Word: lichtenstein
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...doughnuts, figure-eights--tossing around in them. The image of the head coarsens and blurs, breaks off at some edges, acquires a mysterious density. It's like looking at someone through ripple glass, and it produces striking results--as in Roy II, 1994, a portrait of the painter Roy Lichtenstein, whose profile (owing to the constraints of Close's grid) hardens into the likeness of Dick Tracy while keeping a beautiful fluidity of surface. Finally, Close has been able to get some vibrancy into the results of his system: the work of the imagination has been moved up from background...
...controlled my clicker. I also had new ideas about the organization of my personal space. Avidly interested in art history at the time, I went for a minimalist, art gallery look. I threw out all my Van Gogh and Monet posters and went with Willem De Kooning, Roy Lichtenstein and Andrew Wyeth. I read up on feng shui, the ancient Chinese philosophy for creating harmonious environments and then tried to incorporate mirrors, crystals and running water into my living space. In my own way, I tried to bring out the feng shui ideals of Balance, Harmony, and Prosperity...
Morris manages to capture the conflicts, the tensions and the joys of living in or visiting, say, Lichtenstein. The chapters are comprised of small, easily digestible sections, usually less than a page, which flow into each other smoothly...
...Lichtenstein became known to an enormous public as "the guy who paints comics," but in fact the comic-strip phase of his work was quite brief: it lasted from 1961 to 1965, after which he moved on to other subjects and themes. The motif caused considerable offense, to the point where LIFE magazine nominated him as the worst artist in the world. But it enabled him to play with all manner of saucy ironies and In jokes, and in any case he never copied anything; each image underwent fastidious tweaking, reshaping and restyling. "Why, Brad darling, this painting...
What was he into? A game of displacement, often deeper than it seemed. At the time when Lichtenstein and his co-conspirators arrived on the scene, a sort of academy of spontaneity had formed in New York. Painters all over America had deduced from Abstract Expressionism that art, to be sincere, must be thick and splashy, so that the galleries were full of conventional signs for unconvention. A postmodernist before the term got going, Lichtenstein realized that in art, though style may not be everything, everything is style: every kind of image comes to us packaged in terms that inexorably...