PRINT January 1968

Lichtenstein’s Sculpture

BY NOW THE ENTIRE art world must know that Roy Lichtenstein’s recent exhibition at the Leo Castelli Gallery was painting and sculpture’s answer to Bonnie and Clyde. Lichtenstein has discovered, or, rather, re-discovered the thirties and cleverly adumbrated its “period” taste in commercial and applied art. Lichtenstein’s new paintings suggest a kind of Flo Ziegfeld Cubism, with their spectacular array of primary colors and circles, curves, triangles, rectangles, and lines, lines, lines—a modish recapitulation of the jazzy, sans serif geometry of the Depression (Depression?) era, while his sculpture revamps, far more successfully than the paintings, a hand-me-down Bauhaus style to emerge a de-ritualized but brightly ornamental Constructivism. In both, so apparent is the romanticization of the sensibility of another era, that I was reminded of the disciples of David who went prancing around

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