New York

James Rosenquist

Leo Castelli Gallery Uptown

Ten years ago Lucy Lippard commented that James Rosenquist seemed to stand on the verge of the nonobjective. His latest set of drawings shows him even closer to the nonobjective, and further away from the huge juxtapositions of Pop images which make up paintings like the F-111.

Rosenquist has always claimed to be concerned with avoiding collage; this movement away from the figurative in his work also may be part of the movement away from mere juxtaposition. Certainly the new sketches were unified more schematically than Rosenquist’s previous work. It was a unity more self-consciously painterly than in his earlier work, although the imagery is drawn largely from the Rosenquist of the past.

There is still the same aggressiveness and even violence which has always seemed a feature of Rosenquist’s work, the flashing of images in huge scale, the rubbing of the viewer’s nose in cliché details from

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