Roy Lichtenstein
Perfect / Imperfect
September 28 - December 7, 2002
456 North Camden Drive
Beverly Hills, CA 90210
Tel 310.271.9400 Fax 310.271.9420
Mon-Fri 10-5:30
Gallery Information
Gallery Map
Beverly Hills, CA 90210
Tel 310.271.9400 Fax 310.271.9420
Mon-Fri 10-5:30
Gallery Information
Gallery Map
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Opening reception: Saturday, September 28, 6 – 8 PM
Gagosian Gallery is pleased to present the first comprehensive exhibition dedicated to the paintings, drawings, sculpture and prints of Roy Lichtenstein's Perfect and Imperfect Paintings series. This exhibition will also inaugurate the newly expanded Beverly Hills gallery, designed by Richard Meier & Partners.
This series began in 1985 with the production of "perfect" paintings, abstract compositions of intersecting triangles, large planes of color and signature dots all fitting neatly within the confines of a rectangular picture plane. The Imperfect paintings that followed, however, broke free from the rectilinear shape of their predecessors; instead of making the triangles fit, the edges project beyond the limits of the canvas. Lichtenstein would often use a similar composition for a Perfect and for an Imperfect painting, where only the slight torque of a line created an entirely new work.
This exhibition has been made possible with the help of the Roy Lichtenstein Foundation, Dorothy Lichtenstein, and the Estate of Roy Lichtenstein. A color catalogue will accompany the exhibition with an essay by Yve-Alain Bois.
Opening reception: Saturday, September 28, 6 – 8 PM
Gagosian Gallery is pleased to present the first comprehensive exhibition dedicated to the paintings, drawings, sculpture and prints of Roy Lichtenstein's Perfect and Imperfect Paintings series. This exhibition will also inaugurate the newly expanded Beverly Hills gallery, designed by Richard Meier & Partners.
This series began in 1985 with the production of "perfect" paintings, abstract compositions of intersecting triangles, large planes of color and signature dots all fitting neatly within the confines of a rectangular picture plane. The Imperfect paintings that followed, however, broke free from the rectilinear shape of their predecessors; instead of making the triangles fit, the edges project beyond the limits of the canvas. Lichtenstein would often use a similar composition for a Perfect and for an Imperfect painting, where only the slight torque of a line created an entirely new work.
This exhibition has been made possible with the help of the Roy Lichtenstein Foundation, Dorothy Lichtenstein, and the Estate of Roy Lichtenstein. A color catalogue will accompany the exhibition with an essay by Yve-Alain Bois.

