviet propaganda posters.ii In May 1976, Rosenquist was considering sending Rukhin some American blue jeans when he received word that Rukhin had been killed – the information came to him on a piece of paper tucked away in a magazine Rukhin’s widow Galina had sent, telling Rosenquist of the death and asking if he would store the late artist’s paintings in New York.iii At the age of thirty-two, Rukhin had died in his studio in a mysterious fire that was suspected to be the work of the KGB: he had been seen as a threat for his staunch opposition to Soviet artistic values and had long been surveilled, Rosenquist believed.  

     

    Rosenquist stored Rukhin’s paintings in his New York studio for nearly a decade while Galina left Russia and settled in the United States, a testament to Rosenquist’s belief in Rukhin’s artistic prowess and potential influence as a dissident painter, his monochromatic fields, richly textured assemblages, and stenciled phrases able to hold their own against those of the American artists who first inspired him. Whipped Butter for Eugene Ruchin memorializes Rukhin’s own artistic spirit, which even in 1964, persisted against the strict status quo, and Rosenquist’s enduring friendship with this Russian champion of self-expression.

     

    Evgeny Rukhin getting out of a taxi, Leningrad, 1972. Courtesy of the Estate of James Rosenquist

     

    i James Rosenquist, Painting Below Zero: Notes on a Life in Art, 2009, pp. 170-171.

    ii Stephan Diederich and Yilmaz Dziewior, James Rosenquist: Painting As Immersion, 2017, p. 278.

    iii Rosenquist, p. 240. 

    • Literature

      Constance Glenn 11

201

Whipped Butter for Eugene Ruchin, from 11 Pop Artists, Volume II (G. 11)

1965
Screenprint in colors, on Italia handmade Beckett paper, the full sheet.
S. 24 x 29 7/8 in. (61 x 75.9 cm)
Signed and dated in pencil (presumably a proof, aside from the edition of 200 and 50 artist's proofs in Roman numerals), published by Original Editions, New York, unframed.

Full Cataloguing

Estimate
$400 - 600 

Sold for $3,556

Works from the James Rosenquist Estate

New York Auction 15 February 2024