With a background in painting billboards, James Rosenquist had a unique perspective on the dual effects of imagery and scale on the viewing experience. His colossal pieces are immersive- they surround the viewer and dominate most gallery spaces. In this volume readers can examine his process of creating imageladen abstractions through his source materials. Rosenquist often started with images he'd literally ripped from the pages of print media and which he then transformed into collages. From there he would scale up the collage, recreating it as a large-scale canvas or installation. This book presents both well-known and rarely exhibited pieces, including F-111 and The Swimmer in the Economist, to show how juxtaposing seemingly incongruent images creates a powerful mirror of commercialist culture. With an focus on the cultural and political dimension, the essays about Rosenquist's life, oeuvre, technique, and impact on the art world create a multi-faceted portrait of an artist who believed that the sum of the parts was essential to understanding the whole.

Contributions by: Sarah Bancroft, Stephan Diederich, Yilmaz Dziewior, Isabel Gebhardt, Tino Grass, Tim Griffin, Tom Holert