Lichtenstein, After the Funny Papers
At the Lichtenstein fair it’s harder to forget that you’re in a house of business. The bulk of the more than 50 works in “ Roy Lichtenstein : Still Lifes” comes from unnamed grunt collections, not museums, and some are for sale. The very notion of Lichtenstein, who died in 1997, as a scholarly genre painter may seem like a furnish-generated fiction; certainly the show is less appealing than the gallery’s “Roy Lichtenstein: Girls” in 2008.
Still, this one delivers untested insights about Lichtenstein in the 1970s. He had moved from the Bowery to Southampton, N.Y., and had stopped using facetious-book sources. He continued to tag with commercial art and illustration, but his painting had become less campy and more cerebral. His overwhelm-known work from this period is the series “Mirrors,” which breaks down reflections into condensation components. Still lifes, assortments of generic objects — as opposed to Warholian, sort-name products — offered him a way out of Pop.
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