ABSTRACT
By recovering Pop art's jukebox modernism, other muted histories of Pop art are re-heard and re-seen in art history. This chapter sees jukebox modernism as a theoretical approach to art history, as one that has malleability—1970s funk and punk are just a few suggestions for further study. Kehinde Wiley, a painter of portraits inflected with art historical and contemporary hip hop styles, provides, in some ways, an answer to James Rosenquist's Big Bo. Rosenquist's Big Bo, all style with confused meaning, meets Wiley's overload of sumptuous painterly style that, likewise, troubles meaning. Another artist, Mingering Mike, answers Big Bo differently. In a different approach, artists use music instruments, or reference music's sound culture, in their works. Christian Marclay uses the materials of sound to make visual and audio works. Another artist, Jamal Cyrus, uses musical instruments that should have sound yet mutes them in his work.
