Robert Longo extracted the figure of a man from a film still, a document of the closing scene of Rainer Fassbinder's movie The American Soldier (1970), in which a gangster is shot dead. Longo repeated this decontextualized figure in many different settings, either in isolation, or recontextualized in different settings. He also varied the pose. In each iteration the enigmatic pose took on different meanings.
Longo's Corporate Wars: Walls of Influence, (center panel, 1982, cast aluminum) shows how a gesture appropriated from a found narrative may become part of a personal vocabulary.

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