Whaam! - Knowledge

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exploding plane—depicted head-on—is outlined by the flames, accompanied by the bold exclamation "WHAAM!". Although separate, with one panel containing the missile launch and the other its explosion, representing two distinct events, the two panels are clearly linked spatially and temporally, not least by the horizontal smoke trail of the missile. Lichtenstein commented on this piece in a 10 July 1967, letter: "I remember being concerned with the idea of doing two almost separate paintings having little hint of compositional connection, and each having slightly separate stylistic character. Of course there is the humorous connection of one panel shooting the other."

802:, a cartoonist whose influence Lichtenstein acknowledged. Lichtenstein was attracted to using a cool, formal style to depict emotive subjects, leaving the viewer to interpret the artist's intention. He adopted a simplified color scheme and commercial printing-like techniques. The borrowed technique was "representing tonal variations with patterns of colored circles that imitated the half-tone screens of Ben Day dots used in newspaper printing, and surrounding these with black outlines similar to those used to conceal imperfections in cheap newsprint." Lichtenstein once said of his technique: "I take a cliche and try to organize its forms to make it monumental." 902:

left to right so as to emphasize the relationship between the action and its explosive consequence. The ellipses of the text balloon present a progression which culminates with a "WHAAM!". The "coincidence of pictorial and verbal order" are clear for the Western viewer with the explanatory text beginning in the upper left and action vector moving from the left foreground to the right background, culminating in a graphical explosion in tandem with a narrative exclamation. Steiner says the striking incongruity of the two panels—the left panel appearing to be "truncated", while the right depicts a centralized explosion—enhances the work's narrative power.

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recreating their minimalistic graphic techniques, Lichtenstein reinforced the artificial nature of comic strips and advertisements. Lichtenstein's magnification of his source material made his impersonally drawn motifs seem all the more empty. Busche also says that although a critique of modern industrial America may be read into these images, Lichtenstein "would appear to accept the environment as revealed by his reference material as part of American capitalist industrial culture".

722: 292: 4596: 4608: 4584: 380: 952:." It directs the attention of its audience to features such as genre and printing methods. Visually and narratively, the original panel was the climactic element of a dynamic page composition. Lichtenstein emphasizes the onomatopoeia while playing down articulated speech by removing the speech balloon. According to Priego, "by stripping the comics panel from its narrative context, 318:. Lichtenstein was not a comic-book enthusiast as a youth, but was enticed as an artist by the challenge of creating art based on a subject remote from the typical "artistic image". Lichtenstein admitted he was "very excited about, and very interested in, the highly emotional content yet detached impersonal handling of love, hate, war, etc., in these cartoon images." 945:

looseness of abstract expressionism. Alastair Sooke says that the work can be interpreted as a symbolic self-portrait in which the pilot in the left panel represents Lichtenstein "vanquishing his competitors in a dramatic art-world dogfight" by firing a missile at the colorful "parody of abstract painting" in the right panel.

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Lichtenstein altered the composition to make the image more compelling, by making the exploding plane more prominent compared to the attacking plane than in the original. The smoke trail of the missile becomes a horizontal line. The flames of the explosion dominate the right panel, but the pilot and

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I do them as directly as possible. If I am working from a cartoon, photograph or whatever, I draw a small picture—the size that will fit into my opaque projector ... I don't draw a picture in order to reproduce it—I do it in order to recompose it ... I go all the way from having my drawing

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Lichtenstein split the composition into two panels to separate the action from its consequence. The left panel features the attacking plane—placed at a diagonal to create a sense of depth—below the text balloon, which Lichtenstein has relegated to the margin above the plane. In the right panel, the

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and that it was executed just before he started the painting." Although he had conceived of a unified work of art on a single canvas, he made the sketch on two sheets of paper of equal size—measuring 14.9 cm × 30.5 cm (5.9 in × 12.0 in). The painting has been displayed

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focused on popular animated characters. By 1963 he had progressed to more serious, dramatic subject matter, typically focusing on romantic situations or war scenes. Comic books as a genre were held in low esteem at the time. Public antipathy led in 1954 to examination of alleged connections between

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elegance with a nervous energy reminiscent of Abstract Expressionism". Wendy Steiner believes the work is Lichtenstein's most successful and harmonious comic-based composition. She sees the narrative and graphic elements as complementary: the action and spatial alignment lead the viewer's eye from

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is comparable in size to the generally large canvases painted at that time by the abstract expressionists. It is one of Lichtenstein's many works with an aeronautical theme. He said that "the heroes depicted in comic books are fascist types, but I don't take them seriously in these paintings—maybe

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was one of the key works exhibited in a major Lichtenstein retrospective in 2012–2013 that was designed, according to Li-mei Hoang, to demonstrate "the importance of Lichtenstein's influence, his engagement with art history and his enduring legacy as an artist". In his review of the Lichtenstein

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Lichtenstein built up the image with multiple layers of paint. The paint was applied using a scrub brush and handmade metal screen to produce Ben-Day dots via a process that left physical evidence behind. The Ben-Day dots technique enabled Lichtenstein to give his works a mechanically reproduced

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on canvas. Although the transformation from a single-panel conception into a diptych painting occurred during the initial sketch, the final work varies from the sketch in several ways. The sketch suggests that the "WHAAM!" motif would be colored white, although it is yellow in the finished work.

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presents "limited, flat colors and hard, precise drawing," which produce "a hard-edge subject painting that documents while it gently parodies the familiar hero images of modern America." The flat and highly finished style of planned brushstrokes can be seen as pop art's reaction against the

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Lichtenstein's technique has been characterized by Ernst A. Busche as "the enlargement and unification of his source material ... on the basis of strict artistic principles". Extracted from a larger narrative, the resulting stylized image became in some cases a "virtual abstraction". By

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disputed Sooke's assertion that Lichtenstein's painting improved upon Novick's panel, saying: "This to me looks flat and abstracted, to the point of view that to my eyes it's confusing. Whereas the original has got a three-dimensional quality to it, it's got a spontaneity to it, it's got an

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and other works of the period. Some have denigrated it as mere copying, to which others have countered that Lichtenstein altered his sources in significant, creative ways. In response to claims of plagiarism, the Roy Lichtenstein Foundation has noted that publishers have never sued for

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described Lichtenstein's technique as "typewriter pointillism ... that laboriously hammers out such moments as a jet shooting down another jet with a big BLAM". According to O'Doherty, the result was "certainly not art, time may make it so", depending on whether it could be

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Lichtenstein's borrowings from comics mimicked their style while adapting their subject matter. He explained that "Signs and comic strips are interesting as subject matter. There are certain things that are usable, forceful and vital about commercial art." Rebecca Bengal at

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Although Lichtenstein strove to remain faithful to the source images, he constructed his paintings in a traditional manner, starting with a sketch which he adjusted to improve the composition and then projected on to a canvas to make the finished painting. In the case of

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Comic books were in turn affected by the cultural impact of pop art. By the mid-1960s, some comic books were displaying a new emphasis on garish colors, emphatic sound effects and stilted dialogue—the elements of comic book style that had come to be regarded as

968:, a suggestion dismissed by Bradford R. Collins. Instead, Collins views the painting as a revenge fantasy against Lichtenstein's first wife Isabel, conceived as it was during their bitter divorce battle (the couple separated in 1961 and divorced in 1965). 213:

to serve in the U.S. Army, where he remained until January 1946. After entering training programs for languages, engineering, and piloting, all of which were canceled, he served as an orderly, draftsman and artist in noncombat roles. One of his duties at

932:, for whom the experience of military service in World War II instilled a need to horrify and shock. In contrast, Lichtenstein registers his "comment on American civilization" by scaling up inches-high comic book images to the oversized dimensions of 1065:—who was generally unenthusiastic about Lichtenstein's work—credited the work's title with accurately describing its graphic content: "Whaam! goes the painting, as the rocket hits, and the enemy fighter explodes in a livid, comic-book roar." 779:. The yellow word "WHAAM!", altered from the red in the original comic-book panel and white in the pencil sketch, links the yellow of the explosion below it with the textbox to the left and the flames of the missile below the attacking plane. 279:

subject matter from commercial art, consumer goods, art history and mainstream culture. Lichtenstein achieved international recognition during the 1960s as one of the initiators of the pop art movement in America. Regarding his use of imagery

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critic Alastair Smart wrote a disparaging review in which he acknowledged Lichtenstein's reputation as a leading figure in "Pop Art's cheeky assault on the swaggering, self-important Abstract Expressionists", whose works Smart said

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He translated one of Roy Lichtenstein's most famous paintings by putting giant letters spelling "WHAAM!" on a yellow clevore evening gown. He adorned a silk halter-neck gown with Andy Warhol's celebrated images of Marilyn

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mimicked by its huge scale. Smart said the work was neither a positive commentary on the fighting American spirit nor a critique, but was notable for marking "Lichtenstein's incendiary impact on the US art scene".

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drawing in the third panel of page 3 of the "Aces Wild" story in the same issue No. 89. The painting also omits the speech bubble from the source in which the pilot exclaims "The enemy has become a flaming star!"

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at the Tate, suggested that the painting addresses several issues and painterly styles at the same time: "history painting, Baroque extravagance, and the quotidian phenomenon of mass-circulation comic strips."

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the airplane in the left panel are the narrative focus. They exemplify Lichtenstein's painstaking detailing of physical features such as the aircraft's cockpit. The other element of the narrative content is a

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depicts a fighter aircraft in the left panel firing a rocket into an enemy plane in the right panel, which disintegrates in a vivid red-and-yellow explosion. The cartoon style is emphasized by the use of the

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Carol Strickland and John Boswell say that by magnifying the comic book panels to an enormous size with dots, "Lichtenstein slapped the viewer in the face with their triviality." H. H. Arnason noted that

187:. He practiced anti-aircraft drills during basic training, and he was sent for pilot training but the program was canceled before it started. Among the topics he tackled after the war were romance and 2407: 672:, another of his war scenes. Lichtenstein employs his usual comic-book style: stereotyped imagery in bright primary colors with black outlines, coupled with imitations of mechanical printer's 3795: 2657: 3362: 841:, whose asking price of £4,665 (£109,763 in 2024 currency) was reduced by negotiation to £3,940 (£92,704 in 2024 currency). Some Tate trustees opposed the acquisition, among them sculptor 993:

is regarded as the culmination of Lichtenstein's dramatic war-comics works, according to Diane Waldman. It is widely described as either Lichtenstein's most famous work, or, along with

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is regarded for the temporal, spatial and psychological integration of its two panels. The painting's title is integral to the action and impact of the painting, and displayed in large

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that contains the following text: "I pressed the fire control ... and ahead of me rockets blazed through the sky ..." This is among the text believed to have been written by

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The left-hand panel shows a fighter plane firing a rocket that, in the right-hand panel, hits a second plane which explodes in flames. Lichtenstein adapted the image from several

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in the right panel, and a yellow-boxed caption with black lettering at the top of the left panel. The textual exclamation "WHAAM!" can be considered the graphic equivalent of a

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According to Ernesto Priego, while the work adapts a comic-book source, the painting is neither a comic nor a comics panel, and "its meaning is solely referential and

2601: 1044:—in an attempt to appeal to older, college-age readers who appreciated pop art. Gravett observed that the "simplicity and outdatedness were ripe for being mocked". 311: 3725: 2262: 2952: 1350: 837:

in London acquired the work in 1966, leading to heated argument amongst their trustees and some vocal members of the public. The purchase was made from art dealer

920:(1963), 14.9 cm × 30.5 cm (5.9 in × 12.0 in), was donated to the Tate in 1969. It shows the original plan was a single unified work. 4023: 2074: 1627: 3931: 1861: 755:

Lichtenstein enlarged the main graphical subject of each panel (the plane on the left and the flames on the right), bringing them closer together as a result.

314:; by the end of that decade, comic books were regarded as material of "the lowest commercial and intellectual kind", according to Mark Thistlethwaite of the 3043: 2403: 2127: 1986: 676:. The use of these dots, which were invented by Benjamin Day to simulate color variations and shading, are considered Lichtenstein's "signature method". 2330: 2903: 2439: 466:. In the early and mid-1960s, he produced "explosion" sculptures, taking subjects such as the "catastrophic release of energy" from paintings such as 3785: 3692: 3669: 1458: 363:

while shooting down other jet planes. In Lichtenstein's painting, both the attacking and target planes are replaced by different types of aircraft.

3401: 713:(1963). Lichtenstein marked sections of "Drawing" with color notations for the final work, such as the "w" for white in the above titular letters. 3352: 2794: 2822: 3907:. Solomon R. Guggenheim Museum, Museum of Contemporary Art (Los Angeles, Calif.), Montreal Museum of Fine Arts. Solomon R. Guggenheim Museum. 2996: 602:, describing it as a "pencil scribble". According to the Tate, Lichtenstein claimed that this drawing represented his "first visualization of 1117:

excitement to it, and a way of involving the viewer that this one lacks." Gibbons has parodied Lichtenstein's derivation of the Novick work.

168:. Lichtenstein transformed the source by presenting it as a diptych while altering the relationship of the graphical and narrative elements. 3762: 1917: 875:

was included in the Tate's first solo exhibition of Lichtenstein's work. The showing attracted 52,000 visitors, and was organized with the

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and depicting them in freestanding and relief forms. In 1963, he was parodying a variety of artworks, from advertising and comics and to "

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was also from that issue. Several of Lichtenstein's other comics-based works are inspired by stories about Johnny Flying Cloud written by

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David McCarthy contrasted Lichtenstein's "dispassionate, detached and oddly disembodied" presentation of aerial combat with the work of

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was part of Lichtenstein's second solo exhibition at the Leo Castelli Gallery from 28 September to 24 October 1963, that also included

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cartoons. He was sent to Europe with an engineer battalion, but did not see active combat. As a painter, he eventually settled on an

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A new generation of artists emerged in the late 1950s and early 1960s with a more objective, "cool" approach characterized by the

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in Amsterdam, which later hosted the exhibition from 4 November to 17 December 1967, before it traveled to three other museums.

4638: 3550: 647:. This was to become a characteristic of his work—like others of his onomatopoeic paintings that contain exclamations such as 4375: 3912: 3891: 3852: 3833: 3583: 3519: 3494: 3434: 3395: 3245: 3209: 3172: 3145: 3080: 2874: 2727: 2625: 2530: 2368: 2305: 2242: 2217: 1835: 1795: 1768: 1693: 1558: 1528: 1491: 1432: 1385: 1344: 1261: 1211: 2562: 1169: 833:"rationalized ... and placed in line for the future to assimilate as history, which it shows every sign of doing." The 822:

as one of the "broad and powerful paintings" of the 1963 exhibition at Castelli's Gallery. In his review of the exhibition,

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Lichtenstein's romance and war comic-based works took heroic subjects from small source panels and monumentalized them.

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since 2006. In 2012–13, both works were included in the largest Lichtenstein retrospective yet exhibited, visiting the

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suggests that Lichtenstein substituted the attacking plane with an aircraft from "Wingmate of Doom" illustrated by

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observed that Lichtenstein was interested in "challenging the notion of originality as it prevailed at that time."

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and others. At the time, Lichtenstein noted that "the things that I have apparently parodied I actually admire."

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is one of Lichtenstein's series of war images, typically combining vibrant colors with an expressive narrative.

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Armstrong, Matthew (Autumn 1990). "High & Low: Modern Art & Popular Culture: Searching High and Low".

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style with parodist elements. Around 1958 he began to incorporate hidden images of cartoon characters such as

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Lichtenstein may have substituted this image for the attacking plane from the subsequent issue of DC Comics'

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in New York City, from 10 February to 3 March 1962. It sold out before its opening. The exhibition included

4335: 4271: 2429: 451: 437: 360: 4509: 868:, later said that the work aroused more public interest than any of its acquisitions since World War II. 352: 326:

there is a point in not taking them seriously, a political point. I use them for purely formal reasons."

999:, as one of his two most famous works. Andrew Edgar and Peter Sedgwick describe it, along with Warhol's 810:

The painting was, for the most part, well received by art critics when first exhibited. A November 1963

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feel. Lichtenstein said that the work is "supposed to look like a fake, and it achieves that, I think".

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is representative in the realm of fine art of the preference of the image-icon over image-narrative".

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is very large, measuring 1.7 m × 4.0 m (5 ft 7 in × 13 ft 4 in). It is less abstract than

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grand scale and dramatic depiction contributed to its position as a historic work of pop art. With

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in 1967 described the acquisition as a "very large and spectacular painting". The Tate's director,

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contemporary art of the time. Pop art and neo-Dada re-introduced and changed the use of imagery by

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O'Doherty, Brian (27 October 1963). "Lichtenstein: doubtful but definite triumph of the banal".

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created an alternate version of the Novick original with text that parodies Lichtenstein's work.

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technique in 1962. in 1967 he described his process for producing comics-based art as follows:

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at a second plane that is exploding in the upper right, with a word bubble. The same issue of

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Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists

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Collins, Bradford R. (Summer 2003). "Modern Romance: Lichtenstein's Comic Book Paintings".

2749:(1963), on the other hand, is a diptych with a clearly linked pictorial narrative ..." 2035: 490: 411: 307: 142: 1401: 891:

represents Lichtenstein's 1963 expansion "into the 'epic' vein". Keith Roberts, in a 1968

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in the subsequent issue (#90, April 1962), and that the target plane was borrowed from a

351:(Feb. 1962). The original forms part of a dream sequence in which fictional World War II 276: 1145:

How Lichtenstein's "Whaam!" Became a Monumental Symbol of Pop Art - Sotheby's on YouTube

4612: 4517: 4418: 4295: 3288: 3280: 3130: 3107: 2931: 2478: 2162:"Christie's to offer a Pop Art masterpiece: Roy Lichtenstein's Woman with Flowered Hat" 2105: 829: 824: 402: 252: 180: 3822: 3319: 2680: 2647: 2522:

The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern

1827: 572: 4279: 4263: 3908: 3887: 3848: 3829: 3579: 3515: 3490: 3430: 3391: 3292: 3241: 3205: 3168: 3141: 3076: 2957: 2870: 2723: 2621: 2526: 2430:"'Roy Lichtenstein: A Retrospective' Debuts At The Art Institute of Chicago (PHOTOS)" 2364: 2301: 2238: 2213: 1791: 1764: 1689: 1554: 1524: 1487: 1381: 1340: 1278: 1257: 1207: 1173: 696: 368: 3540: 4367: 4215: 4119: 3976: 3483:

Edgar, Andrew & Peter Sedgwick (1999). Sedgwick, Peter and Andrew Edgar (ed.).

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is part of a series on war that he worked on between 1962 and 1964, and along with

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172.7 cm × 406.4 cm (68.0 in × 160.0 in)

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Lichtenstein repeatedly depicted aerial combat between the United States and the

442: 2404:"Tate Modern opens first major rehang of its Collection with the support of UBS" 475: 4311: 4223: 4183: 4015: 3096:

Roberts, Keith (February 1968). "Current and Forthcoming Exhibitions: London".

1101: 1004: 1000: 768: 543: 2986: 2984: 2982: 2980: 853:. Defending the acquisition, art historian Richard Morphet, then an assistant 743:, the sketch is on two pieces of paper, and the finished work is painted with 4622: 4600: 4247: 4151: 3999: 3790: 1682:

Schneckenburger, Honnef & Fricke Ruhrberg (2000). Ingo, Walter F. (ed.).

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in 1966. In 1969, Lichtenstein donated his initial graphite-on-paper drawing

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Why Does Batman Carry Shark Repellent?: And Other Amazing Comic Book Trivia!

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The Lichtenstein Foundation website says that Lichtenstein began using his

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A smaller, single-panel oil painting by Lichtenstein around the same time,

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Naremore, James (1991). Naremore, James and Patrick M. Brantlinger (ed.).

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Lobel, Michael. "Technology Envisioned: Lichtenstein's Monocularity". In

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Arnason, H. H. (1986). "Pop Art, Assemblage, and Europe's New Realism".

401:, has a similar composition, with a plane at the lower left shooting an 4167: 4047: 3353:"Whaam! Prepare to be hit by Roy Lichtenstein's finest comic book hour" 3284: 2109: 1651:"Whaam! artist Roy Lichtenstein was 'not a fan of comics and cartoons'" 1028: 533: 372: 338: 237: 165: 161: 157: 3111: 1681: 1618:"Roy Lichtenstein outgrew term pop art, says widow prior to Tate show" 4127: 4071: 3234:

History of Modern Art: Painting, Sculpture, Architecture, Photography

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was the inspiration for at least three other Lichtenstein paintings,

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Pictures of Romance: Form against Context in Painting and Literature

1910:"Comics and art – James talks to Rian Hughes about Image Duplicator" 962:

is sometimes said to belong to the same anti-war genre as Picasso's

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House of Versace: The Untold Story of Genius, Murder, and Survival

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Lichtenstein studied as an artist before and after serving in the

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Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art

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Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art

1084:, in that he directly references imagery from other sources in 731:, but the planned white letters were yellow, as rendered above. 688:, in that the panels are not two variations of the same image. 264: 209:

In 1943 Lichtenstein left his study of painting and drawing at

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Marquis, Alice Goldfarb (2010). "The Arts Take Center Stage".

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panels, with the primary source being a panel illustrated by

20: 1943:"Character Sketch: The Comic That Inspired Roy Lichtenstein" 3601:"Pop art pioneer Lichtenstein in Tate Modern retrospective" 3482: 2009:"Russ Heath's Comic About Being Ripped off by Lichtenstein" 1203:

H.C. Westermann at War: Art and Manhood in Cold War America

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Arnason, H. H.; Daniel Wheeler; Marla F. Prather (1998).

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Busche, Ernst A. (16 October 2013) . "Roy Lichtenstein".

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McCarthy, David & Horace Clifford Westermann (2004).

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1963 pop art painting by American artist Roy Lichtenstein

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Stavitsky, Gail; Roy Lichtenstein; Twig Johnson (2005).

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in Washington, D.C., the Tate Modern in London and the

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departs from Lichtenstein's earlier diptychs such as

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Lichtenstein's first solo exhibition was held at the

201:(1964) is one of his two large war-themed paintings. 137:, and among Lichtenstein's most important paintings. 19:"Whaam" redirects here. For the British pop duo, see 4024:

I Can See the Whole Room...and There's Nobody in It!

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Pisano, Dominick (2003). Pisano, Dominick A. (ed.).

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Detractors have raised concerns over Lichtenstein's

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prints, as one of the most famous works of pop art.

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almost like the original to making it up altogether.

515:. According to the Lichtenstein Foundation website, 3449: 3024:. No. 56829. 3 January 1967. p. 6, col E. 2184: 3821: 3236:(fourth ed.). Harry N. Abrams, Inc. pp. 3129: 2354: 2352: 2350: 2348: 2095: 1339:. University of California Press. pp. 37–39. 1007:once linked the two iconic pop art images via his 341:from the "Star Jockey" story from issue No. 89 of 2560: 1546: 1330: 4620: 3777: 3317: 2858: 2718:(second ed.). Thames & Hudson. p. 1588: 1226: 989:, Lichtenstein's other monumental war painting, 299:Lichtenstein's early comics-based works such as 3723: 3538: 3350: 2990: 2901: 2820: 2709: 2620:(revised ed.). Tate Gallery. p. 242. 2345: 2232: 1723: 897:article, described the explosion as combining " 312:Senate investigations into juvenile delinquency 191:. He depicted aerial combat in several works. 145:in New York City in 1963, and purchased by the 3901:Waldman, Diane (1993). "War Comics, 1962–64". 3783: 3631: 3199: 3160: 3095: 3040:"Work of the Week: Whaam! by Roy Lichtenstein" 3037: 2950: 2827:The Comics Grid, Journal of Comics Scholarship 2645: 2033: 1372:Chilvers, Ian & John Glaves-Smith (2009). 1112:at the Tate Modern, British comic book artist 882: 547:Marketing materials for the show included the 3961: 3756: 3598: 2782: 2678: 2648:"Pop Art pioneer Roy Lichtenstein dead at 73" 2519:Strickland, Carol & John Boswell (2007). 2378:"Roy Lichtenstein: Drawing for 'Whaam!' 1963" 2358: 2327:"Roy Lichtenstein: Drawing for 'Whaam!' 1963" 2235:Roy Lichtenstein: Mural With Blue Brushstroke 1980: 1821: 1819: 1763:. University of Michigan Press. p. 275. 1518: 3320:"Pop Art's one-hit wonder gets another look" 2563:"Roy Lichtenstein: from heresy to visionary" 2406:(Press release). Tate Gallery. 22 May 2006. 1907: 1483:Roy Lichtenstein: American Indian encounters 1206:. University of Delaware Press. p. 71. 3383: 2641: 2639: 2637: 2592: 2590: 1648: 1615: 1374:A Dictionary of Modern and Contemporary Art 3968: 3954: 3575:Batman Unmasked: Analyzing a Cultural Icon 2525:. Andrews McMeel Publishing. p. 174. 2065: 2063: 1816: 909:Graphite-pencil-on-paper drawing entitled 3033: 3031: 2946: 2944: 2942: 2854: 2852: 2850: 2848: 2556: 2554: 2321: 2319: 2317: 2300:. Yale University Press. pp. 26–27. 1790:. Indiana University Press. p. 208. 1542: 1540: 1256:. Yale University Press. pp. 32–33. 1239:10.1093/gao/9781884446054.article.T050915 1172:. Lichtenstein Foundation. Archived from 3726:"Image Duplicator: pop art's comic debt" 3634:"Roy Lichtenstein: too cool for school?" 3450:Collett-White, Mike (18 February 2013). 3136:. University of Chicago Press. pp. 2869:. Oxford University Press. p. 158. 2816: 2814: 2812: 2634: 2587: 1825: 1783: 1719: 1717: 1553:. Museum of Modern Art. pp. 11–14. 1426: 1303: 1276: 1108:documentary that took place in front of 1027: 904: 571: 378: 290: 3900: 3881: 3819: 3571: 3305: 3223: 3221: 3127: 2758: 2742: 2514: 2512: 2503: 2465: 2154: 2148: 2116: 2060: 1976: 1974: 1972: 1970: 1968: 1966: 1964: 1937: 1935: 1895: 1164: 1162: 1160: 1158: 1156: 1154: 1152: 133:. It is one of the best-known works of 4621: 3541:"Andy Warhol: 15 Minutes And Counting" 3422: 3332:from the original on 24 September 2015 3123: 3121: 3064: 3028: 2939: 2866:The Grove Encyclopedia of American Art 2845: 2618:Tate Gallery: An Illustrated Companion 2615: 2561:Churchwell, Sarah (22 February 2013). 2551: 2314: 2015:from the original on 18 September 2020 1838:from the original on 10 September 2008 1756: 1726:"Lichtenstein, at Tate Modern, review" 1537: 1195: 1193: 1191: 1021:used pictures of Warhol's Monroes and 4376:Large Interior with Three Reflections 3949: 3872: 3870: 3863: 3842: 3691:Borrelli, Christopher (11 May 2012). 3390:. [Cassell Illustrated. p. 515. 3365:from the original on 21 February 2017 3181:from the original on 14 December 2016 2809: 2770: 2575:from the original on 13 November 2016 2295: 2283: 2130:from the original on 10 November 2014 1864:from the original on 24 December 2015 1714: 1584: 1582: 1567:from the original on 26 November 2013 1500:from the original on 14 December 2016 1251: 1220: 445:and illustrated by Novick, including 3975: 3862:Judd, Donald. "Reviews 1962–64". In 3861: 3613:from the original on 3 November 2013 3578:. Bloomsbury Academic. p. 182. 3509: 3404:from the original on 19 October 2021 3218: 2953:"Who opposed a £4,665 Lichtenstein?" 2883:from the original on 19 October 2021 2646:Monroe, Robert (29 September 1997). 2539:from the original on 19 October 2021 2509: 2237:. Harry N. Abrams, Inc. p. 25. 2195: 2172:from the original on 19 October 2021 1961: 1932: 1804:from the original on 19 October 2021 1724:Smart, Alastair (23 February 2013). 1702:from the original on 19 October 2021 1523:. Museum of Modern Art. p. 17. 1353:from the original on 19 October 2021 1149: 4256:Oh, Jeff...I Love You, Too...But... 3798:from the original on 2 October 2013 3705:from the original on 2 October 2013 3632:Searle, Adrian (18 February 2013). 3599:Hoang, Li-mei (21 September 2012). 3118: 3038:Holden, Duncan (18 February 2013). 2951:Bailey, Martin (13 February 2013). 2660:from the original on 2 October 2013 2604:from the original on 2 October 2013 2410:from the original on 2 October 2013 2384:from the original on 2 October 2013 2333:from the original on 2 October 2013 2201: 2077:from the original on 2 October 2013 2034:Cumming, Laura (29 February 2004). 1989:from the original on 27 August 2018 1593:. Modern Art Museum of Fort Worth. 1486:. Montclair Art Museum. p. 7. 1312:from the original on 3 October 2013 1188: 13: 3672:from the original on 11 April 2021 3646:from the original on 23 April 2017 3553:from the original on 13 March 2016 3318:Rice-Oxley, Mark (19 March 2004). 3230:"Pop Art and Europe's New Realism" 2797:from the original on 14 March 2016 2481:. MrPorter.com. 12 February 2013. 2265:from the original on 12 March 2016 1630:from the original on 23 April 2017 1579: 1461:from the original on 11 April 2021 1285:from the original on 27 April 2019 14: 4665: 4352:Artist's Studio—Look Mickey 3922: 3761:. Comics Alliance. Archived from 3757:Childs, Brian (2 February 2011). 3539:Teachout, Terry (6 August 2003). 3464:from the original on 30 July 2013 3068:An Illustrated History of Pop Art 3046:from the original on 22 July 2013 2999:from the original on 19 July 2013 2691:from the original on 25 June 2013 2672: 2485:from the original on 29 June 2013 2479:"The Report: Mr Roy Lichtenstein" 2048:from the original on 4 March 2016 1949:from the original on 24 June 2013 1337:Minimal Art: A Critical Anthology 1025:to illustrate its Pop art entry. 4634:Collection of the Tate galleries 4606: 4594: 4582: 3784:Johnston, Rich (12 April 2013). 3018:"Spectacular piece of Pop art". 2991:Sooke, Alistair (17 July 2013). 2902:Bengal, Rebecca (11 July 2006). 2823:"Whaam! Becoming a Flaming Star" 2821:Priego, Ernesto (4 April 2011). 2442:from the original on 8 June 2012 2212:. MFA Publications. p. 37. 1760:The Airplane in American Culture 1738:from the original on 28 May 2017 1663:from the original on 2 July 2017 1649:Clark, Nick (18 February 2013). 1616:Brown, Mark (18 February 2013). 1597:from the original on 17 May 2013 1521:The Drawings of Roy Lichtenstein 1435:from the original on 6 July 2013 794:graphic clarity exemplifies the 720: 695: 359:ace", foresees himself flying a 355:pilot Johnny Flying Cloud, "the 129:painting by the American artist 40: 3929:Lichtenstein Foundation website 3845:Roy Lichtenstein: October Files 3750: 3724:Steven, Rachael (13 May 2013). 3717: 3684: 3658: 3625: 3592: 3565: 3532: 3503: 3486:Key Concepts in Cultural Theory 3476: 3443: 3416: 3377: 3344: 3311: 3254: 3193: 3154: 3089: 3058: 3011: 2922: 2895: 2776: 2703: 2471: 2422: 2396: 2289: 2251: 2226: 2089: 2027: 2001: 1981:Gravett, Paul (17 March 2013). 1901: 1850: 1777: 1750: 1675: 1642: 1609: 1512: 1473: 1447: 1420: 1408:from the original on 8 May 2015 1394: 976:Marla F. Prather observed that 727:Same portion of finished work, 383:Original comic book panel from 316:Modern Art Museum of Fort Worth 3351:Jones, Jonathan (9 May 2012). 1365: 1335:. In Battcock, Gregory (ed.). 1324: 1297: 1270: 1245: 1138: 702:Cropped and edited portion of 626: 271:, all of which re-defined the 1: 4639:Paintings by Roy Lichtenstein 4360:Cubist Still Life with Lemons 4344:Yellow and Green Brushstrokes 3813: 2783:Gravett, Paul (31 May 2002). 2679:Dunne, Nathan (13 May 2013). 204: 4336:The Melody Haunts My Reverie 3167:. I. B. Tauris. p. 84. 1908:Bacon, James (13 May 2013). 1431:. The Art Story Foundation. 1308:. The Art Story Foundation. 1281:. The Art Story Foundation. 1233:. Oxford University Press]. 805: 435:The graphite pencil sketch, 7: 4562:Mitchell Lichtenstein (son) 4510:Mural with Blue Brushstroke 3882:Coplans, John, ed. (1972). 3843:Bader, Graham, ed. (2009). 2261:. Lichtenstein Foundation. 2126:. Lichtenstein Foundation. 1860:. Lichtenstein Foundation. 1120: 883:Analysis and interpretation 141:was first exhibited at the 10: 4670: 4467:Tokyo Brushstroke I and II 4104:Portrait of Madame Cézanne 3820:Alloway, Lawrence (1983). 3514:. Crown Publishing Group. 3489:. Routledge. p. 190. 2904:"Essay: Tintin in America" 2712:"The Real and its Objects" 1787:Modernity and Mass Culture 1547:Lanchner, Carolyn (2009). 1331:Alloway, Lawrence (1995). 329: 18: 4554: 4528: 4501: 4402: 3983: 3325:Christian Science Monitor 2859:Busche, Ernst A. (2011). 1945:. Yale University Press. 1404:. [Museum of Modern Art. 971: 474:" modern masterpieces by 240:into his abstract works. 107: 99: 87: 66: 58: 48: 39: 34: 4649:Works based on DC Comics 3934:24 December 2015 at the 3668:. Museum of Modern Art. 3071:. Eyre Methuen. p. 2935:. p. 21, section 2. 2745:, p. 39: "... 2710:Archer, Michael (2002). 2233:Tomkins, Calvin (1988). 1688:. Taschen. p. 321. 1457:. Museum of Modern Art. 1132: 849:and the poet and critic 613:Art Institute of Chicago 4384:Nude with Yellow Flower 4208:Woman with Flowered Hat 3546:The Wall Street Journal 3387:Defining Moments in Art 3161:Brandon, Laura (2007). 3128:Steiner, Wendy (1987). 3099:The Burlington Magazine 2598:"Illustrated companion" 2296:Lobel, Michael (2002). 1685:Art of the 20th Century 1455:"Appropriation/Pop Art" 1378:Oxford University Press 1252:Lobel, Michael (2002). 1018:World Book Encyclopedia 773:All-American Men of War 617:National Gallery of Art 578:All-American Men of War 407:All-American Men of War 390:All-American Men of War 348:All-American Men of War 4427:Brushstrokes in Flight 3886:. Praeger Publishers. 3572:Brooker, Will (2001). 3510:Ball, Deborah (2011). 3423:Cronin, Brian (2012). 2616:Wilson, Simon (1991). 2359:Alley, Ronald (1981). 2259:"Search Result: CRAK!" 2036:"Whaam! but no Oomph!" 1589:Thistlethwaite, Mark. 1519:Rose, Bernice (1987). 1091:copyright infringement 1036: 1011:designs. According to 921: 798:style associated with 581: 570: 394: 296: 230:abstract-expressionist 4459:The Head of Barcelona 4392:Nudes with Beach Ball 4304:Girl with Hair Ribbon 3202:History of Modern Art 3065:Pierre, José (1977). 2906:. PBS. Archived from 1051:Retrospective at the 1031: 908: 587:was purchased by the 575: 565: 382: 294: 211:Ohio State University 25:Wham (disambiguation) 4176:Okay Hot-Shot, Okay! 3941:Tate display caption 3384:Evans, Mike (2008). 1306:"Hard-Edge Painting" 682:Step-on-Can with Leg 580:No. 90 (April 1962). 491:Leo Castelli Gallery 447:Okay Hot-Shot, Okay! 412:Okay Hot-Shot, Okay! 295:Lichtenstein in 1967 176:in the right panel. 143:Leo Castelli Gallery 23:For other uses, see 4320:Little Big Painting 3828:. Abbeville Press. 2965:on 24 February 2015 2773:, pp. 123–124. 2435:The Huffington Post 2286:, pp. 118–120. 2210:The Pop! Revolution 2011:. 7 November 2014. 1985:. PaulGravett.com. 1826:Lichtenstein, Roy. 1731:The Daily Telegraph 1402:"Art Terms: Fluxus" 1333:"Systemic Painting" 894:Burlington Magazine 4518:Times Square Mural 4419:Expressionist Head 4296:Big Painting No. 6 3765:on 12 January 2013 2932:The New York Times 1037: 922: 825:The New York Times 582: 403:air-to-air missile 395: 393:No. 89 (Feb. 1962) 337:adapts a panel by 297: 253:hard-edge painting 181:United States Army 4570: 4569: 4443:Five Brushstrokes 4435:Five Brushstrokes 4280:We Rose Up Slowly 4264:Ohhh...Alright... 3914:978-0-89207-108-1 3893:978-0-7139-0761-2 3854:978-0-262-01258-4 3835:978-0-89659-331-2 3738:on 2 October 2013 3585:978-0-8264-1343-7 3521:978-0-307-40652-1 3496:978-0-203-98184-9 3436:978-1-101-58544-3 3429:. Penguin Books. 3397:978-1-84403-640-0 3247:978-0-8109-3439-9 3211:978-0-13-390360-7 3174:978-1-84511-236-3 3147:978-0-226-77229-5 3082:978-0-413-38370-9 2958:The Art Newspaper 2910:on 2 October 2013 2876:978-0-19-533579-8 2833:on 2 October 2013 2729:978-0-500-20351-4 2627:978-0-295-97039-4 2532:978-0-7407-6872-9 2370:978-0-85667-102-9 2307:978-0-300-08762-8 2244:978-0-8109-2356-0 2219:978-0-87846-744-0 2104:(6): 4–8, 16–17. 2071:"Catalogue entry" 1797:978-0-253-20627-5 1770:978-0-472-06833-3 1695:978-3-8228-5907-0 1560:978-0-87070-770-4 1530:978-0-87070-416-1 1493:978-0-8135-3738-2 1387:978-0-19-923965-8 1346:978-0-520-20147-7 1263:978-0-300-08762-8 1213:978-0-87413-871-9 887:For José Pierre, 427:, in addition to 369:Jerry Grandenetti 225:Stars and Stripes 118: 117: 4661: 4611: 4610: 4599: 4598: 4587: 4586: 4585: 4578: 4438:(1984 sculpture) 4368:Bedroom at Arles 4216:As I Opened Fire 4120:Baseball Manager 3977:Roy Lichtenstein 3970: 3963: 3956: 3947: 3946: 3918: 3904:Roy Lichtenstein 3897: 3884:Roy Lichtenstein 3876: 3867: 3858: 3839: 3827: 3824:Roy Lichtenstein 3808: 3807: 3805: 3803: 3781: 3775: 3774: 3772: 3770: 3754: 3748: 3747: 3745: 3743: 3734:. 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Archived from 1914:Forbidden Planet 1905: 1899: 1893: 1874: 1873: 1871: 1869: 1854: 1848: 1847: 1845: 1843: 1823: 1814: 1813: 1811: 1809: 1781: 1775: 1774: 1754: 1748: 1747: 1745: 1743: 1721: 1712: 1711: 1709: 1707: 1679: 1673: 1672: 1670: 1668: 1646: 1640: 1639: 1637: 1635: 1613: 1607: 1606: 1604: 1602: 1586: 1577: 1576: 1574: 1572: 1550:Roy Lichtenstein 1544: 1535: 1534: 1516: 1510: 1509: 1507: 1505: 1477: 1471: 1470: 1468: 1466: 1451: 1445: 1444: 1442: 1440: 1424: 1418: 1417: 1415: 1413: 1398: 1392: 1391: 1369: 1363: 1362: 1360: 1358: 1328: 1322: 1321: 1319: 1317: 1301: 1295: 1294: 1292: 1290: 1274: 1268: 1267: 1249: 1243: 1242: 1230:Grove Art Online 1224: 1218: 1217: 1197: 1186: 1185: 1183: 1181: 1166: 1147: 1142: 1013:Douglas Coupland 986:As I Opened Fire 982: 934:history painting 918: 914: 877:Stedelijk Museum 843:Barbara Hepworth 839:Ileana Sonnabend 793: 724: 711: 707: 699: 670:As I Opened Fire 600: 596: 561:opaque projector 528:Baseball Manager 513:The Refrigerator 306:comic books and 198:As I Opened Fire 131:Roy Lichtenstein 53:Roy Lichtenstein 44: 32: 31: 4669: 4668: 4664: 4663: 4662: 4660: 4659: 4658: 4619: 4618: 4617: 4605: 4593: 4583: 4581: 4573: 4571: 4566: 4550: 4524: 4497: 4398: 4008:Engagement Ring 3992:Ten Dollar Bill 3979: 3974: 3936:Wayback Machine 3925: 3915: 3894: 3855: 3836: 3816: 3811: 3801: 3799: 3782: 3778: 3768: 3766: 3755: 3751: 3741: 3739: 3731:Creative Review 3722: 3718: 3708: 3706: 3698:Chicago Tribune 3689: 3685: 3675: 3673: 3664: 3663: 3659: 3649: 3647: 3630: 3626: 3616: 3614: 3606:Chicago Tribune 3597: 3593: 3586: 3570: 3566: 3556: 3554: 3537: 3533: 3527:Monroe ... 3522: 3508: 3504: 3497: 3481: 3477: 3467: 3465: 3457:Chicago Tribune 3448: 3444: 3437: 3421: 3417: 3407: 3405: 3398: 3382: 3378: 3368: 3366: 3349: 3345: 3335: 3333: 3316: 3312: 3304: 3300: 3259: 3255: 3248: 3226: 3219: 3212: 3198: 3194: 3184: 3182: 3175: 3159: 3155: 3148: 3126: 3119: 3094: 3090: 3083: 3063: 3059: 3049: 3047: 3036: 3029: 3017: 3016: 3012: 3002: 3000: 2989: 2978: 2968: 2966: 2949: 2940: 2927: 2923: 2913: 2911: 2900: 2896: 2886: 2884: 2877: 2857: 2846: 2836: 2834: 2819: 2810: 2800: 2798: 2781: 2777: 2769: 2765: 2757: 2753: 2741: 2737: 2730: 2708: 2704: 2694: 2692: 2677: 2673: 2663: 2661: 2644: 2635: 2628: 2607: 2605: 2596: 2595: 2588: 2578: 2576: 2559: 2552: 2542: 2540: 2533: 2517: 2510: 2502: 2498: 2488: 2486: 2477: 2476: 2472: 2464: 2455: 2445: 2443: 2438:. 22 May 2012. 2428: 2427: 2423: 2413: 2411: 2402: 2401: 2397: 2387: 2385: 2376: 2371: 2357: 2346: 2336: 2334: 2325: 2324: 2315: 2308: 2294: 2290: 2282: 2278: 2268: 2266: 2257: 2256: 2252: 2245: 2231: 2227: 2220: 2206: 2202: 2198:, pp. 2–4. 2194: 2185: 2175: 2173: 2160: 2159: 2155: 2147: 2143: 2133: 2131: 2122: 2121: 2117: 2094: 2090: 2080: 2078: 2069: 2068: 2061: 2051: 2049: 2032: 2028: 2018: 2016: 2007: 2006: 2002: 1992: 1990: 1979: 1962: 1952: 1950: 1941: 1940: 1933: 1923: 1921: 1906: 1902: 1894: 1877: 1867: 1865: 1858:"1960s: Whaam!" 1856: 1855: 1851: 1841: 1839: 1832:Tate Collection 1824: 1817: 1807: 1805: 1798: 1782: 1778: 1771: 1755: 1751: 1741: 1739: 1722: 1715: 1705: 1703: 1696: 1680: 1676: 1666: 1664: 1656:The Independent 1647: 1643: 1633: 1631: 1614: 1610: 1600: 1598: 1587: 1580: 1570: 1568: 1561: 1545: 1538: 1531: 1517: 1513: 1503: 1501: 1494: 1478: 1474: 1464: 1462: 1453: 1452: 1448: 1438: 1436: 1425: 1421: 1411: 1409: 1400: 1399: 1395: 1388: 1380:. p. 503. 1370: 1366: 1356: 1354: 1347: 1329: 1325: 1315: 1313: 1302: 1298: 1288: 1286: 1275: 1271: 1264: 1250: 1246: 1225: 1221: 1214: 1198: 1189: 1179: 1177: 1168: 1167: 1150: 1143: 1139: 1135: 1123: 1068:Daily Telegraph 980: 974: 930:H.C. Westermann 916: 912: 885: 830:Brian O'Doherty 808: 791: 777:Robert Kanigher 736: 735: 734: 733: 732: 725: 716: 715: 714: 709: 705: 700: 629: 621:Centre Pompidou 598: 594: 502:Engagement Ring 443:Robert Kanigher 332: 247:known today as 207: 28: 17: 12: 11: 5: 4667: 4657: 4656: 4651: 4646: 4641: 4636: 4631: 4629:1963 paintings 4616: 4615: 4603: 4591: 4568: 4567: 4565: 4564: 4558: 4556: 4552: 4551: 4549: 4548: 4542: 4532: 4530: 4526: 4525: 4523: 4522: 4514: 4505: 4503: 4499: 4498: 4496: 4495: 4487: 4479: 4471: 4463: 4455: 4447: 4439: 4431: 4423: 4415: 4406: 4404: 4400: 4399: 4397: 4396: 4388: 4380: 4372: 4364: 4356: 4348: 4340: 4332: 4324: 4316: 4312:Grrrrrrrrrrr!! 4308: 4300: 4292: 4284: 4276: 4268: 4260: 4252: 4244: 4236: 4228: 4224:Girl in Mirror 4220: 4212: 4204: 4196: 4188: 4184:Torpedo...Los! 4180: 4172: 4164: 4156: 4148: 4140: 4132: 4124: 4116: 4108: 4100: 4092: 4084: 4076: 4068: 4060: 4052: 4044: 4036: 4028: 4020: 4016:Girl with Ball 4012: 4004: 3996: 3987: 3985: 3981: 3980: 3973: 3972: 3965: 3958: 3950: 3944: 3943: 3938: 3924: 3923:External links 3921: 3920: 3919: 3913: 3898: 3892: 3879: 3878: 3877: 3868: 3853: 3840: 3834: 3815: 3812: 3810: 3809: 3776: 3749: 3716: 3683: 3657: 3624: 3591: 3584: 3564: 3531: 3520: 3502: 3495: 3475: 3442: 3435: 3415: 3396: 3376: 3343: 3310: 3298: 3277:10.1086/444691 3253: 3246: 3217: 3210: 3192: 3173: 3153: 3146: 3117: 3088: 3081: 3057: 3027: 3010: 2976: 2938: 2921: 2894: 2875: 2844: 2808: 2775: 2763: 2761:, p. 164. 2751: 2735: 2728: 2716:Art Since 1960 2702: 2671: 2633: 2626: 2586: 2550: 2531: 2508: 2496: 2470: 2468:, p. 105. 2453: 2421: 2395: 2369: 2344: 2313: 2306: 2288: 2276: 2250: 2243: 2225: 2218: 2200: 2183: 2153: 2141: 2115: 2088: 2059: 2026: 2000: 1960: 1931: 1920:on 4 July 2013 1900: 1898:, p. 104. 1875: 1849: 1815: 1796: 1776: 1769: 1749: 1713: 1694: 1674: 1641: 1608: 1578: 1559: 1536: 1529: 1511: 1492: 1472: 1446: 1427:Wolf, Justin. 1419: 1393: 1386: 1364: 1345: 1323: 1304:Wolf, Justin. 1296: 1277:Wolf, Justin. 1269: 1262: 1244: 1219: 1212: 1187: 1176:on 6 June 2013 1148: 1136: 1134: 1131: 1130: 1129: 1122: 1119: 1102:Alastair Sooke 1005:Gianni Versace 1001:Marilyn Monroe 973: 970: 884: 881: 807: 804: 726: 719: 718: 717: 701: 694: 693: 692: 691: 690: 628: 625: 544:Torpedo...Los! 331: 328: 259:painting, the 218:was enlarging 206: 203: 166:war comic book 116: 115: 109: 105: 104: 101: 97: 96: 91: 85: 84: 68: 64: 63: 60: 56: 55: 50: 46: 45: 37: 36: 15: 9: 6: 4: 3: 2: 4666: 4655: 4652: 4650: 4647: 4645: 4644:War paintings 4642: 4640: 4637: 4635: 4632: 4630: 4627: 4626: 4624: 4614: 4609: 4604: 4602: 4597: 4592: 4590: 4580: 4579: 4576: 4563: 4560: 4559: 4557: 4553: 4546: 4543: 4540: 4538: 4534: 4533: 4531: 4527: 4520: 4519: 4515: 4512: 4511: 4507: 4506: 4504: 4500: 4493: 4492: 4488: 4485: 4484: 4480: 4477: 4476: 4472: 4469: 4468: 4464: 4461: 4460: 4456: 4453: 4452: 4448: 4446:(1984 series) 4445: 4444: 4440: 4437: 4436: 4432: 4429: 4428: 4424: 4421: 4420: 4416: 4413: 4412: 4408: 4407: 4405: 4401: 4394: 4393: 4389: 4386: 4385: 4381: 4378: 4377: 4373: 4370: 4369: 4365: 4362: 4361: 4357: 4354: 4353: 4349: 4346: 4345: 4341: 4338: 4337: 4333: 4330: 4329: 4325: 4322: 4321: 4317: 4314: 4313: 4309: 4306: 4305: 4301: 4298: 4297: 4293: 4290: 4289: 4285: 4282: 4281: 4277: 4274: 4273: 4272:Sleeping Girl 4269: 4266: 4265: 4261: 4258: 4257: 4253: 4250: 4249: 4248:I Know...Brad 4245: 4242: 4241: 4237: 4234: 4233: 4229: 4226: 4225: 4221: 4218: 4217: 4213: 4210: 4209: 4205: 4202: 4201: 4197: 4194: 4193: 4189: 4186: 4185: 4181: 4178: 4177: 4173: 4170: 4169: 4165: 4162: 4161: 4157: 4154: 4153: 4152:Drowning Girl 4149: 4146: 4145: 4141: 4138: 4137: 4133: 4130: 4129: 4125: 4122: 4121: 4117: 4114: 4113: 4109: 4106: 4105: 4101: 4098: 4097: 4093: 4090: 4089: 4085: 4082: 4081: 4077: 4074: 4073: 4069: 4066: 4065: 4061: 4058: 4057: 4053: 4050: 4049: 4045: 4042: 4041: 4037: 4034: 4033: 4029: 4026: 4025: 4021: 4018: 4017: 4013: 4010: 4009: 4005: 4002: 4001: 4000:Electric Cord 3997: 3994: 3993: 3989: 3988: 3986: 3982: 3978: 3971: 3966: 3964: 3959: 3957: 3952: 3951: 3948: 3942: 3939: 3937: 3933: 3930: 3927: 3926: 3916: 3910: 3906: 3905: 3899: 3895: 3889: 3885: 3880: 3874: 3869: 3865: 3860: 3859: 3856: 3850: 3847:. MIT Press. 3846: 3841: 3837: 3831: 3826: 3825: 3818: 3817: 3797: 3793: 3792: 3791:Bleeding Cool 3787: 3780: 3764: 3760: 3753: 3737: 3733: 3732: 3727: 3720: 3704: 3700: 3699: 3694: 3687: 3671: 3667: 3661: 3645: 3641: 3640: 3635: 3628: 3612: 3608: 3607: 3602: 3595: 3587: 3581: 3577: 3576: 3568: 3552: 3548: 3547: 3542: 3535: 3528: 3523: 3517: 3513: 3506: 3498: 3492: 3488: 3487: 3479: 3463: 3459: 3458: 3453: 3446: 3438: 3432: 3428: 3427: 3419: 3403: 3399: 3393: 3389: 3388: 3380: 3364: 3360: 3359: 3354: 3347: 3331: 3327: 3326: 3321: 3314: 3308:, p. 95. 3307: 3302: 3294: 3290: 3286: 3282: 3278: 3274: 3270: 3266: 3265: 3257: 3249: 3243: 3239: 3235: 3231: 3224: 3222: 3213: 3207: 3203: 3196: 3180: 3176: 3170: 3166: 3165: 3157: 3149: 3143: 3139: 3134: 3133: 3124: 3122: 3113: 3109: 3105: 3101: 3100: 3092: 3084: 3078: 3074: 3070: 3069: 3061: 3045: 3041: 3034: 3032: 3023: 3022: 3014: 2998: 2994: 2987: 2985: 2983: 2981: 2964: 2960: 2959: 2954: 2947: 2945: 2943: 2934: 2933: 2925: 2909: 2905: 2898: 2882: 2878: 2872: 2868: 2867: 2862: 2855: 2853: 2851: 2849: 2832: 2828: 2824: 2817: 2815: 2813: 2796: 2792: 2791: 2786: 2779: 2772: 2767: 2760: 2755: 2748: 2744: 2739: 2731: 2725: 2721: 2717: 2713: 2706: 2690: 2686: 2682: 2675: 2659: 2655: 2654: 2649: 2642: 2640: 2638: 2629: 2623: 2619: 2614:published in 2603: 2599: 2593: 2591: 2574: 2570: 2569: 2564: 2557: 2555: 2538: 2534: 2528: 2524: 2523: 2515: 2513: 2506:, p. 20. 2505: 2500: 2484: 2480: 2474: 2467: 2462: 2460: 2458: 2441: 2437: 2436: 2431: 2425: 2409: 2405: 2399: 2383: 2379: 2372: 2366: 2362: 2355: 2353: 2351: 2349: 2332: 2328: 2322: 2320: 2318: 2309: 2303: 2299: 2292: 2285: 2280: 2264: 2260: 2254: 2246: 2240: 2236: 2229: 2221: 2215: 2211: 2204: 2197: 2192: 2190: 2188: 2171: 2167: 2163: 2157: 2151:, p. 56. 2150: 2145: 2129: 2125: 2119: 2111: 2107: 2103: 2099: 2092: 2076: 2072: 2066: 2064: 2047: 2043: 2042: 2037: 2030: 2014: 2010: 2004: 1988: 1984: 1977: 1975: 1973: 1971: 1969: 1967: 1965: 1948: 1944: 1938: 1936: 1919: 1915: 1911: 1904: 1897: 1892: 1890: 1888: 1886: 1884: 1882: 1880: 1863: 1859: 1853: 1837: 1833: 1829: 1822: 1820: 1803: 1799: 1793: 1789: 1788: 1780: 1772: 1766: 1762: 1761: 1753: 1737: 1733: 1732: 1727: 1720: 1718: 1701: 1697: 1691: 1687: 1686: 1678: 1662: 1658: 1657: 1652: 1645: 1629: 1625: 1624: 1619: 1612: 1596: 1592: 1591:"Mr. Bellamy" 1585: 1583: 1566: 1562: 1556: 1552: 1551: 1543: 1541: 1532: 1526: 1522: 1515: 1499: 1495: 1489: 1485: 1484: 1476: 1460: 1456: 1450: 1434: 1430: 1423: 1407: 1403: 1397: 1389: 1383: 1379: 1375: 1368: 1352: 1348: 1342: 1338: 1334: 1327: 1311: 1307: 1300: 1284: 1280: 1273: 1265: 1259: 1255: 1248: 1240: 1236: 1232: 1231: 1223: 1215: 1209: 1205: 1204: 1196: 1194: 1192: 1175: 1171: 1165: 1163: 1161: 1159: 1157: 1155: 1153: 1146: 1141: 1137: 1128: 1125: 1124: 1118: 1115: 1111: 1107: 1103: 1098: 1096: 1092: 1087: 1083: 1082:appropriation 1078: 1075: 1070: 1069: 1064: 1063: 1058: 1057:Adrian Searle 1054: 1049: 1045: 1043: 1034: 1030: 1026: 1024: 1020: 1019: 1014: 1010: 1006: 1002: 998: 997: 996:Drowning Girl 992: 988: 987: 979: 969: 967: 966: 961: 957: 955: 951: 946: 943: 937: 935: 931: 926: 919: 907: 903: 900: 896: 895: 890: 880: 878: 874: 869: 867: 863: 862: 856: 852: 848: 844: 840: 836: 831: 827: 826: 821: 817: 813: 803: 801: 797: 790: 786: 780: 778: 774: 770: 764: 760: 756: 753: 749: 746: 742: 730: 723: 712: 698: 689: 687: 683: 679: 675: 671: 667: 663: 659: 658: 657: 652: 651: 646: 642: 638: 633: 624: 622: 618: 614: 610: 605: 601: 590: 586: 579: 574: 569: 564: 562: 557: 556: 555: 550: 546: 545: 540: 536: 535: 530: 529: 524: 523: 522:Drowning Girl 518: 514: 510: 509: 504: 503: 498: 497: 492: 487: 485: 481: 477: 473: 469: 465: 460: 458: 454: 453: 448: 444: 440: 439: 434: 430: 426: 425: 420: 419: 414: 413: 408: 404: 400: 392: 391: 386: 381: 377: 374: 370: 366: 362: 358: 354: 350: 349: 344: 340: 336: 327: 324: 319: 317: 313: 309: 304: 303: 293: 289: 287: 283: 278: 277:appropriating 274: 270: 266: 262: 258: 254: 250: 246: 245:art movements 241: 239: 235: 231: 227: 226: 221: 217: 212: 202: 200: 199: 194: 190: 186: 182: 177: 175: 171: 167: 163: 159: 154: 152: 148: 144: 140: 136: 132: 128: 124: 123: 113: 110: 106: 102: 98: 95: 92: 90: 86: 83: 79: 75: 72: 69: 65: 61: 57: 54: 51: 47: 43: 38: 33: 30: 26: 22: 4654:Aviation art 4537:Brushstrokes 4536: 4516: 4508: 4489: 4483:Brushstrokes 4481: 4473: 4465: 4457: 4449: 4441: 4433: 4425: 4417: 4409: 4390: 4382: 4374: 4366: 4358: 4350: 4342: 4334: 4326: 4318: 4310: 4302: 4294: 4288:Brushstrokes 4286: 4278: 4270: 4262: 4254: 4246: 4238: 4230: 4222: 4214: 4206: 4199: 4198: 4190: 4182: 4174: 4166: 4158: 4150: 4142: 4134: 4126: 4118: 4110: 4102: 4094: 4086: 4078: 4070: 4062: 4054: 4046: 4038: 4030: 4022: 4014: 4006: 3998: 3990: 3903: 3883: 3873:Bader (2009) 3864:Bader (2009) 3844: 3823: 3802:27 September 3800:. Retrieved 3789: 3779: 3767:. Retrieved 3763:the original 3752: 3740:. Retrieved 3736:the original 3729: 3719: 3707:. Retrieved 3696: 3686: 3674:. Retrieved 3660: 3648:. Retrieved 3639:The Guardian 3637: 3627: 3615:. Retrieved 3604: 3594: 3574: 3567: 3555:. Retrieved 3544: 3534: 3525: 3511: 3505: 3485: 3478: 3466:. Retrieved 3455: 3445: 3425: 3418: 3406:. Retrieved 3386: 3379: 3367:. Retrieved 3358:The Guardian 3356: 3346: 3334:. Retrieved 3323: 3313: 3306:Waldman 1993 3301: 3271:(2): 60–85. 3268: 3264:American Art 3262: 3256: 3233: 3201: 3195: 3183:. Retrieved 3163: 3156: 3131: 3103: 3097: 3091: 3067: 3060: 3048:. Retrieved 3019: 3013: 3001:. Retrieved 2967:. Retrieved 2963:the original 2956: 2930: 2924: 2912:. Retrieved 2908:the original 2897: 2885:. Retrieved 2865: 2861:Marter, Joan 2835:. Retrieved 2831:the original 2826: 2799:. Retrieved 2790:The Guardian 2788: 2778: 2766: 2759:Coplans 1972 2754: 2746: 2743:Coplans 1972 2738: 2715: 2705: 2693:. Retrieved 2684: 2674: 2662:. 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