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Schellmann Art will open ‘The Spirit of Pop Art’ in Munich on Tuesday, 15 September 2026, presenting Pop Art as an evolving artistic attitude rather than a closed historical movement. The opening will take place from 6–9 pm, with the exhibition bringing together artists associated with Pop Art’s formation and later figures who have expanded and reinterpreted its visual language.
The exhibition’s framing follows Pop Art’s passage from consumer culture and mass media to the imagery of today’s digital world. Its announced participants include Allen Jones, Richard Hamilton, Roy Lichtenstein, Keith Haring, Sarah Morris, Jeff Koons and Joan Jonas. Rather than treating the movement as a finished period, the presentation considers how artists have continued to use its immediacy, accessibility and visual codes in response to changing cultural and technological conditions.
Among the announced highlights are Roy Lichtenstein’s ‘Girl’ and ‘Spray Can’, both from 1964. The two lithographs are described as Lichtenstein’s first prints in the new Pop Art style, introducing the Ben-Day dots that would become his trademark. Created in 1963 for ‘1 Cent Life’, an artist’s book conceived by poet and artist Walasse Ting, they translate Lichtenstein’s visual language from painting into print. Bold colours, black outlines and mechanically reproduced dots define the works’ graphic vocabulary.
George Segal’s ‘Sleeping Woman’ from 1970 offers another kind of reduction. The sculpture narrows expression to a face and a hand, with the hand gently cradling an implied pillow. In the exhibition’s description, this economy evokes the quiet intimacy of a sleeping person and draws attention to the overlooked poetry of an everyday moment.
Andy Warhol’s ‘Flowers’, dated 1968/1980, is represented in a large-scale wall-carpet form. The familiar flower motif is shifted into a tactile, decorative medium, extending the image beyond the picture plane. The work belongs to Warhol’s ‘Flowers’ series, in which a photograph of hibiscus flowers was transformed through cropping and a square format into a bold, abstract composition.
