Roy before he was Lichtenstein: the path to becoming a Pop Art titan began with Lichtenstein's cycling through a provocative range of visual culture, from fairy tales and children's and folk art to mythic forms of Americana, such as cowboys and Disney. Roy Lichtenstein: History in the Making, 1948-1960 is the first major museum exhibition to investigate the early work of one of the best-known American artists of the twentieth century. Co-organized by Colby College Museum of Art and Nasher Museum of Art at Duke University, the exhibition will include approximately ninety works from the artist's fruitful and formative early career, many never before seen by the public. The show and accompanying catalog will include paintings, drawings, sculptures, and prints which reveal an artist, even in the earliest stages of his career, with a keen interest in visual culture, culling--with a critical eye--from a wide range of sources. These inspirations were the essential but little-known precursors to the artist's later sourcing of comic books and advertisements. Likewise, his exploration of abstraction, just before the artist's abrupt turn to Pop Art in 1961, straddles the line between unabashed lyricism and wry critique of second-generation Abstract Expressionism. The catalog, with new scholarship by leading experts in the field, provides a new understanding of Lichtenstein's influential techniques of appropriation and offers the opportunity to more fully assess the artistic and cultural dynamism of postwar America.

"In the late 50s and 60s, American painter Roy Lichtenstein (1923-1997) became one of the most important exponents of Pop Art. Almost alone among artists, he pursued the question of how an image becomes a work of art." -- Provided by publisher.

A deeply moving memoir that confronts the defining trauma of the twentieth century, and its effects on a father and son. In 1939, Jonathan Lichtenstein's father Hans escaped Nazi-occupied Berlin as a child refugee on the Kindertransport. Almost every member of his family died after Kristallnacht, and, upon arriving in England to make his way in the world alone, Hans turned his back on his German Jewish culture. Growing up in post-war rural Wales where the conflict was never spoken of, Jonathan and his siblings were at a loss to understand their father's relentless drive and sometimes eccentric behavior. As Hans enters old age, he and Jonathan set out to retrace his journey back to Berlin. Written with tenderness and grace, The Berlin Shadow is a highly compelling story about time, trauma, family, and a father and son's attempt to emerge from the shadows of history.

The arts: general issues.

Showcasing "settings in which daily life and private acts can only be imagined," Roy Lichtenstein: Interiors presents (mostly previously unpublished) work from an exhibit at Chicago's Museum of Contemporary Art curated by museum director Robert Fitzpatrick and Dorothy Lichtenstein. The book features works from the artist's nudes series of the '90s and other work from the last decade. Continuing to borrow images and ideas from pop culture, Lichtenstein recast them in his inimitable, humorous, comic-strip style characterized by oversize pixels, flat light and primary colours. Also included are sketches, drawings, clippings from his scrapbook and photos of his sculptures. Essays by the two curators, the late Leo Castelli and others cover biography, reception and reminiscence. ILLUSTRATIONS: 112 colour & 12 b/w

What is the right to privacy in halacha? When can DNA be used as halachic evidence? How should we treat members of the community who were convicted of crimes? Why can't one steal a kidney to save his life? Is it permitted to kill a terrorist who has been neutralized? Will the imminent arrival of genetically modified meat and fish present a kashrus crisis? -- In addition, the book includes interviews of leading poskim on many of the subjects discussed, including Rav Dovid Cohen, Rav Moshe Heinemann, Rav Doniel Neustadt, Rav Moshe Sternbuch, Rav Asher Weiss, and Rav Mordechai Willig.--

In a fresh and timely reinterpretation, Nelson Lichtenstein examines how trade unionism has waxed and waned in the nation's political and moral imagination, among both devoted partisans and intransigent foes. From the steel foundry to the burger-grill, from Woodrow Wilson to John Sweeney, from Homestead to Pittston, Lichtenstein weaves together a compelling matrix of ideas, stories, strikes, laws, and people in a streamlined narrative of work and labor in the twentieth century. The "labor question" became a burning issue during the Progressive Era because its solution seemed essential to the survival of American democracy itself. Beginning there, Lichtenstein takes us all the way to the organizing fever of contemporary Los Angeles, where the labor movement stands at the center of the effort to transform millions of new immigrants into alert citizen unionists. He offers an expansive survey of labor's upsurge during the 1930s, when the New Deal put a white, male version of industrial democracy at the heart of U.S. political culture. He debunks the myth of a postwar "management-labor accord" by showing that there was (at most) a limited, unstable truce. Lichtenstein argues that the ideas that had once sustained solidarity and citizenship in the world of work underwent a radical transformation when the rights-centered social movements of the 1960s and 1970s captured the nation's moral imagination. The labor movement was therefore tragically unprepared for the years of Reagan and Clinton: although technological change and a new era of global economics battered the unions, their real failure was one of ideas and political will. Throughout, Lichtenstein argues that labor's most important function, in theory if not always in practice, has been the vitalization of a democratic ethos, at work and in the larger society. To the extent that the unions fuse their purpose with that impulse, they can once again become central to the fate of the republic. State of the Union is an incisive history that tells the story of one of America's defining aspirations.

Accompanying catalogue of an exhibition at Gagosian Gallery, Paris. The catalogue includes a fully illustrated, comprehensive listing of the paintings, drawings, and prints in Lichtenstein’s Expressionism series. Among the styles and movements appropriated by Lichtenstein, his borrowing of Expressionist motifs—from Alexei Jawlensky’s close-up, pensive faces to Ernst Ludwig Kirchner’s jagged, feline figures—strikes the clearest irony. Including key paintings, sculpture, drawings, and woodcuts, this catalogue demonstrates the bold paradox that Lichtenstein posed by translating Expressionist subjects into the primary colors and pop flatness of his signature style.