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Roy Lichtenstein

Sculpture

June 7–August 6, 2005
Britannia Street, London

Roy Lichtenstein, Glass II, 1976 Painted bronze, 37 ¾ × 22 × 13 ¾ inches (95.9 × 55.9 × 34.9 cm)© Estate of Roy Lichtenstein

Roy Lichtenstein, Glass II, 1976

Painted bronze, 37 ¾ × 22 × 13 ¾ inches (95.9 × 55.9 × 34.9 cm)
© Estate of Roy Lichtenstein

Roy Lichtenstein, Galatea, 1990 Painted bronze, 89 × 32 × 19 inches (226.1 × 81.3 × 48.3 cm)© Estate of Roy Lichtenstein

Roy Lichtenstein, Galatea, 1990

Painted bronze, 89 × 32 × 19 inches (226.1 × 81.3 × 48.3 cm)
© Estate of Roy Lichtenstein

Roy Lichtenstein, Endless Drip, 1995 Fabricated and painted aluminum, 142 ¼ × 13 ½ × 4 ½ inches (361.3 × 34.3 × 11.4 cm)© Estate of Roy Lichtenstein

Roy Lichtenstein, Endless Drip, 1995

Fabricated and painted aluminum, 142 ¼ × 13 ½ × 4 ½ inches (361.3 × 34.3 × 11.4 cm)
© Estate of Roy Lichtenstein

Roy Lichtenstein, Newborn, 1989 Patinated bronze, 12 ¼ × 16 ¼ × 3 ½ inches (31.1 × 41.3 × 8.9 cm)© Estate of Roy Lichtenstein

Roy Lichtenstein, Newborn, 1989

Patinated bronze, 12 ¼ × 16 ¼ × 3 ½ inches (31.1 × 41.3 × 8.9 cm)
© Estate of Roy Lichtenstein

About

Gagosian is pleased to present the exhibition Roy Lichtenstein: Sculpture, which has been organized in collaboration with the Roy Lichtenstein Foundation. This extensive survey reflects over fifty years of Lichtenstein’s sculptural oeuvre. This exhibition will highlight the artist’s Head, Glass, and Brushstroke subjects.

The collision of high and low modes is the very strategy of his art, indeed of Pop in general, and here he extends it to sculpture as well: traditional bust meets abstract mannequin, Abstract Expressionist brushstroke meets cartoon sign of the same. Crucially, however, the reference to traditional genres not only frames this collision, but in doing so, controls it as well. And if there is a radical edge in Lichtenstein, it lies here: less in his thematic appropriation of comics and the like, and more in his formal reconciliation of lowly contents and high forms.
—Hal Foster

The sculptures embrace the dichotomy between content and form, as well as between two- and three-dimensionality. Lichtenstein’s sculptures are often reduced and flattened, yet through their graphic surfaces, he communicates the illusion of depth within a two-dimensional plane.

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Dorothy Lichtenstein and Irving Blum stand next to each other in front of Roy Lichtenstein's studio in Southampton, New York

In Conversation
Irving Blum and Dorothy Lichtenstein

In celebration of the centenary of Roy Lichtenstein’s birth, Irving Blum and Dorothy Lichtenstein sat down to discuss the artist’s life and legacy, and the exhibition Lichtenstein Remembered curated by Blum at Gagosian, New York.

Alison McDonald, Daniel Belasco, and Scott Rothkopf next to each other in front of a live audience

In Conversation
Daniel Belasco and Scott Rothkopf on Roy Lichtenstein

Gagosian and the Art Students League of New York hosted a conversation on Roy Lichtenstein with Daniel Belasco, executive director of the Al Held Foundation, and Scott Rothkopf, senior deputy director and chief curator of the Whitney Museum of American Art, New York. Organized in celebration of the centenary of the artist’s birth and moderated by Alison McDonald, chief creative officer at Gagosian, the discussion highlights multiple perspectives on Lichtenstein’s decades-long career, during which he helped originate the Pop art movement. The talk coincides with Lichtenstein Remembered, curated by Irving Blum and on view at Gagosian, New York, through October 21.

Steve Martin playing a banjo

Roy and Irving

Actor and art collector Steve Martin reflects on the friendship and professional partnership between Roy Lichtenstein and art dealer Irving Blum.

Black-and-white photograph: Donald Marron, c. 1984.

Donald Marron

Jacoba Urist profiles the legendary collector.

Alexander Calder poster for McGovern, 1972, lithograph

The Art History of Presidential Campaign Posters

Against the backdrop of the 2020 US presidential election, historian Hal Wert takes us through the artistic and political evolution of American campaign posters, from their origin in 1844 to the present. In an interview with Quarterly editor Gillian Jakab, Wert highlights an array of landmark posters and the artists who made them.

Dorothy Lichtenstein in Roy Lichtenstein’s Southampton studio. Photo by Kasia Wandycz/Paris Match via Getty Images

In Conversation
Dorothy Lichtenstein

Dorothy Lichtenstein sits down with Derek Blasberg to discuss the changes underway at the Lichtenstein Foundation, life in the 1960s, and what brought her to—and kept her in—the Hamptons.