Roy Lichtenstein, ‘CLINTON GORE  THE OVAL OFFICE (Limited Edition Campaign Button)’, 1992, Alpha 137 Gallery

Highly collectible vintage piece if you can snag one!! Most of these buttons were confiscated by the Roy Lichtenstein foundation which has them somewhere in deep storage - so it's great to find one, like this vintage treasure, on the market! "The Oval Office" political button, signed in the plate, features the same image used in the limited edition screenprint and posters Lichtenstein created to raise funds for the 1992 Clinton-Gore campaign. It was executed for the Artists for Freedom project in order to benefit a number of organizations. These organizations included the Democratic National Committee, the Democratic Senatorial Campaign Committee, the Democratic Congressional Campaign Committee, Citizen Vote, as well as selected candidates. Other participating artists in the cause included art legends such as Joan Mitchell, Cindy Sherman, and Jim Dine. For this pin, as well as the Oval Office print and painting, Lichtenstein conducted research of the interior of the Oval Office, incorporating realistic details such as the paintings on the walls, but rendering the room through the comic-book lens that the legendary Pop artist is now famous for. While Lichtenstein’s works generally comment on art historical trends, this pin allows for a deeper understanding of his personal concerns and how he incorporated his talent and his career in his politically-oriented endeavors. This campaign button was produced in a limited edition; However, most of them confiscated and remain in the archives of the Roy Lichtenstein Foundation. The remaining pins, like this one, are considered very rare and highly collectible. Own a piece of political and art history!

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Signature: Plate signed Roy Lichtenstein; in image along the front edge of the button.

About Roy Lichtenstein

When American Pop artist Roy Lichtenstein painted Look Mickey in 1961, it set the tone for his career. This primary-color portrait of the cartoon mouse introduced Lichtenstein’s detached and deadpan style at a time when introspective Abstract Expressionism reigned. Mining material from advertisements, comics, and the everyday, Lichtenstein brought what was then a great taboo—commercial art—into the gallery. He stressed the artificiality of his images by painting them as though they’d come from a commercial press, with the flat, single-color Ben-Day dots of the newspaper meticulously rendered by hand using paint and stencils. Later in his career, Lichtenstein extended his source material to art history, including the work of Claude Monet and Pablo Picasso, and experimented with three-dimensional works. Lichtenstein’s use of appropriated imagery has influenced artists such as Richard Prince, Jeff Koons, and Raymond Pettibon.

American, 1923-1997, New York, New York, based in New York and Southampton, New York