Barbara Kruger

Rosenquist’s work has all these beautifully thought-out, sumptuous, wonderful juxtapositions. There’s a fluency to how his images work together—how they both mesh and clash. I think that comes from his experience with sign painting, working with vernacular images, playing with them on a grand scale, through which he seems to have developed a designer’s eye. In a world in which almost everything seems designed—from botany and bodies to the built environment—it’s clear that every creative decision is engaging questions of the “look.” This incremental process of arranging things moves toward a kind of semblance of beauty. Rosenquist seems to have used the constraints of a client relationship, something designers deal with all the time—you’re doing the Avis account this week, the Benetton account next week—and transformed what he learned on the job into his work, morphing someone else’s image

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