Like June Leaf, whose work was a guiding influence for him in the mid-1950s, Seymour Rosofsky (1924–1981) bridged the myth-expressionist and image-and-fantasy painters.
Leaf said: “He is the only artist at the time who made sense to me. He told me: I don’t want to compete with my contemporaries. I want to wrestle with the angels.” Early mature work was exceptionally brutal, featuring bold colors in sour combinations and dark amorphous figures, often grouped. Like Leaf’s Arcade Women (1956), Rosofsky’s Unemployment Agency (1957/58) suggests a dystopian vision of bureaucratic paranoia more than individual existential angst.
In the ’60s, the work adopts a more comically perverse tone, surreal in origin, sometimes pointedly political. “People who live with my work come to like even the ugliness in it,” Rosofsky wrote. “That’s part of life.”
 June Leaf, quoted in June Leaf: A Survey of Painting, Sculpture and Works on Paper 1948–1991, ed. Philip Brookman and Lucy Lippard, exh. cat. (Washington, DC: Washington Project for the Arts, 1991), p. 8.
 Seymour Rosofsky, quoted in Domicile: Through the Lens of Seymour Rosofsky, exh. broch. (Chicago: Thomas McCormick Gallery, 2003), p. 12.
This text was adapted from John Corbett’s “Introducing: The Roster” in the Monster Roster exhibition catalogue.