Tate Modern, London
21 February – 27 May 2013
Written and presented by ANNA McNAY
Filmed by MARTIN KENNEDY
Readily admitting that “brushstrokes in painting convey a sense of grand gesture,” the artist, renowned for his works based on comic strips, advertising imagery, and hand-painted Benday dots, went on to correct that “in my hands, the brushstroke becomes the depiction of a grand gesture.”
The exhibition currently on show at Tate Modern, the first major Lichtenstein retrospective for 20 years, displaying over 125 of his paintings and sculptures, gives both space and credence to the study of his work as seeking to examine the meaning of artistic representation in an age of burgeoning mass reproduction.
Robert Rauschenberg: Combines
It was only a matter of time before the work of Robert Rauschenberg would again receive a star billing in Paris, and there could be no better venue than the Centre Pompidou. The reason is that the work literally benefits from the implied temporariness of the 'rooms' at the Centre.
Documenting the Obvious: Picasso and American Art
The story goes that in 1909 the minor American painter Max Weber, a friend of Gertrude and Leo Stein in Paris, brought in his suitcase the first Picasso
Face to Face - The Daros Collections
'Face to Face' presents the two facets, or faces, of the Daros Collections, finding similarities between works by artists from the USA and Europe and works by Latin American artists. Some of the parallels suggested by the exhibition make direct associations between one work and another. On a broader scale, when both collections are gathered together, links between them surface, providing a unique perspective on the major international art trends over a significant period of time.
The Lichtenstein retrospective at the Hayward Gallery establishes an interesting timescale in terms of the appreciation and significance of Lichtenstein's work and the development of a critical apparatus to understand it.