JAMES ROSENQUIST helped define an eraeven as he undid its imagery from within. His cool handling of advertising and media made him one of the key figures of the Pop movement in the US and contributed to the distinctive look of American art in the 1960s; he depicted motifs redolent of the postwar period, from Marilyn Monroe and JFK to automobiles and processed foodstuffs. But while many are inclined to view Pop as an art that unequivocally celebrated the new, Rosenquist took a more nuanced stance by playing with time and history from the very start. In fact, his signature paintings employed images at least a decade old, many of which he found in back issues of Life magazine. He extended these preoccupations to the performative realm in the mid-’60s, when he appeared at public events in a paper suit constructed by the fashion designer Horsta symbol of disposability and
Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.
Not registered for artforum.com?
SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*
* This rate applies to U.S. domestic subscriptions.