Roger Brown
68.6 x 139.7 x 5.1 cm
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Brown's particular interest (or derision) of Koons may in part extend to something closer to Chicago, it is worth noting. While Koons is known on an international scale, he got his start in Chicago, a student at the School of the Art Institute of Chicago, Brown's own alma mater. Koons was part of a generation at SAIC that sought to reject and distance themselves from the Imagists—a schism that Brown would push back against in kind.
Literature
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Transcription of text beneath panels, top to bottom, left to right
Young artist Holden Coons can’t hit on the right kind of art do make it in the big time. He decides to try to make it big by courting older well known artists and maybe appropriating their art.
He meets older sculptress Gloria Nevelson, who has been declared obsolete by the young appropriators because she continues to make her own work. She hopes to make a comeback at the Chesterfield Gallery but old acquaintance Cecil B. de Monet won’t even answer her letters.
Gloria is protected from the truth of her obsolescence by gothic realist Eric Von Fischl (Max) who daily supplies her
with portraits of herself as a pubescent virgin.