Study for "Brushstroke on Canvas" 1988

Editor: This is Roy Lichtenstein's "Study for 'Brushstroke on Canvas'" from 1988, incorporating drawing and acrylic paint. The layering of patterns and colours makes the whole piece quite dynamic, and although abstract, it somehow seems familiar to me. What do you see in this work? Curator: This piece is primarily concerned with the materiality and structure of painting itself. Lichtenstein is isolating and re-presenting the brushstroke, a fundamental element of painting, as its own subject. We observe a layering of styles; note the geometric patterns – these create a dense, almost digital field which contrasts strongly against the freeform brushstrokes. How does the layering impact the way we view a traditional brushstroke? Editor: Well, it definitely disrupts the typical understanding of the brushstroke as an expressive, gestural mark. The mechanical patterns and the enlargement sort of flatten it and make it seem…artificial? Curator: Precisely. He's dismantling the perceived spontaneity of Abstract Expressionism and re-framing it through the lens of Pop Art's mechanical reproduction. Semiotically, what statement do you think this reproduction makes? Editor: It makes you question the meaning of originality in art. Is it still authentic if it is blown up, re-printed or replicated, because this piece itself exists as the Study of what would become a Canvas. Curator: Exactly. Lichtenstein's meticulous rendering of brushstrokes undermines the idea of the artist's unique touch, replacing it with a commentary on representation. So what did you find striking or revealing from the analysis? Editor: I found it amazing that dissecting the layers and deconstructing it brought a fuller perspective of his intentions. It seemed quite superficial initially, but now it speaks more about artistic perception than the medium of paint. Curator: A wonderful conclusion, demonstrating the power of visual analysis!