Now you cannot surely have visual art as appealing, relevant and as accessible as the work of pop artist Roy Lichtenstein. And what a delight that Tate Modern has decided to herald in spring with the most comprehensive exhibition ever devoted to the American, whose work is instantly recognisable to most.
The show has already set metropolitan tongues wagging with joy, following its opening this month with 125 of the artist’s most definite paintings and sculptures on show, after a successful run in Chicago and Washington.
Why do we love his work so much? Maybe it’s because in 1961, Lichtenstein abandoned his exploration of abstract expressionism, much to the chagrin of its exponents, and pioneered a stunning new industrial printing process but executed by hand.
And so his signature style was born – works based on comic strips and advertising imagery, coloured with hand-painted Benday dots which offer up an examination of mass media culture, while paring down some of our most familiar modern day objects to create eye-catching, simple and brilliant artworks.
When, in 1962, Lichtenstein’s first exhibition opened, it did so to shock and delight in equal measure. Critics complained of the banality of his works,writing them off as reproductions of cheap ads and comic strips. One critic from the New York Times described him as ‘one of the worst artists in America’– a sure-fire sign of the New Yorker’s potential greatness.
But supporters were wowed and understood the message and freshness of the work, although Lichtenstein sympathised with the doubters saying of his works: ‘What I did in these early paintings was frightening to me and seemed to go counter to a sense of taste…’
The exhibition, which was four years in the making, is co-curated by Sheena Wagstaff, chairman of the Modern and Contemporary Art Department, The Metropolitan Museum of Art, New York, and Iria Candela, Assistant Curator of Tate Modern.
The works have been arranged chronologically within broad themes. As well as the popular comic strip pieces reproduced here, visitors are treated to a sweeping view of Lichtenstein’s broad themes, taking in romantic heroines, scenes of everyday life, scenes of war and engaging landscapes. The works also show the range of materials used by the artist including Rowlux and steel,ceramic and brass for sculptures, as well as drawings, collages and works on paper. The visitor to Tate Modern is filled with a sense of awe when coming face-to-face with works that seem so familiar. The comic strips are strangely disturbing; the landscapes are genuinely moving.
But there is humour too – in the bold representations of familiar subjects and images. Alongside classic paintings of romantic heroines and scenes of war are Lichtenstein’s early Pop works, such as Tire (1962) one of the best examples of everyday objects in black and white.
Visitors may be surprised to see the beautiful landscapes, mirrors and so-called‘perfect’ and ‘imperfect’ paintings. The exhibition also explores the artist’s interest in art history, revealing his lesser-known responses to Futurism, Surrealism and German Expressionism. In the final years of his life, he created a series of huge female nudes and Chinese landscapes.
This is one exhibition you should not miss. Believe the hype –more than worth a look.
Further info
Roy Lichtenstein A Retrospective runs at Tate Modern, Level 2 until May 27. Tickets cost £14 (concession tickets available) A series of accompanying events will be held to support the exhibition.
We like: Wham! Print! Pop! Five week course led by artist J Yuen Ling Chi giving participants an insight into Lichtenstein’s pop art compositions and methods using a combination of screen-printing, assemblage and collage. All basic materials provided. No printmaking experience necessary.
Curator’s talk and private view: Lichtenstein March 11th 18.30
Study day: Lichtenstein and Pop March 16th Speakers include co-curator Iris Candela and explores issues raised by the exhibition.
For further details and to book visit: www.tate.org.uk