{"product_id":"surveillance-robert-lohman-c-1972","title":"Surveillance - Robert Lohman, c. 1972","description":"\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"rte-table-wrapper\"\u003e\n\u003ctable width=\"100%\" style=\"width: 98.087%;\" height=\"1543\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong data-start=\"0\" data-end=\"53\"\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSurveillance\u003c\/strong\u003e\u003cbr data-start=\"53\" data-end=\"56\"\u003e\u003cem data-start=\"56\" data-end=\"88\"\u003eRobert Lohman, c. 1972\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\" dir=\"auto\" data-turn-id=\"b4b4e1d1-7f85-478b-ad26-490320b8c976\" data-testid=\"conversation-turn-6\" data-scroll-anchor=\"true\" data-turn=\"assistant\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\" tabindex=\"-1\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"ba5e0f6d-53ed-43ac-8dd3-bccf9fc79f84\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv data-message-author-role=\"assistant\" data-message-id=\"7dbb9ce6-002d-4a76-84f7-6af88d3e62f9\" dir=\"auto\" class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" data-message-model-slug=\"gpt-5-2\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cp data-start=\"1868\" data-end=\"2274\" class=\"PDq2pG_selectionAnchorContainer\"\u003eIn \u003cstrong data-start=\"1871\" data-end=\"1887\"\u003eSurveillance\u003c\/strong\u003e, Robert Lohman combines figurative abstraction, caricature, and surrealist distortion to visualize the psychological consequences of living under observation. The work depicts surveillance literally through a dotted line that connects a computer monitor\/TV to a representative side-view frame. Behind the frame, arrows move towards the figure, signaling a watchful eye behind the screen pushing messages into the figure's ear. \u003c\/p\u003e\n\u003cp data-start=\"2276\" data-end=\"2730\"\u003eThe face is constructed from Picasso-esque lines and dislocated features. The eyes do not convey confidence or control. They appear nervous, compulsive, and incapable of rest. Lohman transforms sight from a natural human faculty into a burden. The figure watches because it suspects danger, yet it also appears conscious that another unseen presence may be watching in return. This produces an unresolved relationship between observer and observed. The central figure might represent an agent of the state collecting information, a citizen attempting to detect hidden scrutiny, or a merging of the two. Lohman presents surveillance as a self-perpetuating system in which everyone becomes suspicious and no one remains psychologically untouched.\u003c\/p\u003e\n\u003cp data-start=\"3302\" data-end=\"3714\"\u003eThe loosely outlined hand raised beside the head contributes to this uncertainty. Its exaggerated fingers reach towards the screen as an active participant. Elsewhere, the body dissolves into geometric and mechanical forms. The human figure does not merely operate a surveillance apparatus; it appears to be transforming into one. The distinction between person and system becomes increasingly blurred.\u003c\/p\u003e\n\u003cp data-start=\"3716\" data-end=\"4152\"\u003eOn the left, a triangular field penetrates the composition like a cone of vision, radar beam, or directed transmission. Dots, arrows, and dark marks move across it, suggesting signals, coded information, intercepted messages, or targets being tracked. These marks remain deliberately ambiguous. Lohman provides the visual structure of communication without allowing the viewer to understand what is being transmitted or who controls it.\u003c\/p\u003e\n\u003cp data-start=\"4154\" data-end=\"4604\"\u003eA dotted line continues across the figure and toward the vessel-like form at the lower right. This creates the impression that information is passing through a larger network. The figure may be receiving, processing, or redirecting that information, but the drawing never reveals the purpose of the system. That lack of clarity is central to the work’s tension. \u003cstrong\u003eSurveillance \u003c\/strong\u003ebecomes most psychologically powerful when its mechanisms remain concealed. The limited black, white, and gray palette reinforces this atmosphere. Without color, the drawing resembles an Orwellian pictogram. The exposed paper and thin washes lend the image an unfinished, provisional quality, as though the viewer has discovered only one fragment of a larger investigation.\u003c\/p\u003e\n\u003cp data-start=\"5016\" data-end=\"5592\"\u003eThis monochromatic language connects \u003cstrong data-start=\"5053\" data-end=\"5069\"\u003eSurveillance\u003c\/strong\u003e to Lohman’s broader black-and-white series, in which he explored the psychological unease created by state power, political secrecy, and the possibility of citizens being monitored without their knowledge. Rather than concentrating exclusively on the physical mechanisms of surveillance, the series considers what such observation does to the mind. Fear becomes internalized. Individuals begin regulating their own conduct, questioning their surroundings, and anticipating scrutiny even when no watcher is visibly present.\u003c\/p\u003e\n\u003cp data-start=\"5594\" data-end=\"6129\"\u003eThe work’s 1972 date gives this theme more nuanced historical weight. The United States was already divided by the Vietnam War, political protest, and growing distrust of official government narratives. The publication of the Pentagon Papers in 1971 had exposed a profound gap between public statements and internal decision-making surrounding the war. Revelations concerning domestic intelligence operations had also intensified concerns that government agencies were monitoring political organizations, activists, and private citizens.\u003c\/p\u003e\n\u003cp data-start=\"6131\" data-end=\"6630\"\u003eIn June 1972, the Watergate break-in brought political surveillance directly into the unfolding crisis of the Nixon administration. The attempted installation and maintenance of listening equipment inside Democratic National Committee offices transformed electronic monitoring from an abstract fear into evidence of political abuse. Even before the full scandal emerged, the event contributed to an atmosphere in which secrecy, espionage, and institutional deception increasingly shaped public life.\u003c\/p\u003e\n\u003cp data-start=\"6632\" data-end=\"7039\"\u003eWhether Lohman intended \u003cstrong data-start=\"6656\" data-end=\"6672\"\u003eSurveillance\u003c\/strong\u003e to refer to one particular revelation is less important than the way the work embodies this broader cultural mood. It is not an editorial illustration tied to a single headline. Lohman avoids depicting Nixon, the FBI, the White House, or any identifiable agency. By removing those specific references, he gives the drawing a more enduring psychological significance.\u003c\/p\u003e\n\u003cp data-start=\"7041\" data-end=\"7462\"\u003eThe fragmented construction of the face recalls Cubism, particularly its ability to present multiple viewpoints simultaneously. Lohman, however, uses that device for a different purpose. The shifting angles are not primarily an investigation of visual perception or spatial structure. They describe a consciousness attempting to monitor several directions at once. The fractured face becomes a portrait of hypervigilance.\u003c\/p\u003e\n\u003cp data-start=\"7464\" data-end=\"7853\"\u003eThe distortion also connects the drawing with Lohman’s broader treatment of the human figure. Across his paintings, drawings, ceramics, and sculptures, Lohman frequently resisted stable, idealized anatomy. Bodies are elongated, compressed, divided, or merged with symbolic forms. These transformations allow the figure to carry emotional and social meaning beyond conventional portraiture.\u003c\/p\u003e\n\u003cp data-start=\"8231\" data-end=\"8657\"\u003eLohman’s use of caricature prevents the work from becoming entirely grim, but the humor is uneasy. The exaggerated eyes, swollen features, and twisting contours possess a comic grotesqueness, yet the laughter they might provoke quickly becomes uncomfortable. The figure is absurd because the world it inhabits is absurd: everyone watches, everyone suspects, and no one knows where the collected information ultimately travels.\u003c\/p\u003e\n\u003cp data-start=\"8659\" data-end=\"9083\"\u003eThis balance between satire and anxiety places \u003cstrong data-start=\"8706\" data-end=\"8722\"\u003eSurveillance\u003c\/strong\u003e among Lohman’s more politically resonant works. It demonstrates how his expressive distortion could address not only individual psychology but the pressures exerted upon the individual by larger social institutions. The drawing is therefore consistent with his broader catalog while also revealing a sharper engagement with the political climate of its moment.\u003c\/p\u003e\n\u003cp data-start=\"9085\" data-end=\"9516\" data-is-last-node=\"\" data-is-only-node=\"\" class=\"\"\u003e\u003cstrong data-start=\"9097\" data-end=\"9113\"\u003eSurveillance\u003c\/strong\u003e is not simply an image of the government watching its citizens. It examines what happens after the possibility of observation becomes embedded in the imagination. The watched individual begins to anticipate the watcher, while the watcher becomes consumed by the obligation to observe. Lohman turns that cycle into anatomy, creating a figure whose body and consciousness have been reshaped by suspicion.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n-\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eJonathan Flike\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"8106\" data-end=\"8414\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong data-start=\"8106\" data-end=\"8123\"\u003eRobert Lohman\u003c\/strong\u003e\u003c\/span\u003e was an American artist associated with Indiana modernism, recognized as both a sculptor and painter. The National Gallery of Art identifies Lohman as an American artist, 1919–2001, and holds examples of his 1966 bronze medallic work created with the Medallic Art Company in its collection.\u003c\/p\u003e\n\u003cp data-start=\"8416\" data-end=\"8993\"\u003eLohman worked across a wide range of media, including watercolor, oil, wood, plaster, ceramics, and bronze. Biographical sources identify him as a portrait and figure sculptor as well as a painter, with formal study at the John Herron Art Institute, Cranbrook, and Yale. He assisted the noted sculptor Carl Milles at Cranbrook Academy and later served as Director of Fine Arts at Cranbrook from 1947 to 1949. Lohman also taught at Washington University in St. Louis and the Indianapolis Art League, where he remained connected to art education and regional modernist practice.\u003c\/p\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003eHis work often moves between figuration and abstraction, reflecting the eye of a sculptor and the freedom of a modernist draftsman.\u003c\/p\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eUnderrepresented Artist Information\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"8995\" data-end=\"9475\"\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eRobert Lohman\u003c\/strong\u003e\u003c\/span\u003e may also be understood within the broader history of underrepresented LGBT artists in the American Midwest. Documentary records connect him closely with Jerrol T. Davis of Indianapolis, who served as Secretary-Treasurer of Robert Lohman, Inc.; Davis’s obituary confirms his role in Lohman’s company, and later memorial sources identify him as Lohman’s spouse. While historical records from this period often leave same-sex relationships only partially documented, the available evidence points to a significant personal and professional partnership that adds important context to Lohman’s life and legacy.\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eCustom Shipping Notice\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eInformation\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStyle: Modern\u003c\/li\u003e\n\u003cli\u003eSubject: Figure\u003c\/li\u003e\n\u003cli\u003eYear: 1972\u003c\/li\u003e\n\u003cli\u003eSize: 9.5 x 7.75 in (24.13 x 19.68 cm)\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Watercolor\u003c\/li\u003e\n\u003cli\u003eMaterial: Paper\u003c\/li\u003e\n\u003cli\u003eSignature: Signed\u003c\/li\u003e\n\u003cli\u003eCirculation status: One of a kind\u003c\/li\u003e\n\u003cli\u003eFrame Status: Unframed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong data-end=\"119\" data-start=\"78\"\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr data-end=\"122\" data-start=\"119\"\u003e\u003c\/strong\u003ePlease note that this item is vintage and shows wear consistent with age, use, and history. Signs of wear may include, but are not limited to, minor surface marks, patina, fading, or imperfections typical of older items. All items are sold\u003cstrong\u003e as-is\u003c\/strong\u003e, which is standard with vintage and pre-owned goods and cannot be returned on the basis of condition. Measurements are approximate. We do our best to describe items accurately; however, condition assessments are subjective. If you would like additional details, images, or clarification before purchasing, please contact us through the contact form.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eSpecial Condition Notes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eProvenance*\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1972 - Unknown\u003c\/strong\u003e: Robert Lohman\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUnknown - 2026\u003c\/strong\u003e: Private Collector\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026\u003c\/strong\u003e: Ripley's Auctions\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026 - Present\u003c\/strong\u003e: Visard Gallery\u003c\/p\u003e\n\u003ch6\u003e\u003cem\u003e*Provenance and attribution details are based on our best research and are offered in good faith but are not guaranteed. Please contact us through the contact form with any questions prior to purchase.\u003c\/em\u003e\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAcademic Resources\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/7v6b697fdgsoyq7fv8z8r\/AOoojaiTQy2gQ6d3HFlYp5Y?rlkey=b5y5kuh8vrwt3n9h2bg93ilkj\u0026amp;st=dhusmlzy\u0026amp;dl=0\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eRobert Lohman Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca style=\"color: rgb(80, 197, 215);\" href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.metmuseum.org\/art\/collection\/search?q=Robert+Lohman\u0026amp;searchField=ArtistCulture\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eRobert Lohman Collection at the Met\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.nga.gov\/artworks\/177610-nature-obverse\" rel=\"noopener\" target=\"_blank\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eRobert Lohman Collection at the National Gallery of Art\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46701134741665,"sku":"ART189","price":375.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/ART189_RobertLohman_Surveillance_Full.png?v=1784166198","url":"https:\/\/visardgallery.com\/products\/surveillance-robert-lohman-c-1972","provider":"Visard Gallery","version":"1.0","type":"link"}