| | | | |  | ROY LICHTENSTEIN REFLECTED
Text by Graham Bader, David Salle.
MITCHELL-INNES & NASH
ISBN: 9780981457864 | US $40.00
Pub Date: 3/31/2011
Active | In stock
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| |  | ROY LICHTENSTEIN
Text by Carolyn Lanchner.
THE MUSEUM OF MODERN ART, NEW YORK
ISBN: 9780870707704 | US $9.95
Pub Date: 10/31/2009
Active | In stock
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| |  | ROY LICHTENSTEIN
KUNSTHAUS BREGENZ
ISBN: 9783883759654 | US $85.00
Pub Date: 10/15/2005
Active | In stock
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|  | ROY LICHTENSTEIN: PRINTS 1956-1997
Essays by Dave Hickey and Elizabeth Brown. Introduction by Chris Bruce.
MARQUAND BOOKS, INC./MUSEUM OF ART/WASHINGTON STATE UNIVERSITY
ISBN: 9780975566213 | US $24.95
Pub Date: 10/15/2005
Active | Awaiting stock
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| Text by Graham Bader, David Salle.
Published by Mitchell-Innes & NashRoy Lichtenstein Reflected presents a selection of paintings that treat ideas of reflections and doubling. A strategy that spanned Lichtenstein's career, mirroring was explored in his Reflections series of the 1980s, in which he used his early work as subject matter, fracturing it with mirrored glass. Reflected also includes drawings, source materials and exclusive clippings from the artist's notebooks.
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| Text by Isabelle Dervaux, Graham Bader, Clare Bell, Lindsey Tyne.
Published by Hatje CantzBetween 1961 and 1968, at the height of the Pop art movement, Roy Lichtenstein (1923-1997) created about 50 large black-and-white drawings. Not only was their imagery, culled from consumer culture, entirely new--baked potatoes, ads for foot medication and BB Guns--but so was their treatment, which drew on the rudimentary character of cheaply printed commercial drawings. Conceived independently from Lichtenstein's paintings, these drawings recast illustrations from newspaper ads and comic books into works of keen visual intensity, curiously echoing the clean-edge aesthetic of 1960s geometric abstraction. "Drawing is the basis of my art," Lichtenstein later affirmed; "It is where my thinking takes place." Published for an exhibition at the Morgan Library in New York, this richly illustrated publication offers 120 color illustrations, plus essays on Lichtenstein's technique and on his little-known 1967 Aspen project, in which the artist transformed a room into a black-and-white cartoon drawing.
|  | STATUS: Out of Print | 00/00/00
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| Text by Carolyn Lanchner.
Published by The Museum of Modern Art, New YorkRoy Lichtenstein made a tremendous impact on Modern art in the twentieth century. As a pioneer of Pop art, he was a key figure in the postwar tradition that brought American art to the forefront of the international scene. This new volume in the MoMA Artist Series, which explores important artists and favorite works in the collection of The Museum of Modern Art, guides readers through a dozen of the artist's most memorable achievements. A short and lively essay by Carolyn Lanchner, a former curator of painting and sculpture at the Museum, accompanies each work, illuminating its significance and placing it in its historical moment in the development of Modern art and the artist's own life. This volume provides a unique overview of someone who shaped the development of American art since mid-century and is an excellent resource for readers interested in the stories behind the masterpieces of the Modern canon.
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| Essays by Charles Stuckey and Frederic Tuten. Foreword by Jack Cowart.
Published by Mitchell-Innes & NashCharles 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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| Edited by Eckhard Schneider. Essays by Bob Adelman, Michael Lobel, Siegfried Gohr, Ettore Sottsass, Michael Craig-Martin, Avis Berman and Eva Wattolik. Photo Essay by Bob Adelman.
Published by Kunsthaus BregenzBlondes, 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 1960s; the woman as motif in his paintings from the 1960s, 1970s and 1980s; and his interiors, especially those from the 1990s. 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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| From the Collections of Jordan D. Schnitzer and Family FoundationEssays by Dave Hickey and Elizabeth Brown. Introduction by Chris Bruce.
Published by Marquand Books, Inc./Museum of Art/Washington State UniversityThink “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.
|  | STATUS: Temporarily out of stock pending additional inventory. |
| Edited by Michael Juul Holm, Martin Caiger-Smith and Poul Erik TØjner. Essays by Avis Berman, Michael Lobel, Jack Cowart, David Sylvester and Poul Erik TØjner. Introduction by Susan Ferleger Brades.
Published by Louisiana Museum of Modern ArtAsked 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 cliché 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.
|  | STATUS: Out of print | 5/28/2010
For assistance locating a copy, please see our list of recommended out of print specialists > |
| Artwork by Roy Lichtenstein. Edited by Rick Moody. Contributions by Jack Cowart. Text by Scott Rothkopf.
Published by Mitchell-Innes & Nash/Roy Lichtenstein FoundationTwelve years ago, the Metropolitan Transportation Authority (MTA) Arts for Transit commissioned Roy Lichtenstein to create a mural for the Times Square subway station at 42nd Street and Broadway in Manhattan. Fabricated by Lichtenstein in 1994, the mural was finally unveiled on September 5, 2002, a gift from the artist to all New Yorkers. Standing 6 feet high and 53 feet long, the mural provides a skyline view of a futuristic metropolis, as represented through Lichtenstein's trademark benday dots and comic book flair. The development of the mural is explored here through an essay by Harvard University scholar Scott Rothkopf and “Report on Miniaturization (Metropolis, 2030 A.D.),” a new, specially commissioned short story by Rick Moody. In this appropriately oversized book, viewers get a glimpse of Lichtenstein's creative process, interweaving motifs, and visionary themes, and of the four decades of art making and rich associations that went into the making of the Times Square Mural.
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| Essays by Robert Rosenblum and Frederic Tuten.
Published by Gagosian GalleryA 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 official "art" as one could imagine. With their simplified hand-drawn lines, they were also about as clarified as image-making can get. In response to the dumb beauty of pulp imagery and the strange powers of black and white images to stimulate our eyes, 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 and an astonishing newness that are the bedrock of his art, and of Pop art itself.
|  | STATUS: Out of print | 11/25/2008
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| Essay by Dave Hickey.
Published by Mitchell-Innes & NashWhiz! 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.
|  | STATUS: Out of print | 4/1/2008
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