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
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
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.
Michael Ovitz, cofounder of Creative Artists Agency (CAA), looks back to 1989, the year he and the architect I. M. Pei commissioned Roy Lichtenstein to create the Bauhaus Stairway Mural for the then new CAA Building in Los Angeles. Through the experience of working with Lichtenstein, Ovitz formed a meaningful friendship with the artist.
Alice Godwin and Alison McDonald explore the history of Roy Lichtenstein’s mural of 1989, contextualizing the work among the artist’s other mural projects and reaching back to its inspiration: the Bauhaus Stairway painting of 1932 by the German artist Oskar Schlemmer.
The Summer 2024 issue of Gagosian Quarterly is now available, featuring a detail of Roy Lichtenstein’s Bauhaus Stairway Mural (1989) on the cover.
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.
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.
Actor and art collector Steve Martin reflects on the friendship and professional partnership between Roy Lichtenstein and art dealer Irving Blum.
Jacoba Urist profiles the legendary collector.
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 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.
The Fall 2019 issue of Gagosian Quarterly is now available, featuring a detail from Sinking (2019) by Nathaniel Mary Quinn on its cover.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.
Gillian Pistell examines Roy Lichtenstein’s aesthetic developments in the years 1961 to 1965.
The Winter 2018 issue of Gagosian Quarterly is now available. Our cover this issue comes from High Times, a new body of work by Richard Prince.
A 1964 publication by the Chinese-American artist and poet Walasse Ting and Abstract Expressionist painter Sam Francis.
Diana Widmaier Picasso, curator of the exhibition Desire, reflects on the history of eroticism in art.
Jack Cowart, Executive Director of the Roy Lichtenstein Foundation, and Rob McKeever, a former assistant to Lichtenstein, recall the making of the original Greene Street Mural.
More than thirty years after its creation, Gagosian presents a full-scale painted replica of the original Greene Street Mural by Roy Lichtenstein, based on documentation from the artist’s studio and produced by sign painters under the supervision of his former studio assistant.
