Roy Lichtenstein, ‘Time Magazine Cover: The Gun in America (Hand Signed)’, 1968, Alpha 137 Gallery

Extremely rare collectors' item when hand signed. TIME Magazine commissioned famed American Pop Artist to design their 1968 cover entitled Guns in America and the result was this arresting and dazzling image. The fact that Lichtenstein was a Pop Artist emphasizes how pervasive guns are with the masses in our culture, but the use of abstraction and bright colors rather than a literal photograph emphasis the mythic meaning guns have taken on in American society and culture. But most disturbing is that the gun is pointed at you, the viewer - the most dangerous angle - a prophetic image that would foreshadow the unparalleled level of deadly gun violence in the United States today - a problem that has grown exponentially in the past half century since Lichtenstein designed this mesmerizing cover, where the gun is at once depicted as a beautiful art object and also a deadly weapon whose target is -- you and me!
This work is boldly signed in black marker on the recto (front) and comes from a an important private collection of vintage Pop Art posters and signed prints. Unframed and in good vintage condition; the signature is bold and powerful; minor handling marks to the magazine edge. Very few of these were hand signed by the artist; true collectors' item.

Please check out our other listings and FOLLOW us on Artsy:

Signature: Boldly signed by Roy Lichtenstein in black marker on the recto

Publisher: Time, Inc.

From a prominent private collection of Pop Art prints and posters, many of which were acquired directly from MOMA

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