The rewards of what is in plain sight far outweigh what is tucked away.
On this week’s art crime blotter: Thieves steal Lichtenstein from Simpsons co-creator’s foundation, seller sues for money from van Gogh auction, and drug-buying art robot is set free.
A deserved tribute to Garry Winogrand is turning into an ethical morass that does no one any good.
Last year I wrote an article called “What You Might Be Missing at MoMA,” which discussed the paintings exiled to the corridors of the Museum of Modern Art’s fourth and fifth floors.
Many people love art for its power to transport, whether through a painting that brings us to the banks of the Seine in 19th-century France or an installation that immerses us in a fanciful and imagined alternate world. But what about when art refuses to carry us away, offering instead only blank space, an empty frame staring back at us?
Remember that infamous “make a cruel and offensive offer” email from Gagosian gallery Los Angeles director Deborah McLeod? She suggested that to a potential buyer for a 1964 Roy Lichtenstein painting, “Girl in Mirror,” since the seller was in “terrible straits.” Well, that seller is pretty angry at Gagosian for playing both sides of the equation.
Pop artist Roy Lichtenstein’s “Electric Cord” (1961), which mysteriously disappeared in January 1970, has been found.
BERKELEY, California — These days, we experience the world on a much more international level. Whether online or through travel, the world feels smaller to us. As this trend continues, artistic experiences hosted online, available for anyone in the world with a internet connection to access, grow increasingly diverse and interesting. Unfortunately, that same diversity can’t be ascribed to the physical counterpart of global space, where the base unit of artistic experience just might be the airport.
CHICAGO — Navy Pier is the thing with the giant ferris wheel on it that juts out from Chicago’s lakefront into Lake Michigan. It also plays host every year to an outdoor art installation of sculptures by international artists. This year features works by Antony Caro, Roy Lichtenstein, Nancy Rubins, Steed Taylor and Almond Zigmund.
Lichtenstein and Warhol might have been using the same source material, but they were hardly after the same things, as the latter’s subsequent work would quickly make clear.
CHICAGO — The Roy Lichtenstein exhibition at the Art Institute of Chicago (AIC) is everything a retrospective should be. It takes an incontrovertibly significant artist, assembles art from all phases of his career, includes well-known and less well-known works and tries to make the case for an oeuvre, as opposed to a succession of unconnected objects. If you like Lichtenstein’s work, you will love this show.
CHICAGO — There’s a massive Roy Lichtenstein retrospective opening this Wednesday, May 16, at the Art Institute of Chicago. Or rather, there isn’t: the opening had to be postponed due to the huge number of people who signed up for the members-only preview.