Not many contemporary artists as Larry Rivers demonstrated an ambivalent view about artists' self in the 1950s art. On the one hand, Rivers appropriated the images drawn from either high art or popular culture throughout the 1950s, instead of developing his individual and original artistic style and vision. On the other hand, in his biography what Did I IDo published in 1992, Rivers wrote that the primary concern in his art was the artist himself-to investigate and search his identity. Then what kind of identity, either personally and artistically, does Rivers talk about or intend to represent in his work? This study examining Rivers's self-images will concentrate on his art and col laborative works in the 1950s when he was in close contact with the New York School of Poets, the group known for its germinating role for camp attitudes in literature, later defined by Susan Sontag in her famous article, ''Notes on Camp" in 1964. The group included Frank O'Hara. a homosexual poet, who became notorious for his essay 'Personism' in the late 1950s. This study will investigate Rivers's and O'Hara's parallel attempts to question, challenge, and reconfigure the traditional concept of self and artistic originality. As I will argue the case of Rivers and O'Hara remains a significant example in re-considering not only the development of camp aesthetics in the 1950s art and literature, but also the deeper connection between homosexuality and campy art of parody-or, of self parody.