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Lobel, Michael: "Technology Envisioned. Lichtenstein’s Monocularity." In: Oxford Art Journal 24.1 (2001), S. 131–154. 
Resource type: Journal Article
Languages: englisch
DOI: 10.1093/oxartj/24.1.131
BibTeX citation key: Lobel2001
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Categories: General
Keywords: Comics in Kunst, Kunst, Lichtenstein. Roy, Technik, USA, Visuelle Kultur
Creators: Lobel
Collection: Oxford Art Journal
Abstract
Roy Lichtenstein’s distinctive Pop Art paintings of the early 1960s have often been taken as straightforward, uninflected appropriations of comic-book and advertising imagery. This essay seeks to counter such received readings of Lichtenstein’s images by locating in the artist’s work a consistent return to the interaction between machines and embodied vision. This concern is traced back to Lichtenstein’s experience with visual technologies, particularly in his early artistic training. The artist’s teacher, Professor Hoyt Sherman, had devised an instructional programme that utilized the tachistoscope – a strobelike projector apparatus – to heighten his students’ powers of visual perception. In the context of his immersion in Sherman’s programme, Lichtenstein’s painterly practice is interpreted as a conflicted attempt to confront the triangulation of body, vision, and machine within modernist aesthetic discourse.
  
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