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Index
Michael Lobel
Description: Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art
Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art
Index
Author
Michael Lobel
PublisherYale University Press
Copyright© 2002 by Yale University
https://doi.org/10.37862/aaeportal.00065.011
Stable URL: https://aaeportal.com/?id=-15498
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Index
Page numbers in italics refer to illustrations.
 
Abstract Expressionism, 25, 29, 52, 67, 124
abstraction, 57
Adelman, Bob, 178n.21
aesthetic vision, 81–82
Airplane (Lichtenstein), 44, 46
Alain-Bois, Yve, 148
All American Men of War (Heath), 121–23, 123, 177n.43
Ames, Adelbert, Jr., 77
Ames demonstrations, 113
Andy Warhol and Roy Lichtenstein (film), 23–25
Andy Warhol Museum (Pittsburgh), 19
Art and Illusion (Gombrich), 113–17, 114, 178nn.19–21
art history/criticism: criteria for judging practices, 123–24
and the lost original, 110, 111, 178n.12
and meaning as produced through difference, 109, 111, 148, 177nn.6–7
and perceptual psychology, 116
and photomechanical reproduction of images, 110–11, 177–78n.9
and technology, 118–19
artists, 166, 181n.6, 181n.7
Artist’s Studio (with Model and Explosion) (Lichtenstein), 179n.6
aura of the work of art, 111
authorial presence, 56, 70, 72–73, 174n.29
authorship/ownership, 41, 47, 59–60, 69. See also authorial presence; signatures
automatism, 83–85, 85
 
Baer, Ulrich, 83
Bakhtin, Mikhail, 173n.51
Ball of Twine (Lichtenstein), 53, 53–54
Balzac, Honoré de, 140–41
Barthes, Roland, 56, 70, 174n.29
Ben Day dots, 67, 107, 175n.40
Benjamin, Walter, 111
Bieder, Joseph, 114
Big Painting VI (Lichtenstein), 161, 162
binary oppositions, 105, 106–7, 113
Black Paintings (Stella), 175n.1
Blam! (Lichtenstein), 95–96
Blonde Waiting (Lichtenstein), 136, 137, 138, 142, 179n.8, 179n.11, 179n.18
Boatto, Alberto, 179n.19
bodies and machines, 10–12, 96
cyborgian connection between, 98, 176–77n.36
and gun sights, 100
and visual technologies, 98. See also mechanization of vision; monocularity
Boime, Albert, 11
brand names/trademarks, 42–56
commercial significance of, 54–55
design of, 48–50, 50
erasure by RL, 42, 44, 55
vs. fine art, 49–50, 55, 63
vs. genericness, 44–47
vs. signatures, 63, 65, 174n.36
Bratatat! (Lichtenstein), 96, 97, 98–100
Brattata (Lichtenstein), 96, 98–99, 120, 121–23, 122, 127
Bread in Bag (Lichtenstein), 105–6, 107, 111
Brecht, George, 6
Breland, Bruce, 80
Breton, André, 36, 172n.46
Brillo Boxes (Warhol), 44
Brooks, Peter, 139–41
Brushstroke paintings (Lichtenstein), 64, 135, 159–68, 160
Brushstrokes (Lichtenstein), 161–62, 163, 165–68, 166, 181n.5
Bryson, Norman, 117, 178n.24
Buck Rogers (Tuska), 119, 119, 120–21
Busche, Ernst, 4, 33, 169n.3, 176n.16
 
Cage, John, 6
camera obscura, 82
cameras, 81
Campbell’s Soup Cans (Warhol), 44
Capitman, Barbara, 49
caricature, 113
cartooning, 178n.20, 180n.24
Castelli, Leo, 18
catalepsy, 83
Cézanne, Paul, 85–86
Cézanne’s Composition (Loran), 108–11, 111, 151, 152
Charcot, Jean-Martin, 83
Charlton Comics, 164
Cigarette (Lichtenstein), 44–45
civilization, and erect posture, 37, 172–73n.50
class, and body regions, 37–38
classical vs. grotesque body, 173n.52
cleaning hand motif, 114, 178n.21
Colacello, Bob, 174–75n.37
Cold Shoulder (Lichtenstein), 129–30, 131, 132
comic books: artists as characters in, 166, 181n.7
artists/writers of, 179–80n.22
idealization in, 155–56
imagery from, 45–47, 112
as melodrama, 139
stories in, 181n.4
Composition in Black and White (Mondrian), 63, 64
Composition paintings (Lichtenstein), 57, 58, 59, 72, 174n.32
Constable, John, 115, 116–17
copyright symbols/issues, 59, 174n.34
Courbet, Gustave, 13–15, 133
CRAK! (Lichtenstein), 92–93, 94, 94, 95, 98
criticism. See art history/criticism
Crow, Thomas, 170n.5, 172n.46
Crying Girl (Lichtenstein), 93, 94, 95, 142
cubism, 124, 148–50, 180n.24
 
Dalí, Salvador, 94
DC Comics, 164
Deitcher, David, 81, 115, 178n.22, 181n.5
Derrida, Jacques, 63, 174n.36
diagonal lines, 70, 71
difference: meaning as produced through, 109, 111, 148, 177nn.6–7
and mechanical reproduction, 111–13
and narrative, 111–12
structural, 106. See also gender; semiology
Donald Duck, 33–34, 36–38, 172n.40
Donald Duck (Lichtenstein), 32–33, 32
dot technique, 27, 67, 70, 71, 103, 107–8, 175n.40, 177n.46
Drowning Girl (Lichtenstein), 87–88, 93, 141, 142, 143, 156
Duchamp, Marcel, 6, 36, 169n.9
Duridium (Lichtenstein), 173n.2
 
Elsaesser, Thomas, 138–39, 140
Emeralds (Lichtenstein), 118, 119–21, 123, 127, 141, 144, 179n.27
emotional expression, 113
The Engagement Ring (Lichtenstein), 35, 56, 119, 120, 139, 140, 141, 178–79n.26
Entablature paintings (Lichtenstein), 179n.6
Equipo Crónica, 57–58, 174n.32
Ernst, Max, 94
Exhuming the Mastodon (Peale), 176n.16
The Explorer (Lichtenstein), 48, 49
 
Femme d’Alger (Lichtenstein), 61
figure vs. ground, 51, 52–54, 55
flash lab, 77–82, 79, 83–84, 86, 100, 101
flatbed picture plane, 124
Foster, Hal, 170n.5, 170n.9, 172nn.46–47
found object (trouvaille), 36
framing of space, 142–43, 179n.19
Freud, Sigmund, 36–37, 172–73n.50
Fried, Michael, 13–15, 133, 177–78n.9
Friedrich, Caspar David, 133
Frightened Girl (Lichtenstein), 93, 142, 143, 143
frottage, 67
Fry, Roger, 68–69
 
Gainsborough, Thomas, 117
gender: and crying female figures, 93–95, 176n.33
the feminine as image/sign of difference, 155–56
the feminine as surface, 156, 181n.34
and framing of space, 142–43, 179n.19
images paired by, 129–36
male figures viewing flat surfaces, 127
and masculine vs. feminine, 156
and melodrama, 138–42
as model of difference in RL’s work, 127–57
and Pop art 28–29, 171n.27
and surface, 133–44, 154, 156, 181n.34
and visual access, 133, 136
war vs. romance comic images, 139
General Electric, 54–55
genericness, 44–47
George Washington (Lichtenstein), 67, 68
Gestalt theory, 50, 51
Giordano, Dick, 165
Girl in Mirror (Lichtenstein), 132–36, 135, 139, 154, 164
Girl with Hair Ribbon (Lichtenstein), 143
Girl with Tear III (Lichtenstein), 95, 96
Golf Ball (Lichtenstein), 41, 42, 44, 45, 53, 63
Gombrich, E. H., 106–7
Art and Illusion, 113–17, 114, 178nn.19–21
Bryson on, 117, 178n.24
in National Gallery Cleaning Controversy, 178n.21
Good Morning . . . Darling! (Lichtenstein), 136, 137, 138, 156, 179n.8, 179n.18
Gopnik, Adam, 46–47, 173–74n.7
Greenberg, Clement, 124, 173–74n.7, 177–78n.9
Green Coca-Cola Bottles (Warhol), 42, 43, 44
ground vs. figure, 51, 52–54
gun sights, 98–100, 99, 102
 
Hanover Eye Institute (New Hampshire), 77
Happenings movement, 5–7
Happy Tears (Lichtenstein), 93, 142, 143, 143, 179n.18, 181n.7
Harrison, Charles, 136, 138
Heath, Russ, 46; All American Men of War, 121–23, 123, 177n-43
Hebdige, Dick, 171n.27
Herzka, Dorothy (RL’s wife), 20, 21
high vs. low culture, 36–37
Hopeless (Lichtenstein), 93, 142, 143
horizontal address to the viewer, 124
Hortense J. (patient of Charcot), 83, 84
Hot Dog (Lichtenstein), 44–45
Hughes, Robert, 19, 23, 170n.9
 
I Can See the Whole Room (Lichtenstein), 76
action-suspense of, 120
dots used in, 103
flat plane in, 121
and Image Duplicator, 103
and the machine, 75–76, 94, 95
monocularity in, 82–83, 87, 88, 89, 91, 94
as a self-portrait, 103
icon vs. index, 64–69, 175n.43
illustration art, conventionality of, 155
Image Duplicator (Lichtenstein), 2
and I Can See the Whole Room, 103
Life article on, 11–13, 12
melodrama of, 139
as representative of RL’s early works, 1
as a self-portrait, 11
sources for, 9–11, 10–11, 169n.17
vision/visuality in, 9
Independent Group, 3
indexicality, 64–69, 175n.43
Indiana, Robert, 29
innocent eye, 85, 116
In the Car (Lichtenstein), 145–46, 145, 147, 148–51, 153–54, 179n.21, 180nn.27–28
 
Jacobson, Egbert, 49, 51, 52, 54
Jet Pilot (Lichtenstein), 96, 97, 98–99, 101
Johns, Jasper, 3, 5, 33, 53–54, 169n.6, 171n.37
jokes, 36–37
Jones, Caroline, 26, 49–50
 
Kaprow, Allan, 6–7, 80, 100–101, 172n.40
Karp, Ivan, 18, 34
Keds (drawing; Lichtenstein), 65–67, 66
Keds (painting; Lichtenstein), 59, 60, 61–62, 65, 173n.2
Kitchen Range (Lichtenstein), 42, 43, 44–45, 59
Klee, Paul, 68–69
Kozloff, Max, 24, 68–69, 176n.33
Krauss, Rosalind, 67, 148–50, 173n.50, 176n.26
 
Large Spool (Lichtenstein), 53, 53
Lichtenstein, David (RL’s son), 35
Lichtenstein, Mitchell (RL’s son), 35
Lichtenstein, Roy: abstract painting by, 5
appropriation of images by, 4–5, 7–8, 11, 47–48, 60–61, 63
in the Army, 101–2
art training of, 175n.2
and Breton, 36, 172n.46
capitulation to the machine, 27–28
on changing the image as much/little as possible, 26–27
criticism of, 2–3, 9, 13, 14, 15, 23, 169n.14 (see also Loran, Erie); on despicable painting, desire to paint, 38
distance from subject matter, 17–18, 27
at Douglass College, 5
duplication techniques of, 26
fame/success of, 19
on the flash lab, 101
Gombrich’s influence on, 113–15, 117, 178n.21
influences on, 5–6, 7–8, 48, 51
masculine identity of, 29–30, 171n.34
on Pop art, identification with, 169n.3
on Pop art vs. commercial art, 52
Sherman’s influence on, 77, 80–81, 87, 115–16, 178n.22, 180n.29
teaching by, 80
transition from abstract to Pop (see Look Mickey)
and Warhol, 18–19, 20–21, 21, 23–25
Lichtenstein, Roy, works of: Airplane, 44, 46
Artists Studio (with Model and Explosion), 179n.6
Ball of Twine, 53, 53–54
Big Painting VI, 161, 162
Blam! 95–96
Blonde Waiting, 136, 137, 138, 142, 179n.8, 179n.11, 179n.8
Bratatat! 96, 97, 98–100
Brattata, 96, 98–99, 120, 121–23, 122, 127
Bread in Bag, 105–6, 107, 111
Brushstroke paintings, 64, 135, 159–68, 160
Brushstrokes, 161–62, 163, 165–68, 166, 181n.5
Cigarette, 44–45
Cold Shoulder, 129–30, 131, 132
composition in, 55
Composition paintings, 57, 58, 59, 72, 174n.32
CRAK! 92–93, 94, 94, 95, 98
Crying Girl, 93, 94, 95, 142
Donald Duck, 32–33, 32
Drowning Girl, 87–88, 93, 141, 142, 143, 156
Duridium, 173n.2
Emeralds, 118, 119–21, 123, 127, 141, 144, 179n.27
The Engagement Ring, 35, 56, 119, 120, 139, 140, 141, 178–79n.26
Entablature paintings, 179n.6
The Explorer, 48, 49
Femme d’Alger, 61
Frightened Girl, 93, 142, 143, 143
George Washington, 67, 68
Girl in Mirror, 132–36, 135, 139, 154, 164
Girl with Hair Ribbon, 143
Girl with Tear III, 95, 96
Golf Ball, 41, 42, 44, 45, 53, 63
Good Morning . . . Darling! 136, 137, 138, 156, 179n.8, 179n.18
hand-eye disconnection in, 87–88
Happy Tears, 93, 142, 143, 143, 179n.18, 181n.7
Hopeless, 93, 142, 143
Hot Dog, 44–45
impersonal character of, 17–18
In the Car, 145–46, 145, 147, 148–51, 153–54, 179n.21, 180nn.27–28
Jet Pilot, 96, 97, 98–99, 101
Keds (drawing), 65–67, 66
Keds (painting), 59, 60, 61–62, 65, 173n.2
Kitchen Range, 42, 43, 44–45, 59
Large Spool, 53, 53
Like New, 105–6, 106, 111
Little Big Painting, 159, 160
Live Ammo (Take Cover!), 87–88, 89, 176n.28
Mad Scientist, 129, 130, 130–32, 179nn.5–6
Magnifying Glass, 89, 90
Mail Order Foot, 64–65, 66
Man with Folded Arms, 151–52, 152, 153–54
Masterpiece, 127–29, 128, 154
mechanical themes in, 176n.16
Mickey Mouse I, 4–5, 5
Mirror paintings, 70
M-Maybe, 35, 181n.7
Mr. Bellamy, 119, 120, 141, 144, 178–79n.26
Mural with Blue Brushstroke, 178n.21
Nurse, 143;
Oh, Jeff, 143–44, 144, 179n.18
Okay, Hot-Shot, 46, 95–96, 97, 139
Portrait of Allan Kaprow, 69–70, 70
Portrait of Ivan Karp, 69–70, 70
Portrait of Madame Cézanne, 108–9, 151, 152–54, 153
The Refrigerator, 87–88
Roto-Broil, 42, 44
sculptures, 180–81n.33
Self-Portrait, 70, 71, 72–73
Shock-Proof 44
Sinking Sun, 115, 116
smooth surfaces of, 139, 179n.13
The Sound of Music, 181n.7
sources for, 9, 46, 72, 72, 170n.18, 172n.46, 175n.49
Sponge, 114, 115, 178n.21
Sponge II, 114, 178n.21
Spray, 44, 45
Step-On Can with Leg, 105–6, 111–12, 112, 178n.16
Stretcher Bar paintings, 127
Takka Takka, 35
Tire, 42, 43, 53, 65
Torpedo . . . Los! 90–92, 92–93, 94, 95
Trigger Finger, 178n.16
Untitled, 5, 6
Vicki, 132–33, 134, 136, 138, 139, 154, 156
Washing Machine, 42, 43, 44
Washington Crossing the Delaware I, 4, 4
Whaam! 95–96, 99, 100
Wimpy (Tweet), 45, 89–90, 91
Woman with Flowered Hat, 60–61, 62
Yellow and Green Brushstrokes, 164, 164. See also I Can See the Whole Room; Image Duplicator; Look Mickey; Popeye
Life magazine, 11–13, 12, 14, 170n.24
Like New (Lichtenstein), 105–6, 106, 111
Little Big Painting (Lichtenstein), 159, 160
Live Ammo (Take Cover!) (Lichtenstein), 87–88, 89, 176n.28
logos. See brand names/trademarks
Look Mickey (Lichtenstein), 31–39, 31
authority vs. debasement in, 37–38
composition of, 31–32
dimensions of, 31
dots used in, 103
genesis of/sources for, 32–34, 172n.40
graphic devices in, 148
high vs. low culture in, 36–37, 173n.51–52
joke in, 34, 36–37
as produced for RL’s children, 34–35, 172n.42
repetition in, 35
as RL’s first Pop painting, 31, 45
signature on, 56
vision in, 36–36, 37
Loran, Erie, 169n.14
Cézanne’s Composition, 108–11, 111, 151, 152
on Man with Folded Arms, 151–52
on Pop vs. art, 108, 110
low vs. high culture, 37
 
machines. See bodies and machines mechanical reproduction mechanization of vision
Mad Scientist (Lichtenstein), 129, 130, 130–32, 179nn.5–6
Magnifying Glass (Lichtenstein), 89, 90
Magritte, René, 94
Maharaj, Sarat, 57–58
Mail Order Foot (Lichtenstein), 64–65, 66
Man with Folded Arms (Lichtenstein), 151–52, 152, 153–54
Marilyn paintings (Warhol), 44, 172n.46
Marsh, Reginald, 175n.2
Marvel Comics, 164
Masterpiece (Lichtenstein), 127–29, 128, 154
Matisse, Henri: Woman Before an Aquarium, 136, 137, 138
Mauldin, Bill, 102
McClellan, Doug, 56
mechanical reproduction: and the aura of the work of art, 111
and binary oppositions, 106–7, 113
and critic vs. artist, 109–10
and difference, 111–13
and the lost original, 110
mechanization of vision: and automatism, 83–85, 85
flash lab as, 78–82, 79, 83–84, 86, 100
and individuality, 82, 176n.15
melodrama, 138–42
Meyer, Richard, 170n.5
Mickey Mouse, 33–34, 36–37, 45, 172n.40
Mickey Mouse I (Lichtenstein), 4–5, 5
Mirror paintings (Lichtenstein), 70
M-Maybe (Lichtenstein), 35, 181n.7
Mondrian, Piet, 60
Composition in Black and White, 63, 64
monocularity, 75–104
vs. binocularity, 86–87, 100, 103
in Cézanne’s work, 85–86
as idealization of religious deity vs. machine, 176n.23
as photographic apparatus, 82–83
in RL’s works, 82–83, 87–95, 100, 103, 105, 176n.28, 176n.31
visuality, 75–76. See also vision
Mr. Bellamy (Lichtenstein), 119, 120, 141, 144, 178–79n.26
Mulas, Ugo: Roy Lichtenstein, New York, 161, 162
Mural with Blue Brushstroke (Lichtenstein), 178n.21
“Museum of Merchandise” (Kron and Sabol), 29
narratives, 105–6, 111–12
 
National Gallery Cleaning Controversy, 178n.21
Nelson, Robert, 177n.6
neo-avant-garde, 7, 169n.12
New Realists, 15, 170n.27
New York School, 57
Nochlin, Linda, 178n.12
Novick, Irv, 46
Nurse (Lichtenstein), 143
 
O’Doherty, Brian, 13, 170n.23
Oh, Jeff (Lichtenstein), 143–44, 144, 179n.18
Okay, Hot-Shot (Lichtenstein), 46, 95–96, 97, 139
Okun, Henry, 36
Oldenburg, Claes, 64
originality/creativity, 69
 
painter-beholder, 133
“The Painting,” 164–68, 166, 167
Parsons School of Design, 175n.2
Peale, Charles Wilson: Exhuming the Mastodon, 176n.16
perceptual unity, 79–80
person, repetition of, 69–70
photography, 67–68, 83, 84
Picasso, Pablo: Violin, 148–49, 149
Woman with Flowered Hat, 60–61, 62
pictorial flatness, 124
Pollock, Jackson, 170n.24
drip technique of, 33
horizontalization in works of, 173n.50
Kaprow on, 7
masculine persona of, 29–30
reputation of, 13
Pop art: and Abstract Expressionism, 25, 29
artists identified with, 3, 5–6, 169n.6, 169nn.2–3
vs. commercial art, 52
criticism of (see Loran, Erle)
gendered meanings of, 28–29, 171n.27 (see also gender)
machine vs. artist’s hand in, 25
realism of, 15
and surrealism, 172n.47
Popeye (Lichtenstein): copyright symbol in, 59–60, 60
dots used in, 67, 103
graphic devices in, 148
identifiable characters in, 45
marks of ownership in, 59–60
monocularity in, 89–90
Portrait of Allan Kaprow (Lichtenstein), 69–70, 70
Portrait of Ivan Karp (Lichtenstein), 69–70, 70
Portrait of Madame Cézanne (Lichtenstein), 108–9, 151, 152–54, 153
postmodernism, 64
product design, 50–51
Prudential Life Insurance, 48–49, 50
psychological vs. spatial depth, 138
purity, 173n.7
 
Ratcliff, Carter, 17–18, 47
Rauschenberg, Robert, 3, 5, 124, 169n.6, 175n.43
readymade, concept of, 6, 7, 36, 169n.9
The Refrigerator (Lichtenstein), 87–88
Reinhardt, Ad, 75, 175n.1
reproduction. See mechanical reproduction
Richter, Hans, 34–35
Rose, Bernice, 35, 54, 160–61
Rosenblum, Robert, 52
Rosenquist, James, 27
Roto-Broil (Lichtenstein), 42, 44
Roy Lichtenstein, New York (Mulas), 161, 162
Rückenfigur (back-figure), 133
Ruscha, Ed: Standard Gasoline Station, 42
Ruskin, John, 85, 116
Rutgers University artists, 6–7
 
Sabol, Audrey: “Museum of Merchandise,” 29
Samaras, Lucas, 6
de Saussure, Ferdinand, 109, 111, 148, 177n.7
Schjeldahl, Peter, 28
science fiction, 120
Sedgwick, Edie, 20, 24, 170n.7
Segal, George, 6
Seiberling, Dorothy, 13
Self-Portrait (Lichtenstein), 70, 71, 72–73
Self-Portrait (Warhol), 20, 22
semiology: and cubism, 148–50, 180n.24
and graphic notations, 146, 148, 150–51, 153–55, 180n.27
and marked vs. unmarked terms, 156, 181n.35
and sexual difference, 145–57 (see also gender)
Sherman, Hoyt: on binocular vision, as a human flaw, 86–87
on drawing by seeing/perceptual unity, 79–80, 81, 86
flash lab of, 50, 51, 78–82, 79, 83–84, 86, 100
on individuality, 176n.15
influence on Gombrich, 113
influence on RL, 77, 80–81, 87, 115–16, 178n.22, 180n.29
on monocularity of Cézanne’s work, 85–86, 86, 176n.23
Visual Demonstration Center of, 77–78, 78, 86, 86, 89, 178n.19. See also flash lab
Shiff, Richard, 64
Shock-Proof (Lichtenstein), 44
signatures: absence of, 56–59, 63, 174n.31
vs. brand names/trademarks, 63, 65, 174n.36
forms of, 49, 56, 57
as identity mark, 58, 174n.31
Sinking Sun (Lichtenstein), 115, 116
Sirk, Douglas, 138–39
Solbes, Rafael, 174n.32
The Sound of Music (Lichtenstein), 181n.7
spatial vs. psychological depth, 138
Sponge (Lichtenstein), 114, 115, 178n.21
Sponge II (Lichtenstein), 114, 178n.21
Spray (Lichtenstein), 44, 45
Stallybrass, Peter, 173n.52
Standard Gasoline Station (Ruscha), 42
Star Spangled War Stories, 92, 94
Steinberg, Leo, 123–24
Steiner, Wendy, 130–31, 143
Stella, Frank, 49–50, 75
Black Paintings, 175n.1
Step-On Can with Leg (Lichtenstein), 105–6, 111–12, 112, 178n.16
Steve Roper comic strip, 75, 77
Strange Suspense Stories (Charlton Comics), 164, 165, 166
Stretcher Bar paintings (Lichtenstein), 127
surface, 133–44, 154, 156, 181n.34
surrealism, 94–95, 172n.47
 
tachistoscope, 50–51, 78–79, 79
Takka Takka (Lichtenstein), 35
Tire (Lichtenstein), 42, 43, 53, 65
Tomkins, Calvin, 27
Torpedo . . . Los! (Lichtenstein), 90–92, 92–93, 94, 95
trade figures, 49
trademarks. See brand names/trademarks
Trigger Finger (Lichtenstein), 178n.16
trouvaille (found object), 36
Tuska, George: Buck Rogers, 119, 119, 120–21
 
Untitled (Lichtenstein), 5, 6
 
Valdes, Manolo, 174n.32
Varnedoe, Kirk, 46–47, 173–74n.7
Vicki (Lichtenstein), 132–33, 134, 136, 138, 139, 154, 156
Violin (Picasso), 148–49, 149
vision: aesthetic, 81–82
binocular, 86–87, 100, 103
corporeality of, 86–87, 93–94, 103–4, 176n.26
vs. tears, 93–94. See also mechanization of vision; monocularity
Visual Demonstration Center, 77–78, 78, 86, 86, 89, 178n.19
visual unity, 50
 
Waldman, Diane, 7, 54, 61, 63, 69, 94, 96
Walt Disney Company, 34
war comic imagery, 95–96, 98–100, 177n.43
Warhol, Andy, 17–30
Before and After paintings, 105–6, 107
Brillo Boxes, 44
Campbell’s Soup Cans, 44
capitulation to mass culture, 21–22, 29–30
capitulation to the machine, 25–26, 170n.9, 171n.15
on duplication of the individual, 69–70
duplication techniques of, 25–26, 27
fame/success of, 19
gallery representation of, 18–19
Green Coca-Cola Bottles, 42, 43, 44
homosexual identity of, 29–30
literature on, 19–20, 170n.5
as manager of assistants, 26, 171n.17
Marilyn paintings, 44, 172n.46
on Pop art, 29
and RL, 18–19, 20–21, 21, 23–25
Self-Portrait, 20, 22
signature/brand names used by, 63–64, 174–75n.37
silkscreen technique of, 26
traumatic realism of, 172n.47
Washing Machine (Lichtenstein), 42, 43, 44
Washington Crossing the Delaware I (Lichtenstein), 4, 4
Wassenaar, Michael, 89
Watts, Robert, 6
Weber, Idelle and Julian, 20
Weil, Susan, 175n.43
Whaam! (Lichtenstein), 95–96, 99, 100
White, Allon, 173n.52
Whiting, Cécile, 28–30, 129, 171n.34, 179n.19
Whitman, Robert, 6
Wimpy (Tweet) (Lichtenstein), 45, 89–90, 91
Woman Before an Aquarium (Matisse), 136, 137, 138
Woman with Flowered Hat (Lichtenstein), 60–61, 62
Woman with Flowered Hat (Picasso), 60–61, 62
Written on the Wind (film), 139
 
X-Men comic books, 10, 11, 170n.18
 
Yellow and Green Brushstrokes (Lichtenstein), 164, 164
Index
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