Work
Max's art work was first identified as having been a popular part of the counter culture and psychedelic movements in graphic design during the late 1960s and early 1970s. He is known for using intense bursts of color, often containing much or all of the visible spectrum. His work was both influenced by, as well as widely imitated by, others in the field of commercial illustration, such as Heinz Edelmann. Peter Max' repetitive and varying claim to have worked on "Yellow Submarine" has been denied by the production team.
Max works in multiple media including painting, drawing, collage, print making, sculpture, video and digital imagery. He also includes "mass media" as being another "canvas" for his creative expression. Max often uses patriotic American icons and symbols in his artwork. He has created paintings of presidents Ford, Carter, Reagan and Bush in addition to his 100 Clintons, --a multiple portrait installation. His work often features images of celebrities, politicians, athletes and sporting events and other pop culture subjects.
One of Continental Airlines' Boeing 777-200ER aircraft (registered N77014) sported a special livery designed by Max.
His artwork was featured on CBS's The Early Show where his "44 Obamas," commemorating the 44th President of The United States, was debuted.
Read more about this topic: Peter Max
Famous quotes containing the word work:
“Gratefully accepting the proffered honor, [to inscribe a new legal work to him] I give the leave, begging only that the inscription may be in modest terms, not representing me as a man of great learning, or a very extraordinary one in any respect.”
—Abraham Lincoln (1809–1865)
“The poet needs a ground in popular tradition on which he may work, and which, again, may restrain his art within the due temperance. It holds him to the people, supplies a foundation for his edifice; and, in furnishing so much work done to his hand, leaves him at leisure, and in full strength for the audacities of his imagination.”
—Ralph Waldo Emerson (1803–1882)
“We have not the motive to prepare ourselves for a “life-work” of teaching, of social work—we know that we would lay it down with hallelujah in the height of our success, to make a home for the right man. And all the time in the background of our consciousness rings the warning that perhaps the right man will never come. A great love is given to very few. Perhaps this make-shift time filler of a job is our life work after all.”
—Ruth Benedict (1887–1948)