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...Rubens of the billboards, is doing equally well on this side of the Atlantic. The sometime sign painter from Grand Forks, N. Dak., stars this month with 32 works at the National Gallery of Canada in Ottawa (see color opposite). Gifted with pop art's most facile brush, Rosenquist was a smash with his first Manhattan show in 1962. His huge, bold panoramas combine the photo-simulated faces, glossily glamorized foods and chrome-plated gadgetry of Madison Avenue in weird compositions where objects seem to float off the canvas. In their own way, they are also a wry celebration...

Author: /time Magazine | Title: Painting: Rosenquist & Lichtenstein Are Alive | 1/26/1968 | See Source »

...style of the 1930s thai some observers believe heralds the ad vent of a whole new nostalgic school of art. Rosenquist has taken to painting his images onto transparent Mylar, then slicing it into strips to create a new kind of "walk-through sculpture." But he will not abandon brush and can vas. "Oil painting may be old-fashioned," he says, "but I don't think any medium is dead-as long as a person can prove his intuition by using...

Author: /time Magazine | Title: Painting: Rosenquist & Lichtenstein Are Alive | 1/26/1968 | See Source »

...prayer house, about as big as one of those very large doll houses in an F.A.O. Schwartz catalogue was as bare as could be except for a mat, a teapot, a tooth brush, and, disconcertingly, a stack of American comic books. I haven't any idea what they were doing there...

Author: By Lawrence A. Walsh, | Title: Vietnam: An Outside Perspective | 1/24/1968 | See Source »

...Sudburydistrict of Ontario. To supplement that, the company has been busily prospecting for nickel all around the world. It recently signed a partnership agreement with the French government to mine in New Caledonia, has been carrying on protracted negotiations for other finds in Guatemala, and is beating the brush for nickel in Africa, Australia and Indonesia...

Author: /time Magazine | Title: Metals: Nickel Dollars | 1/19/1968 | See Source »

...possible, even more concerned with making his paintings fill the viewer's whole field of vision. The 9-ft. by 6-ft. portraits, mostly of naked women, which he executes in steely tones, have an unnerving frontality arising from the fact that Leslie's brush goes beyond what the naked eye would see. He cunningly divides his figures into four sections, then paints head, chest, abdomen and thighs separately, each viewed from eye level. He elevates his models on platforms, or for self-portraits, uses a male model posing in his clothes...

Author: /time Magazine | Title: Painting: Return to the Challenge | 1/12/1968 | See Source »

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