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Roy Lichenstein created a five-storey high mural in New York city using over 30 gallons of paint, and 36 housepainter's brushes. In words and pictures, this book reveals how this event was executed. The photographs record this event and the text describes in detail the artist's personal vision of his own art. It also illuminates his views on other painter's work. Lichenstein's mural combines references to major artists of the 20th century - Braque, Leger, de Kooning and Johns - executed in his own style, with cartoon "blast" symbols, magazine advertisements, a piece of Swiss cheese and other images and artifacts of contemporary life. ... Read more

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Spectacular 20th Century Collection
Shows the works of the 5 prominent American Artist of the late 20th century ... Read more

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Shows how Lichtenstein created a five-story-high mural fro the lobbey of the Equitable in New York City, and discusses the artist's background. ... Read more

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As its point of departure,Funny Cuts takes, as its point of departure, Pop Art's revolutionary referencing of comics and concludes with the most current trends in contemporary art, reflecting in many diverse ways its dialogue with the commercial and trivial picture worlds of comics and cartoons. Pop Art artists like Andy Warhol and Roy Lichtenstein were ground-breaking in their provocative confrontation with high and low art using motifs and references from popular comics. In the 1970s, American comics dealt with taboo subjects like sexuality and violence--here, for the first time, the subversive potential and the psychological content of comic worlds were used creatively in in fine art. Within the context of the punk movement, Raymond Pettibon and Mike Kelley were inspired by comics through wall-length drawings that made use of the narrative element of comics on the border between visual art and literature. And internationally today, artists question political and social realities and their own identity through the mythological potential of comics and animations. Presented here are numerous images from roughly 100 artists that visually demonstrate the various ways in which comics have become a form of high art.

Artists include Yoshitaka Amano, Marcel Dzama, Tim Eitel, Erro, Inka Essenhigh, Arturo Herrera, Mike Kelley, Roy Lichtenstein, Yoshitomo Nara, Julian Opie, Raymond Pettibon, Wilhelm Sasnal, Dorothea Schulz, Thaddeus Strode, Andy Warhol, and many others.Preface by Christian von Holst.

Essays by Andreas Schalhorn, Kassandra Nakas and Ulrich Pfarr.Hardcover, 7.5 x 11 in./200 pgs / Illustrated throughout. ... Read more

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Walker Evans' radical photography of the 1930s demonstrated that unembellished photographic fact could serve as a highly poetic language. These works expanded the potential of the art of photography and at the same time defined a lasting iconography that recognized advertising, movies, and car culture as central images of modern American identity. Walker Evans & Company focuses on Evans as a central figure in the arts of the 1920s and 30s, and includes works in photography and other mediums that influenced Evans or were influenced by him, or which resonate in a significant way with aspects of his imagery, sensibility, and style. Among the other artists whose work is featured are: Eugene Atget, Mathew Brady, Stuart Davis, Robert Frank, Lee Friedlander, Edward Hopper, Roy Lichtenstein, Ed Ruscha, August Sander, Andy Warhol, and Edward Weston. Published in conjunction with the second of three cycles of millennial exhibitions at The Museum of Modern Art, New York.

Featuing: Walker Evans, Eugène Atget, Bernice Abbott, Robert Adams, Diane Arbus, Lewis Baltz, Harry Callahan, William Eggelston, David Goldblatt, Russell Lee, Wright Morris, Joel Sternfeld, Thomas Struth, Paul Strand, August Sander, Matthew Brady, Stuart Davis, Robert Frank, Lee Friedlander, Edward Hopper, Roy Lichtenstein, Ed Ruscha, Andy Warhol and Edward Weston amongst many others.

Essay by Peter Galassi.
Foreword by Glenn D. Lowry. ... Read more

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Photo Fine Art

Peter Galassi focuses on Evans as one of the great photographers of the twentieth century who also had a huge influence on many American photographers (and some contemporary graphic artists) and the ten visual chapters in this beautiful book provide a convincing case.

Photography as an art form has had a hard time proving it.Unlike fine art paintings, which exist as an entity, photography has mainly presented a visual record in many printed mediums (newspapers, magazines, advertising, packaging, posters) all seen by the public but not as art.Walker Evans helped to change that perception in America.

The first two chapters are interesting because Galassi features photographers who influenced Evans, especially Eugene Atget and his studies of Paris.The remaining eight each start with work by Evans then the chapter theme is carried on by other well-known photographers (and artists) who drew inspiration from the style and subject matter in his work.The hundred creative folk featured are a who's who of American photography since the 1940s.

Just over three hundred images are shown printed in an impressively fine screen (more than 250dpi) that brings out the wonderful detail in so many of them.Galassi contributes a fine introduction and each photographer get a comprehensive list of their photos in the back of the book.Overall I thought this was a fascinating survey American art photography whose origins clearly owe so much to Walker Evans.

***FOR AN INSIDE LOOK click 'customer images' under the cover.

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Woman according to Roy
The catalogue for an exhibition held at the Gagosian gallery in NYC in 2008, this wonderful book focuses on a major 1962-1964 series by Roy Lichtenstein, in which he concentrated exclusively on the feminine face. The book starts with an interview by Jeff Koons of the artist's widow, Dorothy, who gives a fascinating account of Lichtenstein's working method and ideas and is complemented with an artist's book by Richard Prince who thereby delivers his own reinterpretation of the Girls series.The illustrations are first-rate, often with magnified details, and the exhibition not only covers the paintings, but also the rarely-seen preparatory drawings and source materials, all of which are illustrated in the book. A must-have for any Lichtenstein fan. ... Read more

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The Fundacion Juan March (Madrid) presents a selection of 97 works created between 1966 and 1997 by Roy Lichtenstein (1923-1997) who, together with Andy Warhol, was one of the major exponents of American Pop Art. Organized in collaboration with the Roy Lichtenstein Foundation in New York and curated by Jack Cowart, this book offers for the first time a complete and unedited vision of the different stages of the artist s work process. ... Read more

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Charles Stuckey writes in his essay ìLichtenstein and Surrealismî that, ìSearching 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.î So no one should be surprised that the young Lichtensteinís work of that era is ìfundamentally Surrealist in spirit,î and that the style that influenced him as a young man would carry over into his lifeís 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 ìself-portraits,î 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. ... Read more

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This digital document is an article from Arts & Activities, published by Publishers' Development Corporation on June 1, 2003. The length of the article is 1134 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Classroom use.(profile of artist Roy Lichtenstein)
Author: Guy Hubbard
Publication: Arts & Activities (Magazine/Journal)
Date: June 1, 2003
Publisher: Publishers' Development Corporation
Volume: 133Issue: 5Page: 33(1)

Distributed by Thomson Gale ... Read more

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Classroom use.(discussion of painter Pablo Picasso's Weeping Woman): An article from: Arts & Activities [HTML] [Digital]
I was quite disappointed with this. For $6 dollars, it was less than 1,000 words and rather than discussing the piece itself, Mr.Hubbard uses several general fillers like, kids can color the piece or "One very obvious way to arrive at an understanding of Picasso's ever-changing creativity is to collect reproductions (or photocopies) of Picasso's work made throughout his lifetime, and arrange them in the order they were created."

The essay does not explore enough about the actual artwork, "Weeping Woman," which is quite fascinating. Perhaps my expectations were wrong, and this might suffice for an elementary classroom teacher who wants to to expose students to modern art. I think it might help to show what grade or audience this is targeted to. ... Read more

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postcards bound together in a booklet. collectors item ... Read more

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This book is one of the few essay collections dealing with the history of a remarkable and often overlooked art center: Seattle and the Pacific Northwest. Concentrating on the final quarter of the 20th century with focused studies of the 1920s through the 1960s, Relocations is ideal reading for artists, critics, teachers, collectors and curators interested in how regional art centers evolve and thrive. Kangas presents his canon of major and minor figures of the period in an accessible intelligent style that captures the excitement and intensity of Seattle's growth from pioneer backwater to international seaport and nexus of high technology with a rich visual arts culture. As they stand together, the current essays and interviews are a blend of art criticism and art history. They deal with artists who have relocated to the Pacific Northwest and Seattle, or who have visited here for periods of time, or who have brought their own prior regional sensibilities to the geographical region of the U.S. farthest away from New York. Critical opinion about non-Northwest artists has been relocated too, . . . put into perspective within the context of local artists who, like Robert Smithson and Buster Simpson, amy no have ever met, but who shared much more with one another than one might ever have imagined. ... Read more

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