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:
“It is not true that there is dignity in all work. Some jobs are definitely better than others.... People who have good jobs are happy, rich, and well dressed. People who have bad jobs are unhappy, poor and use meat extenders. Those who seek dignity in the type of work that compels them to help hamburgers are certain to be disappointed.”
—Fran Lebowitz (b. 1950)
“I am not describing a distant utopia, but the kind of education which must be the great urgent work of our time. By the end of this decade, unless the work is well along, our opportunity will have slipped by.”
—Lyndon Baines Johnson (1908–1973)
“It is not merely the likeness which is precious ... but the association and the sense of nearness involved in the thing ... the fact of the very shadow of the person lying there fixed forever! It is the very sanctification of portraits I think—and it is not at all monstrous in me to say ... that I would rather have such a memorial of one I dearly loved, than the noblest Artist’s work ever produced.”
—Elizabeth Barrett Browning (1806–1861)