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

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  • “The essence is to take very disparate imagery and put it together and the result becomes an idea, not so much a picture. It’s like listening to the radio and getting your own idea from all these images that are often antidotes—acid—to each other. They make sparks or they don’t.”
    —James Rosenquist

     

    The images making up Dog Descending a Staircase reflect a scene of displaced domesticity; the doll symbolizes a wife, the dog becomes the husband, and the tin mill image is his job. By imbuing the scene of self-described “bleak” images with a Pop-like sensibility, Rosenquist creates a commentary on everyday objects and subjects, instilling them with new meanings. The resulting composition disrupts the reading of the lithograph and distorts the viewer’s understanding of the narrative, instilling suspense: one waits for the dog to move, the doll to blink, the spool to wind.i

     

    Marcel Duchamp, Nude Descending a Staircase (No. 2), 1912. Image: Philadelphia Museum of Art / Artwork: © 2024 Association Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York

    Dog Descending a Staircase’s title is inspired by Marcel Duchamp’s Cubist masterpiece Nude Descending a Staircase, No. 2 (1912), and much like Duchamp’s painting, Rosenquist’s lithograph relies on the left to right orientation of the work to inform the composition. The two titans of 20th century art did cross paths, and upon meeting Duchamp, Rosenquist recalls giving him a sunflower fly swatter, remembering “he was very normal for a being a genius. He was friendly.”ii In Dog Descending a Staircase, Duchamp’s nude becomes Rosenquist’s titular dog, but in Rosenquist’s rendition, the movements of the dog are rendered flat and frozen in time, the print’s fragmented imagery reminiscent of that of the Surrealists. Although Rosenquist’s preference for odd couplings associated him with the movement, he did not consider himself a Surrealist. Where Surrealism was a philosophy of thought based on automatic impulses, random associations, and literary or Freudian references, Rosenquist’s images do grow out of associations, but not random ones: “you have to let ideas cook and simmer,” he explained.iii Instead of evoking higher states of being and feeling, like the Surrealists, Rosenquist’s strange pairings create a dense, silent, often impenetrable poetry; by linking the spool, to the dog, to the doll, Rosenquist evokes the aesthetic of Surrealism while maintaining his artistic independence and personal poetics.

     

    Phillips recently sold the 1979 painting upon which this 1980-1982 print is based, on November 15, 2023, in the 20th Century & Contemporary Art Day Sale.

     

     

    i Elizabeth Frank, “James Rosenquist at Castelli-Feigen-Corcoran,” Art in America, November 1980. 

    ii James Rosenquist, Painting Below Zero, 2009, p. 99.

    iii James Rosenquist quoted in G.R. Swenson, “The F-111,” Partisan Review, Fall 1965, p. 285

    • Literature

      Esther Sparks 20
      Constance Glenn 174

233

Dog Descending a Staircase (S. 20, G. 174)

1980-82
Monumental lithograph and intaglio in colors, on Arches paper, with full margins.
I. 40 x 63 1/4 in. (101.6 x 160.7 cm)
S. 42 x 70 in. (106.7 x 177.8 cm)

Signed, titled, dated and numbered 'A.P. II 1/8' in pencil (an artist's proof, the edition was 33), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), framed.

Full Cataloguing

Estimate
$6,000 - 9,000 

Sold for $16,510

Works from the James Rosenquist Estate

New York Auction 15 February 2024