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9/30 Roy Lichtenstein & The Trap of Capturing the Zeitgeist

September 9, 2013

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It’s one of these few moments where you feel that the term déjà vu is more than appropriate when it comes to describing anything in art that has become simply redundant (from pop trash music, fashion cropped tops or yet another pastel season to the face of Cara Delevigne one too many times) 

Unfortunately, this is what has happened to Roy Lichtenstein. His latest expo in Centre Pompidou perfectly showcases exactly how old can something, that used to be the quintessence of new, simply feel blunt. Being able to capture the spirit of the time and translate into art is brilliant. However, as we know what’s in today is out tomorrow.

 And in an oversaturation of pop images, adopted by brands such as Mac, mags such as Interview and fashion designers (Jeremy Scott and co), Roy Lichtenstein seems to be the greatest victim of his time. 

Yet, in his defense, popularizing art was a great contribution that redefined once more the boundaries of art. Just like a Marchel Duchamp ceci n’est pas une pipe claim, Lichtenstein reinvented the world of comics into something called art. With his primary color usage, his meticulous dots and zoomed in girls, he contributed a great deal to what’s modern Americana is all about.

Sometimes defending art is a cause that’s worth fighting for but sometimes you just need to accept that the modern  viewer (just like that blond Lichtenstein girl) is just not that into you.  

(9/30: Part of The September Issue project: 30 days, 30 posts)

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