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Roy Lichtenstein: Graphics Roy Lichtenstein: Graphics with an essay by Craig Adcock ' ' \ . Roy Lichtenstein: Graphics Roy Lichtenstein and "Image Duplication" by Craig Adcock \ . ·. February 25-March 20, 1983 Fine Arts Gallery /School of Visual Arts Florida State University acknowledgements The 1983 Celebration of the Arts is an event under the sponsorship of President Bernard Sliger. Without the support offered through this annual programming, The Fine Arts Gallery would be unable to bring the university and surrounding community the current e_xhibition.It is with both pleasure for the offering and gratitude to the artist that we invite you to share the graphic works of Roy Lichtenstein. This exhibition was also made possible through the kind attentions of the artist's assistant Olivia Motch, the Los Angeles atelier of Gemini G.E.L.,and Edison Community College's Gallery Director Lantz Caldwell. Mr. Caldwell made initial contact with the artist, gave us the opportunity to share the works on loan from the artist (and Castelli Graphics of New York City), and provided us with poster reproductions of The Student. To complement the exhibition we have Craig Adcock's exceptional commentary, and it is \ with deepest appreciation that we \: acknowledge this contribution. J. L. Draper, Dean School of Visual Arts Copyright 1983/Fine Arts Gallery School of Visual Arts Florida State University All rights reserved. Images courtesy © GEMINI G.E.L., Los Angeles, California Typesetting: RapidoGraphics, Inc. Printing: Precision Printing, Inc. Tallahassee, Florida Roy Lichtensteinand "Image Duplication" Roy Lichtenstein is now commonly art involved his own commercial success; it recognized as being one of the master somehow made his own work doubly ironic. workers of the commonplace, of imagery He was well aware of the incongruities. "We derived from Popular Culture. He is one of the like to think of industrialization as being top three or four Pop Artists, and Pop Art is despicable," he said, but "there's something now commonly recognized as being one of terribly brittle about it .... There are certain the major art movements of the twentieth things that are usable, forceful and vital century, This kind of consensus gives about commercial art. We're using those Lichtenstein some freedom. He is rich enough things-but we're not really advocating to get a great deal of work done and stupidity, international teenagerism and insightful enough to make that work terrorism."3 No. Lichtenstein's advocacy was powerful. far from stupid. The power of Lichtenstein's work grew out of Perhaps the most important aspect of his art an act of rebellion, He recalls that when Pop is its wit. Thishe inherits from earlier twentieth­ Art first appeared in the early sixties "it was century art movements such as Dadaism. It is hard to get a painting that was despicable a trenchant wit and one that brings art history enough so that no one would hang itself within the puNiew of his ideology of the it-everybody was hanging everything. It commonplace. Part of this stems from his was almost acceptable to hang a dripping awareness that you cannot continue to paint rag, everyone was accustomed to this. repeat things in art, as in anything else, if you The one thing everyone hated was expect anyone to listen to you. He said that commercial art; apparently they didn't hate he was "anti-contemplative, anti-nuance, that enough either.''1 Perhaps not. anti-getting-away-from-the-tyranny-of-the­ Lichtenstein certainly became successful. He rectangle, <1mti-movement-cmd-light, arrived at a personal formula that was anti-mystery, onti-pbint-quality, anti-Zen, and extremely engaging. His1961 painting, LOOK anti all of those brilliant ideas of preceding MICKEY,l'VE HOOKED A BIG ONE!!,2 could movements which everyone understands so be considered a self-portrait. The brilliant thoroughly." 4 Before saying something to us, idea of using commercial and comic book Lichtenstein had to get our attention, and the imagery was certainly one of the biggest fish shocking new style of Pop Art seNed that ever caught in the art world. purpose very well. But Lichtenstein's happy formula is not Much of what Lichtenstein had to say sufficient to explain his success. He involved the very act of rebellion in which he discovered in popular culture a series of himself was engaged: the replacement of images and emblems through which he one art movement with the next and the could examine the contemporary state of machinations, critical and art historical, that affairs, In other words, he discovered a way accompany that process, This "subject of doing what effective artists have always matter" can be seen in his 1961painting I done: He made a comment about his world. CAN SEETHE WHOLE ROOM! ... AND THERE'S He did it in an intriguing and a new way. He NOBODY IN IT!and his 1962WHAT? WHY DID shifted the low range- the world of comics YOU ASK THAT?WHAT DO YOU KNOW and advertising art- into the high range­ ABOUT MY IMAGE DUPLICATOR? the world of Castelli's Gallery and the Lichtenstein's opinion of the critical nouveau riche. Thismove gave him position. misunderstanding that was greeting his work Once in position, he proceeded to the was apparently part of his message. When profound. he began to exhibit his particular brand of "image duplication," there were not very MIRROR #5, lithograph and silkscreen, 1972 Lichtenstein's success was in a certain sense necessary, It was almost a metaphor. Part of many critics in the gallery or museum rooms Roy Lichtenstein © Gemini G.E.L.. Los Angeles. California his comment about the world of commercial who could see it. Thiswas true in spite of his 7 early commercial success. It was bought, but obviously a fake Mondrian.'' His fake -.-.-.-.-.-.-.- it was not seen. In a work like REFRIGERATOR, Cezannes, Picassos, and Mondrians were II: 1962, he seems to say, in part, that the followed in the mid-1960s by other ersatz ••••• painting might as well have been a images. The most interesting of these were refrigerator for all the genuine understanding the "Greek Temple" paintings- sops, one that accompanied its purchase. assumes, for all the artists who have had to sit through art history courses - and his "Big The shallowness of the commercial side of Painting" parodies of Abstract the art world - not just of commercial Expressionism- marvelous comic-book art-with its fine art as fine commodity brush strokes. attitude was clearly one of Lichtenstein's concerns. The disparity between our In subsequent years, Lichtenstein romantic attitudes about artists and art increasingly expanded his banter into more making and the actual Art Scene was what and more areas of past art. During 1969, he made such images as WHY BRAD DARLING, did a fascinating series of images of I THISPAINTING IS A MASTERPIECE!MY, SOON cathedral facades, of which we have six YOU'LL HAVE ALL OF NEW YORK examples in this exhibition. His lithographs of ' overlaying screens capture an impression • CLAMORING FOR YOUR WORK! of 1962 so I fundamentally ironic. Everyone knew that the uncannily like the famous series that they reality of the New York art world .was very refer to, making one want to change the • different from that depicted in the romance remark made about Monet by Cezanne - comic, yet Lichtenstein himself was actually "Only an eye, but God, what an eye!"-to living just such a dream come true. They "Only a mechanical process, but God, what really were clamoring for his work. So, the a mechanical process!" Thistoo was a way real art world was like a comic book after all. of flattening high art into the level of the comic book. It was a "vulgarization of ' Lichtenstein's irony did not stop with these Monet's CATHEDRALS.I mean they're a '• kinds of references to the contradictory vulgarization in the regular sense of the word • workings of the art world. He soon began to in that I'm industrializing his images," 8 make specific images about art historical Lichtenstein explained. It was amazing that objects. His witty parodies of Erle Loran's he could do it so beautifully. analyses of Cezanne in such works as PORTRAITOF MRS. CEZANNE, 1962, his Ben Between 1970 and 1972, Lichtenstein did a • .-;A.- Day dot, comic-book-style renderings of series of paintings and prints whose subject ••• Picasso heads and Mondrian grids in such was the mirror surface. We have four prints •• works as WOMAN WITHFLOWERED HAT, 1963, from the series in this exhibition. The mirror ••• and NON-OBJECTIVEPAINTING, 1964, were surface was an appropriate subject for a also contradictory, By using a comic book parodist like Lichtenstein. He used it as a ••• style and Ben Day dots in these renditions of symbol for one of the eternal philosophical •••• modern masterpieces, Lichtenstein made concerns of art. Leonardo had argued that •• them part of his central approach which, he the purpose of a painting was to mirror the :t said, had "always been about world and the more perfectly the surface of vulgarization." 5 He explained that his use of the painting approximated the surface of a Ben Day dots was a way of "making mirror the more successful the painting was. reference to mechanical and insensitive "You should take the mirror for your guide," relationships; and they have a meaning he said, "because on its surface the objects 9 relating to the new ways data can be appear in many respects as in a painting." • transmitted. Dotted areas mean 'fake' -a Lichtenstein seems to parody this kind of •• fake whatever it is, whether it is an ersatz notion or the tension between it and the 6 ••• Picasso or an unreal image of a person." modernist denial of it.
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