Los Angeles

Roy Lichtenstein, Oskar Schlemmers and Irving Blum

Irving Blum Gallery

It’s hard to figure Irving Blum’s Thirties Style. This modest, intimate exhibition is too rigorous to be easily saleable, too polyglot to be a decorative showcase, and too partial (“Thirties” is secondary to “Style”) to be historically genuine. There are a couple of Lichtensteins, mixed with three “real” Things-to-Come moderne sculptures (two Oskar Schlemmers and a fantastic Déco-Constructivist head by Belling), together with some newly-minted furniture lifted from blueprints of the day. Surprisingly, the furniture, turning the gallery into a sitting room from an Astaire-Rogers movie, makes the show, partly because its un-artiness breaks the tension (I always feel uneasy around a Lichtenstein banner or one of those mock-mural prints; they tread such a thin line between seriousness and frivolity), and partly because the pieces are well done. The best piece is a maroon velveteen chair, made

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