Label Text
The style in which Phillips presents his imagery is as slick and polished as the factory-produced, mass-market items that inpsired it. This work comes from a series Phillips created while living in New York, where he had begun xperimenting with airbrush techniques that allowed him to achieve a surface that looks glossy and machine -made.
Source: Des Mones Art Center Downtown, Sweet Dreams, Baby!, exhibition handout.
Published ReferencesAMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, 1970, color ill. p.115
FORMS IN ENGLISH LITERATURE, Houghton Mifflin, 1971, ill.
EMPIRES AND REVOLUTIONS, Allyn and Bacon, Boston, 1970, ill.
THE CHALLENGE OF CHANGE, Allyn and Bacon, Boston, 1971, ill.
Lucy L. Lippard, POP ART, Frederick A. Praeger, Inc., N. Y., 1966, color ill. p.55, ill. no.38
Otto G. Ocvirk, Robert O. Bone, Robert E. Stinson & Philip Wigg, ART FUNDAMENTALS: THEORY AND PRACTICE, Fifth Edition, Wm. C. Brown Publishers, Dubuque, IA, 1985, b/w ill. no.3.23, p.33
H. H. Arnason, HISTORY OF MODERN ART: PAINTING - SCULPTURE - ARCHITECTURE, Prentice-Hall, Inc. and Harry N. Abrams, Inc., Englewood, NJ, and New York, 1968, color ill. p.585, color pl. no.234
DES MOINES ART CENTER: SELECTED PAINTINGS, SCULPTURES AND WORKS ON PAPER, Des Moines Art Center, 1985, ref. pp.171 & 172, b/w ill. pl.109, p.171
Stephen Dunning, SOME HAYSTACKS DON'T EVEN HAVE ANY NEEDLE, Scott, Foresman & Co., Glenview, IL, 1969, ill.
Published ReferencesAMERICAN REPUBLIC INSURANCE COMPANY, Des Moines, 1970, color ill. p.115
FORMS IN ENGLISH LITERATURE, Houghton Mifflin, 1971, ill.
EMPIRES AND REVOLUTIONS, Allyn and Bacon, Boston, 1970, ill.
THE CHALLENGE OF CHANGE, Allyn and Bacon, Boston, 1971, ill.
Lucy L. Lippard, POP ART, Frederick A. Praeger, Inc., N. Y., 1966, color ill. p.55, ill. no.38
Otto G. Ocvirk, Robert O. Bone, Robert E. Stinson & Philip Wigg, ART FUNDAMENTALS: THEORY AND PRACTICE, Fifth Edition, Wm. C. Brown Publishers, Dubuque, IA, 1985, b/w ill. no.3.23, p.33
H. H. Arnason, HISTORY OF MODERN ART: PAINTING - SCULPTURE - ARCHITECTURE, Prentice-Hall, Inc. and Harry N. Abrams, Inc., Englewood, NJ, and New York, 1968, color ill. p.585, color pl. no.234
DES MOINES ART CENTER: SELECTED PAINTINGS, SCULPTURES AND WORKS ON PAPER, Des Moines Art Center, 1985, ref. pp.171 & 172, b/w ill. pl.109, p.171
Stephen Dunning, SOME HAYSTACKS DON'T EVEN HAVE ANY NEEDLE, Scott, Foresman & Co., Glenview, IL, 1969, ill.
DimensionsFrame: 85 3/8 × 70 7/16 in. (216.9 × 178.9 cm)
Overall: 84 1/4 × 69 in. (214 × 175.3 cm)
Overall: 84 1/4 × 69 in. (214 × 175.3 cm)
Accession Number 1982.36
Classificationspainting
SignedPeter Phillips 1964/65 (verso u,l)
ProvenanceArtist. (Jill Kornblee Gallery, New York); American Republic Insurance [acquired by 1970]; Des Moines Art Center [gift of the previous, 1982]
