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拍品专文
"RL: I am nominally copying, but I am really restating the copied thing in other terms. In doing that, the original acquired a totally different texture. It isn't thick or thin brushstrokes, it's dots and flat colors and unyielding lines. It seems to be antiart, but I don't think of it that way. I never thought it was Dada in that sense, though I thought it might look Dada.
LA: It's a sort of simulated Dada
RL: It's examining it, getting closer to it. It is like some of my later brushstroke apples. I am doing works now that incorporate prints of enlarged brushstrokes, fake brushstrokes, plus real brushstrokes.
LA: What's what I mean about iconography. You go in for doubletakes in your inconography no less than your form.
RL: Yes, I'm thrilled about the idea that I am doing, particularly the apples with brushstrokes made out of false brushstrokes, because it says, "That's what art is."
(Quoted from L. Alloway, Lichtenstein, New York, 1981, 106).
Interview of Roy Lichtenstein with Lawrence Alloway, February 1983
Executed in 1980, this work will be included in the forthcoming catalogue raisonné being prepared by the Roy Lichtenstein Foundation.
LA: It's a sort of simulated Dada
RL: It's examining it, getting closer to it. It is like some of my later brushstroke apples. I am doing works now that incorporate prints of enlarged brushstrokes, fake brushstrokes, plus real brushstrokes.
LA: What's what I mean about iconography. You go in for doubletakes in your inconography no less than your form.
RL: Yes, I'm thrilled about the idea that I am doing, particularly the apples with brushstrokes made out of false brushstrokes, because it says, "That's what art is."
(Quoted from L. Alloway, Lichtenstein, New York, 1981, 106).
Interview of Roy Lichtenstein with Lawrence Alloway, February 1983
Executed in 1980, this work will be included in the forthcoming catalogue raisonné being prepared by the Roy Lichtenstein Foundation.