Lichtenstein in London. Roy Lichtenstein’s retrospective exhibition at the Tate Gallery 6 January – 4 February 1968 - ACE016.2

VO reads picture caption: "We rose up slowly … as if we didn’t belong to the outside world any longer … like swimmers in a shadowy dream … who didn’t need to breathe …". The Tate Gallery; people being asked (over) why they are there and how they found out about the exhibition, etc. Visitors looking at the exhibits. VOs giving their opinions of the exhibition as a whole, of Lichtenstein’s work generally, and of individual paintings. Lichtenstein’s VO on his "clichéd fantasy ideal of woman" and being interested in "re-developing these classical ways" from the cartoon world. Painting themselves are shown mostly in fragments. Hopeless (1963). Blonde Waiting (1964). No Thank You! and others, with Lichtenstein’s VO on the dots. Similar paintings including The Engagement Ring (1961), Drowning Girl (1963), We Rose up Slowly (1964). Visitors. Girl in Mirror (1964). Lichtenstein VO on his growing interest in glossy surfaces, and the possibilities of enamelling. Cloud and Sea (1964). Visitors. Lichtenstein on "the problem of putting half-tone dots on a three-dimensional surface". Mustard on White (1963) in half-tone. Version of Set of Dinnerware Objects… (1966), Kitchen Stove (1961-1962), and others. Lichtenstein on advertising images. Step-on Can with Leg (1961). Curtains (1962). Large Spool (1963). Golf Ball (1962). Compositions II (1964). Visitors. More paintings with Lichtenstein’s VO saying that he’s interested in "what would normally be considered the worst aspects of commercial art", and suggesting that a restricted style "adds a kind of tension" to paintings.