Roy Lichtenstein: Perfect/Imperfect
This book was published on the occasion of Roy Lichtenstein: Perfect/Imperfect at Gagosian, Beverly Hills—the first exhibition of the artist’s Perfect and Imperfect series of paintings, drawings, and sculptures—which inaugurated the gallery’s expansion at 456 Camden Drive. Lichtenstein’s Perfect series, begun in 1978, comprises abstract, planar compositions of intersecting triangles, with multicolored patterns of lines and dots, contained within rectangular canvases. The Imperfect series of 1986–88 breaks free of those confines, with edges and points continuing past the rectilinear edges of their supports. Lichtenstein made a number of paired works as diptychs, with Perfect and Imperfect versions created as variations on a theme.
The catalogue reproduces over eighty works from the Perfect and Imperfect series as full-color reproductions and features an essay by art historian Yve-Alain Bois that contextualizes the work within modernist strategies, from Futurism and cinematic montage to the shaped canvases introduced by Lichtenstein’s contemporaries in the 1960s.
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Roy Lichtenstein: Perfect/Imperfect
Roy Lichtenstein: Perfect/Imperfect
This book was published on the occasion of Roy Lichtenstein: Perfect/Imperfect at Gagosian, Beverly Hills—the first exhibition of the artist’s Perfect and Imperfect series of paintings, drawings, and sculptures—which inaugurated the gallery’s expansion at 456 Camden Drive. Lichtenstein’s Perfect series, begun in 1978, comprises abstract, planar compositions of intersecting triangles, with multicolored patterns of lines and dots, contained within rectangular canvases. The Imperfect series of 1986–88 breaks free of those confines, with edges and points continuing past the rectilinear edges of their supports. Lichtenstein made a number of paired works as diptychs, with Perfect and Imperfect versions created as variations on a theme.
The catalogue reproduces over eighty works from the Perfect and Imperfect series as full-color reproductions and features an essay by art historian Yve-Alain Bois that contextualizes the work within modernist strategies, from Futurism and cinematic montage to the shaped canvases introduced by Lichtenstein’s contemporaries in the 1960s.
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Description
This book was published on the occasion of Roy Lichtenstein: Perfect/Imperfect at Gagosian, Beverly Hills—the first exhibition of the artist’s Perfect and Imperfect series of paintings, drawings, and sculptures—which inaugurated the gallery’s expansion at 456 Camden Drive. Lichtenstein’s Perfect series, begun in 1978, comprises abstract, planar compositions of intersecting triangles, with multicolored patterns of lines and dots, contained within rectangular canvases. The Imperfect series of 1986–88 breaks free of those confines, with edges and points continuing past the rectilinear edges of their supports. Lichtenstein made a number of paired works as diptychs, with Perfect and Imperfect versions created as variations on a theme.
The catalogue reproduces over eighty works from the Perfect and Imperfect series as full-color reproductions and features an essay by art historian Yve-Alain Bois that contextualizes the work within modernist strategies, from Futurism and cinematic montage to the shaped canvases introduced by Lichtenstein’s contemporaries in the 1960s.
