Rosenquist pursues a shared philosophy of self-criticism held in Thiebaud and other modernist painter’s works, but displays this concept in a way contrary to previous artists. The work itself is a triptych of common objects in modern culture at the time displayed vertically. Each portion depicts a cropped view of said objects creating three segments of abstraction. “Rippling, shiny pink fabric” makes up the bottom portion, the middle “an image of hood and part of the windshield of a blue car, and two wood posts on top with a single piece of wire stretched with a wire stretched horizontally across”. Similar to Thiebaud’s work, Rosenquist uses inanimate subject matter, but non traditionally. Through his cropping and odd grouping of imagery, the artist references the mix of textures found in commonly seen
Rosenquist pursues a shared philosophy of self-criticism held in Thiebaud and other modernist painter’s works, but displays this concept in a way contrary to previous artists. The work itself is a triptych of common objects in modern culture at the time displayed vertically. Each portion depicts a cropped view of said objects creating three segments of abstraction. “Rippling, shiny pink fabric” makes up the bottom portion, the middle “an image of hood and part of the windshield of a blue car, and two wood posts on top with a single piece of wire stretched with a wire stretched horizontally across”. Similar to Thiebaud’s work, Rosenquist uses inanimate subject matter, but non traditionally. Through his cropping and odd grouping of imagery, the artist references the mix of textures found in commonly seen