Richard Pettibone, a notable figure in the Pop, Post-Pop, and Appropriation Art movements, is known for his small-scale replicas of iconic works by artists like Marcel Duchamp, Roy Lichtenstein, and Andy Warhol. His miniature renditions, some as tiny as two by two inches, explore themes of reproduction, originality, and authorship—concepts that remain highly relevant in today’s art world, as they were when Pettibone began his work in the early 1960s. His art continues the inquiry initiated by Duchamp and later artists: What does it mean to appropriate an image that is already an appropriation?
Well before appropriation art gained prominence in the 1980s, Pettibone began creating replicas of works by Andy Warhol, Roy Lichtenstein, and Frank Stella, artists known for their focus on replication and seriality. Pettibone’s reproductions added a layer of irony to this by further replicating the already repetitive. Over his five-decade career, he produced one of the most intriguing bodies of work in contemporary American art. Unlike Sturtevant, another artist known for recreating famous works, Pettibone’s pieces were distinctly smaller than their originals, a deliberate choice that questioned what gives art its value. His decision to work on a smaller scale also coincided with the rapid expansion of the art market in the 1960s. A consideration of portability and Ease of Ownership may have influenced his decision to create on such a small scale in order to make transporting the artwork into the new collector's space simpler.
To understand why Pettibone chose to reproduce famous works in a smaller size, we must consider how size influences the perception of art. The physical dimensions of an artwork shape how we engage with it, often shifting our perceptions and forcing us to reconsider our relationship with space and object. Smaller works, in particular, demand close attention, drawing viewers in to appreciate their intimate details. They challenge the “bigger is better” mentality prevalent in contemporary art by suggesting that smaller pieces can have a profound emotional impact while making less of a physical one.
Tiny works can be powerful. In contrast to today’s emphasis on grand scale, some artists create small pieces to inspire contemplation and focus. These works disorient viewers, making them pause and think deeply about what they are seeing. Smaller works are ideal for spaces where viewers can spend time, engage thoughtfully, and reflect, such as private corners or intimate areas, rather than bustling hallways. Displaying a series of small, related works can tell a story, with unique framing or pedestals drawing attention to each piece.
While Pettibone’s work initially had a parody-like quality, he later expanded into sculptural reproductions, crafting miniature versions of Warhol’s Brillo boxes and Duchamp’s readymades. His first major exhibition took place in 1964 at the influential Ferus Gallery, where Warhol had debuted his Campbell’s soup can paintings two years earlier. This show left a lasting impression on Pettibone, who went on to create his own Campbell’s soup can paintings, meticulously replicating Warhol’s work—even stamping Warhol’s name onto them, with Pettibone’s own name stamped alongside it.
