New York

Jim Dine

Whitney Museum, Sonnabend Gallery

Pop art soured after 1963. By the mid-’60s it became evident that the movement could no longer sustain itself, bold together out of sheer stylistic glue, so to speak, and those figures who were to occupy positions of second and third rank began to identify themselves one by one—or fall away to nothingness. The artists of the movement sought out other modes of expression—some achieving a production of equal vigor, others, not. Rauschenberg, whose contributions were and are immense, opted for intermedia “technology”— a production often of a staggering dullness. Jasper Johns confirmed what had been hinted at all along—that his many strengths were those of a major graphic artist. Andy Warhol made emphatic his role as intermedia entrepreneur and filmmaker. George Segal continued to produce as before—cast relics of human desolation. Roy Lichtenstein stayed abreast of current taste for Arts Déco

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