Published by Galerie Thaddaeus Ropac. Edited by Oona Doyle, Paul Dürnberger, Arne Ehmann, Sophie Leimgruber. Text by Siegfried Gohr.
Presenting key works from the 1980s by the iconic pop artist Roy Lichtenstein (1923–97), Roy Lichtenstein: The Loaded Brush includes full-spread installation views alongside an essay by the German art historian Siegfried Gohr that focuses on a period of great formal innovation both in painting and sculpture which centers on the motif of the brushstroke. Lichtenstein explains: "It [the brushstroke] was the way of portraying this romantic and bravura symbol in its opposite style, classicism. The Brushstroke plays a big part in the history of art. Brushstroke almost means painting or art.
Lichtenstein’s fascination with the brushstroke throughout art history is explored in sections covering his work in collage, drawing, painting and sculpture. This publication also features rare archival material, including images of the artist working in his studio.
Written in close collaboration with the Roy Lichtenstein Estate and Foundation, this monograph presents an extraordinary selection of over 200 works on paper by the American artist, from the National Gallery of Washington, DC; the MoMA and the Whitney Museum, New York; the Art Institute of Chicago, as well as public and private European and American collections. Devoted to his works on paper that represent the most private and poetic aspect of Roy Lichtenstein’s production, this volume provides the reader with a unique perspective for getting to know and appreciate the artist’s oeuvre through the “first works,” namely the original ideas that were to be the source of inspiration for his great, world-famous masterpieces. The works on paper are also paired with some important paintings and sculptures, as well as a rich selection of photographs documenting the artist at work.
The volume includes texts by Danilo Eccher, Dorothy Lichtenstein, Bernice Rose, Jack Cowart, Thomas Zacharias (“Lichtenstein Draws”), and Andrea C. Theil, a chronology (by Clare Bell), and a list of exhibitions in Italy.
Danilo Eccher is the director of the Galleria d’Arte Moderna, Turin.
Published by Skira. Edited by Germano Celant. Text by Clare Bell, Richard Calvocoressi.
An exceptional selection of Lichtenstein’s sculptures from 1968 to the end of the artist’s life, from early ceramic sculptures to large-scale public works. The planned exhibition at the Fondazione Vedova in Venice (Biennale Arte 2013) will encompass Roy Lichtenstein’s sculptural production throughout his career, from the early 1960s through the late 1990s, covering the influential artist’s sculptural œuvre in ceramic, bronze, wood, porcelain, steel, and aluminum, as well as drawings, collages, and maquettes that describe the artist’s working processes. This catalog—a major chronology of Lichtenstein’s sculptures—not only documents the process of the artist, from sketches and drawings to collages, maquettes, metal sculptures, and large-scale interventions in urban contexts, it also approaches Lichtenstein’s work from the perspective of fabrication methods and industrial techniques.
Internationally known for his writings on Arte Povera, Germano Celant has been a contributing editor at Artforum since 1977 and at Interview since 1991. Clare Bell is program manager and researcher at ths Roy Lichtenstein Foundation. Richard Calvocoressi is director of the Henry Moore Foundation.
Published by Mitchell-Innes & Nash. Text by Graham Bader, David Salle.
Roy 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.
Published by Hatje Cantz. Text by Isabelle Dervaux, Graham Bader, Clare Bell, Lindsey Tyne.
Between 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.
Published by The Museum of Modern Art, New York. Text by Carolyn Lanchner.
Roy 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.
Published by Mitchell-Innes & Nash. Essays by Charles Stuckey and Frederic Tuten. Foreword by Jack Cowart.
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.
Published by Kunsthaus Bregenz. 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.
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 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.
PUBLISHER Kunsthaus Bregenz
BOOK FORMAT Clothbound, 9.5 x 12.75 in. / 248 pgs / 80 color / 20 bw.
PUBLISHING STATUS Pub Date 10/15/2005 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2005
PRODUCT DETAILS ISBN 9783883759654TRADE List Price: $85.00 CDN $100.00
From the Collections of Jordan D. Schnitzer and Family Foundation
Published by Marquand Books/Museum of Art/Washington State University. Essays by Dave Hickey and Elizabeth Brown. Introduction by Chris Bruce.
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.
Published by Louisiana Museum of Modern Art. 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.
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 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.
Published by Mitchell-Innes & Nash/Roy Lichtenstein Foundation. Artwork by Roy Lichtenstein. Edited by Rick Moody. Contributions by Jack Cowart. Text by Scott Rothkopf.
Twelve 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.
Published by Gagosian Gallery. Essays by Robert Rosenblum and Frederic Tuten.
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 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.
PUBLISHER Gagosian Gallery
BOOK FORMAT Hardcover, 12.25 x 12.25 in. / 60 pgs / 18 color / 24 bw.
PUBLISHING STATUS Pub Date 7/2/2002 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2002
PRODUCT DETAILS ISBN 9781880154625TRADE List Price: $40.00 CDN $50.00
Published by Mitchell-Innes & Nash. Essay by Dave Hickey.
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.