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Books : Arts & Photography : Artists, A-Z : ( J-L ) : Lichtenstein, Roy
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Blondes, beds, and black-and-white works sum up this selection of Roy Lichtenstein's series, based on an exhibition mounted at Vienna's famous Kunsthaus Bregenz in 2005. This substantial catalogue contains 80 essential color reproductions, some in high-quality foldouts, under three thematic groupings: early black-and-white works of the 60s; the woman as motif in his paintings from the 60s, 70s, and 80s; and his interiors, especially those from the 90s. Leading scholars in the field, including Michael Lobel and Avis Berman, newly illuminate the Pop master's oeuvre in the context of this juxtaposition of early and late periods. Also included are studio photographs, some of which have never been published before, and finally, a biography and bibliography related specifically to the exhibition themes.
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The Fundacion Juan March (Madrid) presents a selection of 97 works created between 1966 and 1997 by Roy Lichtenstein (1923-1997) who, together with Andy Warhol, was one of the major exponents of American Pop Art. Organized in collaboration with the Roy Lichtenstein Foundation in New York and curated by Jack Cowart, this book offers for the first time a complete and unedited vision of the different stages of the artist s work process.
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Think "Roy Lichtenstein" and you probably conjure up comic strip-based paintings and the colorful dots that comprise them. Lichtenstein intended his now iconic depictions of characters in tense, dramatic situations as commentaries on modern man's plight, in which the media--magazines, television, and advertisements--shapes everything, including our emotions. Many of the same concepts behind the artist's paintings apply to the significant number of prints he produced in the latter part of this life. Focused on works created from the mid-50s until his death in 1997, this exhibition catalogue gives a full overview of Lichtenstein's printmaking accomplishments. Accompanying reproductions of the artist's works are essays by two outstanding scholars: Dave Hickey, a MacArthur Award-winning writer on art and culture; and Elizabeth Brown, who wrote her thesis on Lichtenstein at Columbia University, under the tutelage of the late Kirk Varnedoe. Approximately 40 prints are illustrated in this elegant, intimately-scaled book, which highlights a specific body of work from one of the most innovative forces in post-World War II art.
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Roy Lichtenstein's distinctive paintings of the early 1960s are synonymous with the Pop art movement. These bold, oversized images inspired by newspaper advertisements and comic book scenes have been taken as reflecting the artist's fascination with the links between art and popular culture. In this highly readable and original book, Michael Lobel challenges this circumscribed view of Lichtenstein's work, offering a set of compelling new interpretations that reveal the artist's confrontation with a far wider range of issues. Lichtenstein's art is fundamentally engaged with a set of concerns central to art making in the postwar period: the relation between vision and technology, the possibility of articulating artistic identity, and the effect of mechanical reproduction on the work of art. Lichtenstein's project, Lobel argues, is structured by the tension between painting understood as a fully expressive, humanistic gesture and, conversely, as the product of a purely mechanical act. This handsomely illustrated book makes available for the first time an array of archival materials about Lichtenstein and his work, including photographs of the artist and many newly discovered sources for his imagery in the comics and advertisements of the early 1960s. It also provides new information on the context of the artist's Pop paintings in relation to contemporary developments in advertising culture, mechanical reproduction, and visual technologies. Examining the artist's work from fresh perspectives, the author not only offers a comprehensive analysis of Lichtenstein's early Pop paintings but also provides new insight into the issues that shaped the Pop art movement, artistic practices in the 1960s, and the historical relation between modern art and popular culture.
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Lichtenstein ushered in the American pop art movement of the 1960s while commenting on the fabricated reality of postwar American society. This comprehensive monograph focuses on the artist's painting and sculpture from the '60s to the present. Chronology and bibliography. 250 full-color reproductions.
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Asked why he painted pictures of pictures, Roy Lichtenstein replied that artists had, in a sense, always done so. The historical and actual power of the image is clear here, just as it is clear in Lichtenstein's iconic paintings, wherein he captured familiar objects with an exceptional graphic precision by way of the comic book. Whether he was representing a couch, a turkey, an artist's studio, or an emotional woman ("I don't care! I'd rather sink--than call Brad for help!"), Lichtenstein captured the essential clicha of the strong image. All About Art is all about Lichtenstein's lifelong fascination with and investigation of the image as image, a theme well borne out by the large group of pictures illustrated here in which different elements in the rhetoric of image formation are exposed: brushstrokes, stretchers, mirrors, graphic shorthand translations of other paintings, meticulous quotings of comic book imagery, flat iconic representations of commercial objects, etc. ZAP! BOOM! POW! to you. Accompanying texts include David Sylvester's last interview with Lichtenstein and an oral history of the artist, coordinated by Avis Berman.
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The Interiors , one of the artist's major final series, caricature colourful magazine spreads of art-filled rooms. With the artist's usual dry wit, they depict domestic spaces, occasionally occupied by Nudes from his other late series. Includes paintings, prints, sculpture, source materials, and drawings.
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Whiz! Bang! Pop! Blam! Roy Lichtenstein has rendered everything from a comic-book cell and a warplane to a country landscape and a turkey in his trademark style drawn from printed advertisements and cartoons. A master mixer of popular culture and high art, Lichtenstein's painterly use of Benday dots and heavy outlines turned oil paintings into something they had never before come close to. This catalogue chronicles the evolution of his brushstroke and painterly style from the late 50s through the 90s, complete with photographs of the artist at work, and reproductions of paintings, drawings, and sculptures. Critic and scholar Dave Hickey's highly original and compelling personal essay challenges the way we traditionally think about Lichtenstein's art.
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This long-awaited reissue makes this indispensable reference available again in a revised and enlarged editions that catalogues, for the first time, all of Roy Lichtenstein's graphic oeuvre, including twenty-three prints created between 1993 and his death in 1997.
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Charles Stuckey writes in his essay "Lichtenstein and Surrealism" that, "Searching for a worldwide audience in the 1930s, the Surrealists nowhere received more welcome than in the United States, with important exhibitions at the Wadsworth Athenaeum in Hartford and The Museum of Modern Art in New York. The Julien Levy Gallery quickly became something of an official New York headquarters. By the 1940s when Lichtenstein attended art school at Ohio State University, Surrealism was widely acclaimed as the matrix style for contemporary American abstract art." So no one should be surprised that the young Lichtenstein's work of that era is "fundamentally Surrealist in spirit," and that the style that influenced him as a young man would carry over into his life's work. The paintings and works on paper in Conversations with Surrealism show the movement's continuing power and inspiration through to the 1970s, when Lichtenstein drew on the work of Dali, Magritte and Picasso. The works from this series endow Surrealist archetypes such as dreamlike landscapes with Lichtenstein's distinctive style, weaving the artist himself into an art-historical narrative. Conversations with Surrealism offers a glimpse into the development of some of Lichtenstein's best-known motifs, including his "self-portraits," in which various objects represent the artist's head and face. Includes a work of short fiction by Frederic Tuten, author of The Green Hour.
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A key figure in the Pop Art movement, Roy Lichtenstein was inspired by images from comic books, newspaper advertisements, and mail order catalogues, cheaply printed images whose look was as far from "art" as the average person could imagine. With their basic hand drawn line, they were also about as archetypal as image making can get. In response to this dumb beauty of pulp imagery, and to the odd powers of simple black and white images to stimulate our appetite, Lichtenstein made some of his most essential, enduring paintings. The apparently simple paintings of single objects--a tire, a curtain, a sock, a diamond brooch, a golf ball--project riveting clarity, simplicity, and astonishing newness that are the bedrock of his art, and of Pop Art itself.
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