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Home / This Art Featured the Use of Items and Objects of Popular Culture Such as Comic Strips

This Art Featured the Use of Items and Objects of Popular Culture Such as Comic Strips

Art movement

An image of a sexy woman smiles as a revolver aimed at her head goes "Pop!"

A plain-looking box with the Campbell's label sits on the ground.

Popular art is an art motility that emerged in the Uk and the Us during the mid- to tardily-1950s.[1] [2] The movement presented a challenge to traditions of fine fine art by including imagery from popular and mass culture, such equally advertising, comic books and mundane mass-produced objects. One of its aims is to use images of pop (as opposed to elitist) culture in art, emphasizing the banal or kitschy elements of whatever civilisation, most often through the utilise of irony.[three] It is also associated with the artists' employ of mechanical means of reproduction or rendering techniques. In popular art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material.[ii] [3]

Amongst the early on artists that shaped the pop art movement were Eduardo Paolozzi and Richard Hamilton in Britain, and Larry Rivers, Ray Johnson. Robert Rauschenberg and Jasper Johns amid others in the U.s.. Pop fine art is widely interpreted as a reaction to the then-dominant ideas of abstruse expressionism, as well as an expansion of those ideas.[4] Due to its utilization of found objects and images, it is similar to Dada. Pop fine art and minimalism are considered to be fine art movements that precede postmodern art, or are some of the earliest examples of postmodern art themselves.[v]

Pop art often takes imagery that is currently in use in advertising. Product labeling and logos effigy prominently in the imagery chosen by popular artists, seen in the labels of Campbell's Soup Cans, by Andy Warhol. Even the labeling on the outside of a shipping box containing food items for retail has been used equally subject matter in pop art, equally demonstrated by Warhol's Campbell's Love apple Juice Box, 1964 (pictured).

Origins [edit]

The origins of popular art in Northward America developed differently from Great United kingdom.[three] In the United States, pop fine art was a response by artists; information technology marked a return to hard-edged composition and representational fine art. They used impersonal, mundane reality, irony, and parody to "defuse" the personal symbolism and "painterly looseness" of abstruse expressionism.[4] [six] In the U.South., some artwork by Larry Rivers, Alex Katz and Man Ray anticipated pop art.[7]

By contrast, the origins of popular art in post-War United kingdom of great britain and northern ireland, while employing irony and parody, were more than academic. United kingdom focused on the dynamic and paradoxical imagery of American pop culture as powerful, manipulative symbolic devices that were affecting whole patterns of life, while simultaneously improving the prosperity of a club.[vi] Early pop art in Britain was a thing of ideas fueled past American popular civilisation when viewed from afar.[4] Similarly, pop fine art was both an extension and a repudiation of Dadaism.[4] While pop fine art and Dadaism explored some of the aforementioned subjects, pop art replaced the subversive, satirical, and anarchic impulses of the Dada movement with a detached affirmation of the artifacts of mass culture.[4] Among those artists in Europe seen as producing work leading up to popular art are: Pablo Picasso, Marcel Duchamp, and Kurt Schwitters.

Proto-pop [edit]

Although both British and American pop art began during the 1950s, Marcel Duchamp and others in Europe like Francis Picabia and Man Ray predate the motility; in improver at that place were some earlier American proto-pop origins which utilized "as constitute" cultural objects.[4] During the 1920s, American artists Patrick Henry Bruce, Gerald Murphy, Charles Demuth and Stuart Davis created paintings that independent popular civilization imagery (mundane objects culled from American commercial products and advertising blueprint), almost "prefiguring" the popular art motion.[8] [9]

United Kingdom: the Independent Group [edit]

A collage of many different styles shows a mostly naked man and woman in a house.

The Contained Grouping (IG), founded in London in 1952, is regarded as the forerunner to the popular art movement.[2] [10] They were a gathering of young painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to culture also equally traditional views of fine art. Their group discussions centered on pop civilization implications from elements such as mass advertising, movies, product pattern, comic strips, science fiction and technology. At the first Independent Group coming together in 1952, co-founding member, artist and sculptor Eduardo Paolozzi presented a lecture using a series of collages titled Bunk! that he had assembled during his time in Paris between 1947 and 1949.[two] [10] This material of "found objects" such as advertising, comic volume characters, magazine covers and diverse mass-produced graphics mostly represented American popular civilization. Ane of the collages in that presentation was Paolozzi's I was a Rich Homo's Plaything (1947), which includes the first utilise of the discussion "pop", appearing in a deject of fume emerging from a revolver.[two] [eleven] Post-obit Paolozzi's seminal presentation in 1952, the IG focused primarily on the imagery of American popular culture, peculiarly mass advertisement.[6]

According to the son of John McHale, the term "pop art" was first coined by his father in 1954 in conversation with Frank Cordell,[12] although other sources credit its origin to British critic Lawrence Alloway.[thirteen] [fourteen] (Both versions agree that the term was used in Independent Group discussions by mid-1955.)

"Popular fine art" as a moniker was and so used in discussions by IG members in the Second Session of the IG in 1955, and the specific term "pop fine art" beginning appeared in published print in the article "Only Today We Collect Ads" by IG members Alison and Peter Smithson in Ark magazine in 1956.[15] However, the term is often credited to British art critic/curator Lawrence Alloway for his 1958 essay titled The Arts and the Mass Media, even though the precise language he uses is "popular mass culture".[16] "Furthermore, what I meant by information technology and then is not what it means now. I used the term, and also 'Pop Civilization' to refer to the products of the mass media, not to works of fine art that depict upon popular culture. In any instance, old between the wintertime of 1954–55 and 1957 the phrase acquired currency in conversation..."[17] Nonetheless, Alloway was one of the leading critics to defend the inclusion of the imagery of mass culture in the fine arts. Alloway clarified these terms in 1966, at which time Pop Art had already transited from fine art schools and small galleries to a major forcefulness in the artworld. Only its success had not been in England. Practically simultaneously, and independently, New York City had become the hotbed for Pop Art.[17]

In London, the almanac Royal Society of British Artists (RBA) exhibition of young talent in 1960 get-go showed American popular influences. In January 1961, the virtually famous RBA-Young Contemporaries of all put David Hockney, the American R B Kitaj, New Zealander Billy Apple tree, Allen Jones, Derek Boshier, Joe Tilson, Patrick Caulfield, Peter Phillips, Pauline Boty and Peter Blake on the map; Apple designed the posters and invitations for both the 1961 and 1962 Immature Contemporaries exhibitions.[18] Hockney, Kitaj and Blake went on to win prizes at the John-Moores-Exhibition in Liverpool in the same year. Apple tree and Hockney traveled together to New York during the Royal Higher's 1961 summer break, which is when Apple tree first made contact with Andy Warhol – both later moved to the United States and Apple became involved with the New York pop art scene.[18]

United States [edit]

Although popular art began in the early 1950s, in America information technology was given its greatest impetus during the 1960s. The term "pop art" was officially introduced in Dec 1962; the occasion was a "Symposium on Pop Fine art" organized by the Museum of Modern Fine art.[19] Past this fourth dimension, American advertising had adopted many elements of modernistic art and functioned at a very sophisticated level. Consequently, American artists had to search deeper for dramatic styles that would distance fine art from the well-designed and clever commercial materials.[6] As the British viewed American pop civilisation imagery from a somewhat removed perspective, their views were often instilled with romantic, sentimental and humorous overtones. By contrast, American artists, bombarded every day with the diversity of mass-produced imagery, produced work that was more often than not more bold and aggressive.[10]

A woman's crying face is overwhelmed by waves as she thinks, "I don't care! I'd rather sink than call Brad for help!"

According to historian, curator and critic Henry Geldzahler, "Ray Johnson's collages Elvis Presley No. one and James Dean stand up as the Plymouth Rock of the Pop movement."[twenty] Author Lucy Lippard wrote that "The Elvis ... and Marilyn Monroe [collages] ... heralded Warholian Pop."[21] Johnson worked as a graphic designer, met Andy Warhol past 1956 and both designed several book covers for New Directions and other publishers. Johnson began mailing out whimsical flyers advertising his design services printed via offset lithography. He later became known every bit the male parent of mail fine art as the founder of his "New York Correspondence School," working small by stuffing clippings and drawings into envelopes rather than working larger similar his contemporaries.[22] A note near the cover epitome in January 1958's Art News pointed out that "[Jasper] Johns' first one-man prove ... places him with such better-known colleagues as Rauschenberg, Twombly, Kaprow and Ray Johnson".[23]

Indeed, two other of import artists in the institution of America's pop art vocabulary were the painters Jasper Johns and Robert Rauschenberg.[10] Rauschenberg, who like Ray Johnson attended Black Mountain Higher in North Carolina after Globe State of war II, was influenced by the before work of Kurt Schwitters and other Dada artists, and his belief that "painting relates to both art and life" challenged the dominant modernist perspective of his fourth dimension.[24] His use of discarded readymade objects (in his Combines) and pop culture imagery (in his silkscreen paintings) connected his works to topical events in everyday America.[10] [25] [26] The silkscreen paintings of 1962–64 combined expressive brushwork with silkscreened magazine clippings from Life, Newsweek, and National Geographic. Johns' paintings of flags, targets, numbers, and maps of the U.S. as well three-dimensional depictions of ale cans drew attention to questions of representation in art.[27] Johns' and Rauschenberg'south piece of work of the 1950s is frequently referred to as Neo-Dada, and is visually singled-out from the prototypical American popular art which exploded in the early 1960s.[28] [29]

Roy Lichtenstein is of equal importance to American pop art. His piece of work, and its use of parody, probably defines the basic premise of pop fine art improve than whatever other.[10] Selecting the old-fashioned comic strip as subject matter, Lichtenstein produces a hard-edged, precise limerick that documents while besides parodying in a soft manner. Lichtenstein used oil and Magna pigment in his all-time known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics' Secret Hearts #83. (Drowning Girl is part of the drove of the Museum of Modern Art.)[30] His work features thick outlines, assuming colors and Ben-Mean solar day dots to correspond certain colors, as if created by photographic reproduction. Lichtenstein said, "[abstract expressionists] put things down on the canvass and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting downwards lines pretty much is the aforementioned; mine just don't come out looking calligraphic, like Pollock'due south or Kline's."[31] Pop art merges popular and mass civilisation with fine fine art while injecting humour, irony, and recognizable imagery/content into the mix.

The paintings of Lichtenstein, like those of Andy Warhol, Tom Wesselmann and others, share a directly attachment to the commonplace image of American popular culture, simply also care for the subject in an impersonal manner clearly illustrating the idealization of mass production.[ten]

Andy Warhol is probably the near famous figure in popular art. In fact, fine art critic Arthur Danto once called Warhol "the nearest thing to a philosophical genius the history of art has produced".[19] Warhol attempted to take pop beyond an artistic style to a life mode, and his piece of work oft displays a lack of human affectation that dispenses with the irony and parody of many of his peers.[32] [33]

Early U.S. exhibitions [edit]

The Cheddar Cheese canvas from Andy Warhol's Campbell'south Soup Cans, 1962.

Claes Oldenburg, Jim Dine and Tom Wesselmann had their first shows in the Judson Gallery in 1959 and 1960 and later in 1960 through 1964 along with James Rosenquist, George Segal and others at the Green Gallery on 57th Street in Manhattan. In 1960, Martha Jackson showed installations and assemblages, New Media – New Forms featured Hans Arp, Kurt Schwitters, Jasper Johns, Claes Oldenburg, Robert Rauschenberg, Jim Dine and May Wilson. 1961 was the year of Martha Jackson'south leap show, Environments, Situations, Spaces.[34] [35] Andy Warhol held his first solo exhibition in Los Angeles in July 1962 at Irving Blum's Ferus Gallery, where he showed 32 paintings of Campell'due south soup cans, one for every flavor. Warhol sold the set of paintings to Blum for $1,000; in 1996, when the Museum of Modern Art acquired it, the set was valued at $15 million.[19]

Donald Cistron, the son of Max Cistron Jr., and an art collector and co-editor of advanced literary mag Nomad, wrote an essay in the magazine'south last effect, Nomad/New York. The essay was one of the start on what would become known equally popular art, though Factor did not utilise the term. The essay, "Iv Artists", focused on Roy Lichtenstein, James Rosenquist, Jim Dine, and Claes Oldenburg.[36]

In the 1960s, Oldenburg, who became associated with the pop art movement, created many happenings, which were performance art-related productions of that time. The name he gave to his ain productions was "Ray Gun Theater". The bandage of colleagues in his performances included: artists Lucas Samaras, Tom Wesselmann, Carolee Schneemann, Öyvind Fahlström and Richard Artschwager; dealer Annina Nosei; art critic Barbara Rose; and screenwriter Rudy Wurlitzer.[37] His first wife, Patty Mucha, who sewed many of his early on soft sculptures, was a abiding performer in his happenings. This brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a shop on Manhattan'southward Lower East Side to house The Store, a month-long installation he had first presented at the Martha Jackson Gallery in New York, stocked with sculptures roughly in the class of consumer goods.[37]

Opening in 1962, Willem de Kooning'southward New York art dealer, the Sidney Janis Gallery, organized the groundbreaking International Exhibition of the New Realists, a survey of new-to-the-scene American, French, Swiss, Italian New Realism, and British pop art. The fifty-four artists shown included Richard Lindner, Wayne Thiebaud, Roy Lichtenstein (and his painting Blam), Andy Warhol, Claes Oldenburg, James Rosenquist, Jim Dine, Robert Indiana, Tom Wesselmann, George Segal, Peter Phillips, Peter Blake (The Love Wall from 1961), Öyvind Fahlström, Yves Klein, Arman, Daniel Spoerri, Christo and Mimmo Rotella. The evidence was seen by Europeans Martial Raysse, Niki de Saint Phalle and Jean Tinguely in New York, who were stunned by the size and await of the American artwork. Likewise shown were Marisol, Mario Schifano, Enrico Baj and Öyvind Fahlström. Janis lost some of his abstract expressionist artists when Mark Rothko, Robert Motherwell, Adolph Gottlieb and Philip Guston quit the gallery, only gained Dine, Oldenburg, Segal and Wesselmann.[38] At an opening-nighttime soiree thrown by collector Burton Tremaine, Willem de Kooning appeared and was turned abroad by Tremaine, who ironically owned a number of de Kooning'south works. Rosenquist recalled: "at that moment I thought, something in the art globe has definitely inverse".[19] Turning away a respected abstract creative person proved that, as early as 1962, the popular art movement had begun to dominate fine art culture in New York.

A bit earlier, on the West Coast, Roy Lichtenstein, Jim Dine and Andy Warhol from New York City; Phillip Hefferton and Robert Dowd from Detroit; Edward Ruscha and Joe Goode from Oklahoma City; and Wayne Thiebaud from California were included in the New Painting of Mutual Objects show. This showtime popular art museum exhibition in America was curated by Walter Hopps at the Pasadena Art Museum.[39] Pop art was ready to change the art world. New York followed Pasadena in 1963, when the Guggenheim Museum exhibited Six Painters and the Object, curated by Lawrence Alloway. The artists were Jim Dine, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, James Rosenquist, and Andy Warhol.[40] Another pivotal early exhibition was The American Supermarket organised by the Bianchini Gallery in 1964. The show was presented as a typical small supermarket surroundings, except that everything in information technology—the produce, canned goods, meat, posters on the wall, etc.—was created past prominent pop artists of the time, including Apple, Warhol, Lichtenstein, Wesselmann, Oldenburg, and Johns. This projection was recreated in 2002 as office of the Tate Gallery's Shopping: A Century of Fine art and Consumer Civilisation.[41]

By 1962, popular artists started exhibiting in commercial galleries in New York and Los Angeles; for some, it was their first commercial ane-homo show. The Ferus Gallery presented Andy Warhol in Los Angeles (and Ed Ruscha in 1963). In New York, the Green Gallery showed Rosenquist, Segal, Oldenburg, and Wesselmann. The Stable Gallery showed R. Indiana and Warhol (in his first New York show). The Leo Castelli Gallery presented Rauschenberg, Johns, and Lichtenstein. Martha Jackson showed Jim Dine and Allen Stone showed Wayne Thiebaud. By 1966, after the Green Gallery and the Ferus Gallery closed, the Leo Castelli Gallery represented Rosenquist, Warhol, Rauschenberg, Johns, Lichtenstein and Ruscha. The Sidney Janis Gallery represented Oldenburg, Segal, Dine, Wesselmann and Marisol, while Allen Stone continued to represent Thiebaud, and Martha Jackson continued representing Robert Indiana.[42]

In 1968, the São Paulo 9 Exhibition – Surround United states of americaA.: 1957–1967 featured the "Who'south Who" of popular art. Considered as a summation of the classical phase of the American popular art menstruation, the exhibit was curated by William Seitz. The artists were Edward Hopper, James Gill, Robert Indiana, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, Andy Warhol and Tom Wesselmann.[43]

France [edit]

Nouveau réalisme refers to an artistic movement founded in 1960 by the fine art critic Pierre Restany[44] and the artist Yves Klein during the beginning collective exposition in the Apollinaire gallery in Milan. Pierre Restany wrote the original manifesto for the group, titled the "Constitutive Declaration of New Realism," in April 1960, proclaiming, "Nouveau Réalisme—new ways of perceiving the existent."[45] This joint declaration was signed on 27 October 1960, in Yves Klein's workshop, by nine people: Yves Klein, Arman, Martial Raysse, Pierre Restany, Daniel Spoerri, Jean Tinguely and the Ultra-Lettrists, Francois Dufrêne, Raymond Hains, Jacques de la Villeglé; in 1961 these were joined by César, Mimmo Rotella, and so Niki de Saint Phalle and Gérard Deschamps. The artist Christo showed with the grouping. It was dissolved in 1970.[45]

Contemporary of American Pop Art—often conceived as its transposition in France—new realism was along with Fluxus and other groups one of the numerous tendencies of the avant-garde in the 1960s. The group initially chose Nice, on the French Riviera, as its dwelling house base since Klein and Arman both originated there; new realism is thus ofttimes retrospectively considered by historians to be an early on representative of the École de Prissy [fr] movement.[46] In spite of the variety of their plastic language, they perceived a common basis for their work; this beingness a method of direct appropriation of reality, equivalent, in the terms used by Restany; to a "poetic recycling of urban, industrial and advertisement reality".[47]

Spain [edit]

In Spain, the study of popular art is associated with the "new figurative", which arose from the roots of the crisis of informalism. Eduardo Arroyo could be said to fit within the popular art trend, on account of his involvement in the environment, his critique of our media culture which incorporates icons of both mass media communication and the history of painting, and his contemptuousness for nearly all established artistic styles. However, the Spanish artist who could be considered almost authentically office of "pop" fine art is Alfredo Alcaín, considering of the use he makes of popular images and empty spaces in his compositions.

Too in the category of Spanish popular fine art is the "Relate Squad" (El Equipo Crónica), which existed in Valencia between 1964 and 1981, formed past the artists Manolo Valdés and Rafael Solbes. Their motion tin be characterized as "pop" because of its utilize of comics and publicity images and its simplification of images and photographic compositions. Filmmaker Pedro Almodóvar emerged from Madrid'south "La Movida" subculture of the 1970s making depression budget super 8 popular fine art movies, and he was later on chosen the Andy Warhol of Spain past the media at the time. In the book Almodovar on Almodovar, he is quoted equally maxim that the 1950s film "Funny Face up" was a central inspiration for his work. One pop trademark in Almodovar's films is that he always produces a fake commercial to be inserted into a scene.

New Zealand [edit]

In New Zealand, popular art has predominately flourished since the 1990s, and is often connected to Kiwiana. Kiwiana is a pop-centered, idealised representation of classically Kiwi icons, such as meat pies, kiwifruit, tractors, jandals, Iv Foursquare supermarkets; the inherent campness of this is frequently subverted to signify cultural messages.[48] Dick Frizzell is a famous New Zealand popular creative person, known for using older Kiwiana symbols in ways that parody mod culture. For example, Frizzell enjoys imitating the work of strange artists, giving their works a unique New Zealand view or influence. This is done to show New Zealand's historically subdued impact on the world; naive art is connected to Aotearoan pop art this style.[49]

This tin can exist as well washed in an abrasive and deadpan way, equally with Michel Tuffrey's famous work Pisupo Lua Afe (Corned Beefiness 2000). Of Samoan ancestry, Tuffery constructed the work, which represents a bull, out of processed food cans known as pisupo. It is a unique piece of work of western pop art because Tuffrey includes themes of neocolonialism and racism against non-western cultures (signified by the food cans the work is fabricated of, which represent economic dependence brought on Samoans past the west). The undeniable indigenous viewpoint makes it stand out against more common non-indigenous works of pop fine art.[50] [51]

One of New Zealand'south earliest and famous popular artists is Billy Apple, one of the few non-British members of the Royal Society of British Artists. Featured among the likes of David Hockney, American R.B. Kitaj and Peter Blake in the January 1961 RBA exhibition Young Contemporaries, Apple apace became an iconic international creative person of the 1960s. This was before he conceived his moniker of 'Billy Apple tree", and his work was displayed under his birth name of Barrie Bates. He sought to distinguish himself by appearance as well as name, so bleached his hair and eyebrows with Lady Clairol Instant Creme Whip. Afterward, Apple was associated with the 1970s Conceptual Art movement. [52]

Nihon [edit]

In Japan, pop art evolved from the nation's prominent avant-garde scene. The use of images of the modern earth, copied from magazines in the photomontage-style paintings produced by Harue Koga in the belatedly 1920s and early 1930s, foreshadowed elements of pop art.[53] The Japanese Gutai motion led to a 1958 Gutai exhibition at Martha Jackson's New York gallery that preceded by ii years her famous New Forms New Media show that put Pop Art on the map.[54] The work of Yayoi Kusama contributed to the evolution of pop fine art and influenced many other artists, including Andy Warhol.[55] [56] In the mid-1960s, graphic designer Tadanori Yokoo became one of the most successful pop artists and an international symbol for Japanese popular fine art. He is well known for his advertisements and creating artwork for popular culture icons such as commissions from The Beatles, Marilyn Monroe, and Elizabeth Taylor, among others.[57] Some other leading pop artist at that time was Keiichi Tanaami. Iconic characters from Japanese manga and anime have also become symbols for pop art, such every bit Speed Racer and Astro Male child. Japanese manga and anime also influenced afterwards popular artists such as Takashi Murakami and his superflat movement.

Italy [edit]

In Italy, by 1964, pop art was known and took unlike forms, such as the "Scuola di Piazza del Popolo" in Rome, with pop artists such as Mario Schifano, Franco Angeli, Giosetta Fioroni, Tano Festa, Claudio Cintoli, and some artworks past Piero Manzoni, Lucio Del Pezzo, Mimmo Rotella and Valerio Adami.

Italian pop art originated in 1950s culture – the works of the artists Enrico Baj and Mimmo Rotella to be precise, rightly considered the forerunners of this scene. In fact, information technology was around 1958–1959 that Baj and Rotella abased their previous careers (which might exist generically defined as belonging to a non-representational genre, despite being thoroughly mail service-Dadaist), to catapult themselves into a new world of images, and the reflections on them, which was springing upwardly all around them. Rotella'due south torn posters showed an ever more figurative gustation, often explicitly and deliberately referring to the great icons of the times. Baj's compositions were steeped in contemporary kitsch, which turned out to be a "gilded mine" of images and the stimulus for an entire generation of artists.

The novelty came from the new visual panorama, both inside "domestic walls" and out-of-doors. Cars, road signs, television, all the "new world", everything tin can vest to the earth of art, which itself is new. In this respect, Italian popular art takes the same ideological path equally that of the international scene. The only thing that changes is the iconography and, in some cases, the presence of a more critical attitude toward it. Fifty-fifty in this instance, the prototypes can exist traced back to the works of Rotella and Baj, both far from neutral in their relationship with social club. Yet this is not an exclusive element; in that location is a long line of artists, including Gianni Ruffi, Roberto Barni, Silvio Pasotti, Umberto Bignardi, and Claudio Cintoli, who have on reality as a toy, every bit a great pool of imagery from which to draw cloth with disenchantment and frivolity, questioning the traditional linguistic role models with a renewed spirit of "let me have fun" à la Aldo Palazzeschi.[58]

Kingdom of belgium [edit]

In Belgium, pop art was represented to some extent by Paul Van Hoeydonck, whose sculpture Fallen Astronaut was left on the Moon during ane of the Apollo missions, as well every bit by other notable pop artists. Internationally recognized artists such as Marcel Broodthaers ( 'vous êtes doll? "), Evelyne Axell and Panamarenko are indebted to the pop art movement; Broodthaers's great influence was George Segal. Another well-known artist, Roger Raveel, mounted a birdcage with a existent alive pigeon in ane of his paintings. Past the end of the 1960s and early 1970s, popular art references disappeared from the work of some of these artists when they started to adopt a more disquisitional mental attitude towards America considering of the Vietnam War's increasingly gruesome grapheme. Panamarenko, however, has retained the irony inherent in the popular art movement up to the nowadays twenty-four hours. Evelyne Axell from Namur was a prolific popular-creative person in the 1964–1972 menstruum. Axell was one of the first female pop artists, had been mentored past Magritte and her all-time-known painting is Ice Foam.[59]

Netherlands [edit]

While there was no formal popular art movement in the Netherlands, there were a grouping of artists that spent time in New York during the early years of pop fine art, and drew inspiration from the international pop art movement. Representatives of Dutch popular art include Daan van Golden, Gustave Asselbergs, Jacques Frenken, Jan Cremer, Wim T. Schippers, and Woody van Amen. They opposed the Dutch petit conservative mentality by creating humorous works with a serious undertone. Examples of this nature include Sex O'Clock, by Woody van Amen, and Crucifix / Target, by Jacques Frenken.[threescore]

Russia [edit]

Russia was a petty late to go function of the popular art movement, and some of the artwork that resembles popular fine art merely surfaced around the early on 1970s, when Russia was a communist land and bold artistic statements were closely monitored. Russia's own version of pop art was Soviet-themed and was referred to equally Sots Fine art. After 1991, the Communist Party lost its power, and with it came a freedom to express. Popular art in Russia took on some other course, epitomised by Dmitri Vrubel with his painting titled My God, Help Me to Survive This Deadly Love in 1990. It might be argued that the Soviet posters made in the 1950s to promote the wealth of the nation were in itself a grade of pop fine art.[61]

Notable artists [edit]

  • Baton Apple (1935-2021)
  • Evelyne Axell (1935–1972)
  • Sir Peter Blake (born 1932)
  • Derek Boshier (born 1937)
  • Pauline Boty (1938–1966)
  • Patrick Caulfield (1936–2005)
  • Allan D'Arcangelo (1930–1998)
  • Jim Dine (born 1935)
  • Burhan Dogancay (1929–2013)
  • Rosalyn Drexler (born 1926)
  • Robert Dowd (1936–1996)
  • Ken Elias (born 1944)
  • Erró (born 1932)
  • Marisol Escobar (1930–2016)
  • James Gill (built-in 1934)
  • Dorothy Grebenak (1913-1990)
  • Red Grooms (built-in 1937)
  • Richard Hamilton (1922–2011)
  • Keith Haring (1958–1990)
  • Jann Haworth (born 1942)
  • David Hockney (born 1937)
  • Dorothy Iannone (born 1933)
  • Robert Indiana (1928–2018)
  • Jasper Johns (born 1930)
  • Ray Johnson (1927-1995)
  • Allen Jones (born 1937)
  • Alex Katz (built-in 1927)
  • Corita Kent (1918–1986)
  • Konrad Klapheck (born 1935)
  • Kiki Kogelnik (1935–1997)
  • Nicholas Krushenick (1929–1999)
  • Yayoi Kusama (born 1929)
  • Gerald Laing (1936–2011)
  • Roy Lichtenstein (1923–1997)
  • Richard Lindner (1901–1978)
  • John McHale (1922–1978)
  • Peter Max (born 1937)
  • Marta Minujin (born 1943)
  • Claes Oldenburg (born 1929)
  • Julian Opie (born 1958)
  • Eduardo Paolozzi (1924–2005)
  • Peter Phillips (born 1939)
  • Sigmar Polke (1941–2010)
  • Hariton Pushwagner (1940–2018)
  • Mel Ramos (1935–2018)
  • Robert Rauschenberg (1925–2008)
  • Larry Rivers (1923–2002)
  • James Rizzi (1950–2011)
  • James Rosenquist (1933–2017)
  • Niki de Saint Phalle (1930–2002)
  • Peter Saul (born 1934)
  • George Segal (1924–2000)
  • Colin Cocky (born 1941)
  • Marjorie Strider (1931–2014)
  • Elaine Sturtevant (1924-2014)
  • Wayne Thiebaud (born 1920)
  • Joe Tilson (born 1928)
  • Andy Warhol (1928–1987)
  • Idelle Weber (1932–2020)
  • John Wesley (born 1928)
  • Tom Wesselmann (1931–2004)

Run across also [edit]

  • Art popular
  • Chicago Imagists
  • Ferus Gallery
  • Sidney Janis
  • Leo Castelli
  • Green Gallery
  • New Painting of Common Objects
  • Figuration Libre (art movement)
  • Lowbrow (art motion)
  • Nouveau réalisme
  • Neo-popular
  • Op art
  • Plop art
  • Retro fine art
  • Superflat
  • SoFlo Superflat

References [edit]

  1. ^ Pop Fine art: A Brief History, MoMA Learning
  2. ^ a b c d e Livingstone, M., Popular Art: A Standing History, New York: Harry N. Abrams, Inc., 1990
  3. ^ a b c de la Croix, H.; Tansey, R., Gardner's Art Through the Ages, New York: Harcourt Brace Jovanovich, Inc., 1980.
  4. ^ a b c d due east f Piper, David. The Illustrated History of Art, ISBN 0-7537-0179-0, p486-487.
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  8. ^ "Modern Love". The New Yorker. 2007-08-06. Retrieved 2015-12-30 .
  9. ^ Wayne Craven, American Art: History and . p.464.
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  11. ^ "'I was a Rich Man'south Plaything', Sir Eduardo Paolozzi". Tate. 2015-12-10. Retrieved 2015-12-30 .
  12. ^ "John McHale". Warholstars.org . Retrieved 2015-12-thirty .
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  15. ^ Alison and Peter Smithson, "But Today We Collect Ads", reprinted on page 54 in Modern Dreams The Rise and Fall of Pop, published by ICA and MIT, ISBN 0-262-73081-2
  16. ^ Lawrence Alloway, "The Arts and the Mass Media," Architectural Pattern & Construction, February 1958.
  17. ^ a b Klaus Honnef, Popular Art, Taschen, 2004, p. six, ISBN 3822822183
  18. ^ a b Barton, Christina (2010). Billy Apple: British and American Works 1960–69. London: The Mayor Gallery. pp. xi–21. ISBN978-0-9558367-3-2.
  19. ^ a b c d Scherman, Tony. "When Pop Turned the Art World Upside Down." American Heritage 52.1 (February 2001), 68.
  20. ^ Geldzahler, Henry in Popular Art: 1955–1970 catalogue, Art Gallery of New South Wales, Sydney, 1985
  21. ^ Lippard, Lucy in Ray Johnson: Correspondences catalogue, Wexner Heart/Whitney Museum, 2000
  22. ^ Bloch, Mark. "An Illustrated Introduction to Ray Johnson 1927-1995", 1995
  23. ^ Writer unknown. "(Tabular array of contents, Untitled note nigh cover.)", Fine art News, vol. 56, no. nine, Jan 1958
  24. ^ Rauschenberg, Robert; Miller, Dorothy C. (1959). Sixteen Americans [exhibition]. New York: Museum of Modern Art. p. 58. ISBN 978-0029156704. OCLC 748990996. "Painting relates to both art and life. Neither tin can exist made. (I endeavour to act in that gap between the ii.)"
  25. ^ "Art: Popular Art – Cult of the Commonplace". Time. 1963-05-03. ISSN 0040-781X. Retrieved 2020-07-07 . Robert Rauschenberg, 37, remembers an fine art teacher who 'taught me to think, "Why not?"' Since Rauschenberg is considered to be a pioneer in pop art, this is probably where the movement went off on its particular tangent. Why non make fine art out of old newspapers, $.25 of article of clothing, Coke bottles, books, skates, clocks?
  26. ^ Sandler, Irving H. The New York School: The Painters and Sculptors of the Fifties, New York: Harper & Row, 1978. ISBN 0-06-438505-one pp. 174–195, Rauschenberg and Johns; pp. 103–111, Rivers and the gestural realists.
  27. ^ Rosenthal, Nan (October 2004). "Jasper Johns (born 1930) In Heilbrunn Timeline of Fine art History". The Metropolitan Museum of Art . Retrieved May ii, 2021.
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  36. ^ Diggory (2013).
  37. ^ a b Kristine McKenna (July 2, 1995), When Bigger Is Improve: Claes Oldenburg has spent the past 35 years bravado upwards and redefining everyday objects, all in the proper name of getting art off its pedestal Los Angeles Times.
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  43. ^ Jim Edwards, William Emboden, David McCarthy: Uncommonplaces: The Art of James Francis Gill, 2005, p.54
  44. ^ Karl Ruhrberg, Ingo F. Walther, Art of the 20th Century, Taschen, 2000, p. 518. ISBN iii-8228-5907-9
  45. ^ a b Kerstin Stremmel, Realism, Taschen, 2004, p. thirteen. ISBN 3-8228-2942-0
  46. ^ Rosemary M. O'Neill, Fine art and Visual Culture on the French Riviera, 1956–1971: The Ecole de Prissy, Ashgate, 2012, p. 93.
  47. ^ 60/90. Trente ans de Nouveau Réalisme, La Différence, 1990, p. 76
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  61. ^ [2] Archived June 7, 2013, at the Wayback Machine

Farther reading [edit]

  • Bloch, Marking. The Brooklyn Rail. "Gutai: 1953 –1959", June 2018.
  • Diggory, Terence (2013) Encyclopedia of the New York School Poets (Facts on File Library of American Literature). ISBN 978-i-4381-4066-vii
  • Francis, Marking and Foster, Hal (2010) Popular. London and New York: Phaidon.
  • Haskell, Barbara (1984) BLAM! The Explosion of Pop, Minimalism and Performance 1958–1964. New York: W.W. Norton & Company, Inc. in association with the Whitney Museum of American Fine art.
  • Lifshitz, Mikhail, The Crisis of Ugliness: From Cubism to Pop-Art. Translated and with an Introduction past David Riff. Leiden: BRILL, 2018 (originally published in Russian past Iskusstvo, 1968).
  • Lippard, Lucy R. (1966) Pop Fine art, with contributions by Lawrence Alloway, Nancy Marmer, Nicolas Calas, Frederick A. Praeger, New York.
  • Selz, Peter (moderator); Ashton, Dore; Geldzahler, Henry; Kramer, Hilton; Kunitz, Stanley and Steinberg, Leo (April 1963) "A symposium on Popular Art" Arts Magazine, pp. 36–45. Transcript of symposium held at the Museum of Mod Art on December 13, 1962.

External links [edit]

  • Popular Fine art: A Brief History, MoMA Learning
  • Pop Art in Modern and Gimmicky Art, The Met
  • Brooklyn Museum Exhibitions: Seductive Subversion: Women Popular Artists, 1958–1968, Oct. 2010-January. 2011
  • Brooklyn Museum, Wiki/Pop (Women Pop Artists)
  • Tate Glossary term for Pop art

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Source: https://en.wikipedia.org/wiki/Pop_art