Pop artist James Rosenquist returns to the limelight with a dazzling retrospective of his larger-than-life works

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As for Pop art, the frenetic hodgepodges that once looked so daring and outrageous now seem as modern and commonplace as a remote-control surf through the dizzying images of cable television. Acereal box label. Click. Ayoung girl’s face. Click. A razor blade. Click. Alipsticked mouth. More than most modern artists, Rosenquist recognized that popular culture is not a freeze frame but images zapping by in rapid-fire succession. His own amazing array of them seems driven by his determination to be, above all, an American original. “I always wanted to make something different,” he says. “All the paintings I’d seen looked like they were viewed through a window frame. I wanted to do something that spilled out of the painting onto the floor, something that stuck out in your face.”


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