Oldenburg dealt in everyday objects, blowing up hamburgers to abnormal size and showcasing sculptures of comfort foods, while Rosenquist took
his background as a billboard painter to imagine glamorous, surrealistic mash - ups of candy - colored cars, smiling faces, or advertisements.
Not exact matches
For every overwrought sequence of a boy's choir singing «Silent Night, Holy Night» — savor the metaphorical import — you get McCarthy and cinematographer Masanobu Takayanagi cleverly inserting schoolchildren into the
background of a cover - up conversation and an AOL
billboard doubling
as a sly sick - joke punch line.
These deleted scenes wouldn't have «fixed» Three
Billboards, but they remain an interesting look at a film that probably could have done more to flesh out its black characters rather than having them serve
as symbols or part of the
background.
The collage - like paintings from the 1960s, which clearly reflect Rosenquist's
background as a painter of enormous
billboards on Times Square, will be shown along with biographically motivated paintings from the 1970s and interpretations of cosmic phenomena in his later large - scale paintings.