Total Nerd 51 Nerdtastic Pieces of Pop Culture Art

Art movement

Pop art is an fine art movement that emerged in the United Kingdom and the The states during the mid- to late-1950s.^{[1] [ii]} The movement presented a challenge to traditions of fine art by including imagery from pop and mass culture, such as advertising, comic books and mundane mass-produced objects. I of its aims is to use images of popular (as opposed to elitist) culture in art, emphasizing the banal or kitschy elements of whatsoever culture, almost often through the employ of irony.^[three] Information technology is also associated with the artists' use of mechanical ways of reproduction or rendering techniques. In pop art, material is sometimes visually removed from its known context, isolated, or combined with unrelated textile.^{[ii] [iii]}

Amongst the early artists that shaped the pop art move were Eduardo Paolozzi and Richard Hamilton in Britain, and Larry Rivers, Ray Johnson. Robert Rauschenberg and Jasper Johns among others in the United States. Popular art is widely interpreted as a reaction to the then-dominant ideas of abstruse expressionism, likewise as an expansion of those ideas.^[four] Due to its utilization of establish objects and images, it is similar to Dada. Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of postmodern art themselves.^[5]

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

Origins [edit]

The origins of pop art in North America developed differently from Great U.k..^[3] In the United states, pop art was a response by artists; it marked a render to hard-edged composition and representational 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.S., some artwork by Larry Rivers, Alex Katz and Man Ray anticipated popular art.^[7]

Past contrast, the origins of popular fine art in post-War Britain, while employing irony and parody, were more academic. United kingdom focused on the dynamic and paradoxical imagery of American pop culture every bit powerful, manipulative symbolic devices that were affecting whole patterns of life, while simultaneously improving the prosperity of a society.^[six] Early pop art in Britain was a affair of ideas fueled by American pop civilization when viewed from afar.^[iv] Similarly, popular art was both an extension and a repudiation of Dadaism.^[four] While pop art and Dadaism explored some of the same subjects, pop art replaced the destructive, satirical, and anarchic impulses of the Dada movement with a discrete affidavit of the artifacts of mass culture.^[4] Amid those artists in Europe seen as producing work leading upwardly to pop art are: Pablo Picasso, Marcel Duchamp, and Kurt Schwitters.

Proto-popular [edit]

Although both British and American pop art began during the 1950s, Marcel Duchamp and others in Europe similar Francis Picabia and Homo Ray predate the movement; in improver there were some earlier American proto-pop origins which utilized "as plant" cultural objects.^[4] During the 1920s, American artists Patrick Henry Bruce, Gerald Murphy, Charles Demuth and Stuart Davis created paintings that independent pop civilization imagery (mundane objects culled from American commercial products and advertising blueprint), well-nigh "prefiguring" the pop art motion.^{[eight] [9]}

United Kingdom: the Independent Group [edit]

The Independent Group (IG), founded in London in 1952, is regarded as the forerunner to the popular fine art movement.^{[2] [10]} They were a gathering of young painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to civilisation too as traditional views of fine fine art. Their group discussions centered on pop civilisation implications from elements such as mass advert, movies, product blueprint, comic strips, science fiction and technology. At the first Contained Group coming together in 1952, co-founding member, artist and sculptor Eduardo Paolozzi presented a lecture using a serial of collages titled Bunk! that he had assembled during his time in Paris between 1947 and 1949.^{[2] [x]} This material of "found objects" such as advertising, comic book characters, mag covers and various mass-produced graphics mostly represented American popular culture. One of the collages in that presentation was Paolozzi's I was a Rich Man's Plaything (1947), which includes the first employ of the discussion "popular", actualization in a cloud of smoke emerging from a revolver.^{[2] [11]} Following Paolozzi'due south seminal presentation in 1952, the IG focused primarily on the imagery of American popular culture, particularly mass advertizement.^[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.^{[xiii] [xiv]} (Both versions hold that the term was used in Independent Group discussions by mid-1955.)

"Pop art" as a moniker was and then used in discussions by IG members in the Second Session of the IG in 1955, and the specific term "popular fine art" get-go appeared in published impress in the article "But 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 past it and then is not what it ways at present. I used the term, and also 'Pop Culture' to refer to the products of the mass media, not to works of fine art that depict upon pop culture. In any case, sometime between the winter of 1954–55 and 1957 the phrase acquired currency in chat..."^[17] All the same, Alloway was one of the leading critics to defend the inclusion of the imagery of mass civilization in the fine arts. Alloway antiseptic these terms in 1966, at which time Pop Art had already transited from art schools and small galleries to a major force in the artworld. Merely its success had not been in England. Practically simultaneously, and independently, New York City had get the hotbed for Pop Art.^[17]

In London, the annual Royal Gild of British Artists (RBA) exhibition of immature talent in 1960 first showed American pop influences. In Jan 1961, the most famous RBA-Young Contemporaries of all put David Hockney, the American R B Kitaj, New Zealander Baton 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 Young Contemporaries exhibitions.^[18] Hockney, Kitaj and Blake went on to win prizes at the John-Moores-Exhibition in Liverpool in the same year. Apple and Hockney traveled together to New York during the Majestic College'due south 1961 summer break, which is when Apple start made contact with Andy Warhol – both later moved to the Usa and Apple became involved with the New York popular art scene.^[18]

United States [edit]

Although pop art began in the early 1950s, in America it was given its greatest impetus during the 1960s. The term "popular art" was officially introduced in December 1962; the occasion was a "Symposium on Popular Fine art" organized past the Museum of Modern Art.^[xix] By this time, American advertising had adopted many elements of modern art and functioned at a very sophisticated level. Consequently, American artists had to search deeper for dramatic styles that would altitude art from the well-designed and clever commercial materials.^[6] As the British viewed American popular culture imagery from a somewhat removed perspective, their views were ofttimes instilled with romantic, sentimental and humorous overtones. By contrast, American artists, bombarded every day with the diverseness of mass-produced imagery, produced piece of work that was mostly more assuming and ambitious.^[ten]

Co-ordinate to historian, curator and critic Henry Geldzahler, "Ray Johnson'southward collages Elvis Presley No. ane and James Dean stand as the Plymouth Rock of the Pop movement."^[20] Author Lucy Lippard wrote that "The Elvis ... and Marilyn Monroe [collages] ... heralded Warholian Pop."^[21] Johnson worked as a graphic designer, met Andy Warhol by 1956 and both designed several volume covers for New Directions and other publishers. Johnson began mailing out whimsical flyers advertising his design services printed via offset lithography. He later on became known as the father of post art as the founder of his "New York Correspondence School," working small by stuffing clippings and drawings into envelopes rather than working larger like his contemporaries.^[22] A note almost the cover image in January 1958'south Fine art News pointed out that "[Jasper] Johns' first one-human show ... places him with such better-known colleagues every bit Rauschenberg, Twombly, Kaprow and Ray Johnson".^[23]

Indeed, two other important artists in the establishment of America'southward pop art vocabulary were the painters Jasper Johns and Robert Rauschenberg.^[10] Rauschenberg, who like Ray Johnson attended Black Mount Higher in North Carolina after World War II, was influenced by the earlier work of Kurt Schwitters and other Dada artists, and his conventionalities that "painting relates to both art and life" challenged the ascendant modernist perspective of his time.^[24] His employ of discarded readymade objects (in his Combines) and pop civilization imagery (in his silkscreen paintings) continued 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. every bit well iii-dimensional depictions of ale cans drew attention to questions of representation in art.^[27] Johns' and Rauschenberg's work of the 1950s is frequently referred to as Neo-Dada, and is visually distinct from the prototypical American pop fine art which exploded in the early 1960s.^{[28] [29]}

Roy Lichtenstein is of equal importance to American pop fine art. His piece of work, and its use of parody, probably defines the bones premise of pop art improve than any other.^[10] Selecting the quondam-fashioned comic strip as subject area thing, Lichtenstein produces a hard-edged, precise composition that documents while also parodying in a soft fashion. Lichtenstein used oil and Magna paint in his best known works, such equally Drowning Girl (1963), which was appropriated from the atomic number 82 story in DC Comics' Surreptitious Hearts #83. (Drowning Girl is function of the collection of the Museum of Modern Art.)^[thirty] His piece of work features thick outlines, bold colors and Ben-Day dots to represent certain colors, as if created past 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 unlike, but the nature of putting down lines pretty much is the aforementioned; mine just don't come out looking calligraphic, like Pollock'southward or Kline's."^[31] Pop fine art merges popular and mass culture with art while injecting humor, irony, and recognizable imagery/content into the mix.

The paintings of Lichtenstein, like those of Andy Warhol, Tom Wesselmann and others, share a direct zipper to the commonplace image of American popular culture, but also care for the subject in an impersonal manner clearly illustrating the idealization of mass product.^[10]

Andy Warhol is probably the most famous figure in pop art. In fact, fine art critic Arthur Danto once chosen Warhol "the nearest thing to a philosophical genius the history of art has produced".^[19] Warhol attempted to take popular beyond an artistic style to a life style, and his piece of work often 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'southward 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 afterwards in 1960 through 1964 along with James Rosenquist, George Segal and others at the Dark-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's jump testify, 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's soup cans, ane for every flavor. Warhol sold the set of paintings to Blum for $i,000; in 1996, when the Museum of Modern Art acquired it, the ready was valued at $15 million.^[19]

Donald Gene, the son of Max Factor Jr., and an art collector and co-editor of avant-garde literary mag Nomad, wrote an essay in the magazine's last issue, Nomad/New York. The essay was one of the first on what would get known as pop art, though Cistron did non use the term. The essay, "4 Artists", focused on Roy Lichtenstein, James Rosenquist, Jim Dine, and Claes Oldenburg.^[36]

In the 1960s, Oldenburg, who became associated with the pop art motility, 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 cast 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 constant performer in his happenings. This brash, often humorous, arroyo to art was at great odds with the prevailing sensibility that, by its nature, art dealt with "profound" expressions or ideas. In Dec 1961, he rented a store on Manhattan'due south Lower East Side to house The Store, a calendar month-long installation he had showtime presented at the Martha Jackson Gallery in New York, stocked with sculptures roughly in the grade of consumer goods.^[37]

Opening in 1962, Willem de Kooning's 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 Beloved Wall from 1961), Öyvind Fahlström, Yves Klein, Arman, Daniel Spoerri, Christo and Mimmo Rotella. The show was seen by Europeans Martial Raysse, Niki de Saint Phalle and Jean Tinguely in New York, who were stunned past the size and look of the American artwork. Also shown were Marisol, Mario Schifano, Enrico Baj and Öyvind Fahlström. Janis lost some of his abstruse expressionist artists when Mark Rothko, Robert Motherwell, Adolph Gottlieb and Philip Guston quit the gallery, but gained Dine, Oldenburg, Segal and Wesselmann.^[38] At an opening-night soiree thrown by collector Burton Tremaine, Willem de Kooning appeared and was turned away by Tremaine, who ironically owned a number of de Kooning's works. Rosenquist recalled: "at that moment I idea, something in the art world has definitely changed".^[19] Turning away a respected abstract artist proved that, as early as 1962, the pop art motion had begun to dominate art culture in New York.

A bit before, on the West Declension, 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 Common Objects show. This first pop art museum exhibition in America was curated by Walter Hopps at the Pasadena Fine 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 testify was presented every bit a typical pocket-size supermarket environs, except that everything in it—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 project was recreated in 2002 every bit part of the Tate Gallery'south Shopping: A Century of Fine art and Consumer Civilization.^[41]

Past 1962, pop artists started exhibiting in commercial galleries in New York and Los Angeles; for some, it was their offset commercial one-human being prove. 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, later on the Greenish 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 connected to represent Thiebaud, and Martha Jackson continued representing Robert Indiana.^[42]

In 1968, the São Paulo 9 Exhibition – Environment U.S.A.: 1957–1967 featured the "Who'southward Who" of popular art. Considered as a summation of the classical phase of the American pop art period, 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]

French republic [edit]

Nouveau réalisme refers to an creative movement founded in 1960 by the art critic Pierre Restany^[44] and the creative person Yves Klein during the first commonage 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 means of perceiving the real."^[45] This joint annunciation was signed on 27 October 1960, in Yves Klein'due south workshop, by ix 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 group. Information technology was dissolved in 1970.^[45]

Contemporary of American Pop Art—often conceived every bit its transposition in France—new realism was forth with Fluxus and other groups one of the numerous tendencies of the advanced in the 1960s. The group initially chose Prissy, on the French Riviera, every bit its home base since Klein and Arman both originated there; new realism is thus often retrospectively considered by historians to exist an early representative of the École de Prissy [fr] move.^[46] In spite of the diversity of their plastic linguistic communication, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used past Restany; to a "poetic recycling of urban, industrial and ad reality".^[47]

Espana [edit]

In Spain, the written report of pop art is associated with the "new figurative", which arose from the roots of the crunch of informalism. Eduardo Arroyo could be said to fit within the popular art trend, on account of his interest in the environment, his critique of our media civilisation which incorporates icons of both mass media communication and the history of painting, and his contemptuousness for nearly all established artistic styles. Withal, the Castilian artist who could be considered near authentically part of "popular" art is Alfredo Alcaín, considering of the apply he makes of popular images and empty spaces in his compositions.

Too in the category of Spanish popular art is the "Chronicle Team" (El Equipo Crónica), which existed in Valencia betwixt 1964 and 1981, formed by the artists Manolo Valdés and Rafael Solbes. Their movement can be characterized every bit "pop" because of its utilise of comics and publicity images and its simplification of images and photographic compositions. Filmmaker Pedro Almodóvar emerged from Madrid'due south "La Movida" subculture of the 1970s making low budget super 8 pop art movies, and he was afterward called the Andy Warhol of Spain by the media at the fourth dimension. In the book Almodovar on Almodovar, he is quoted equally maxim that the 1950s film "Funny Confront" was a central inspiration for his work. One pop trademark in Almodovar'due south films is that he always produces a simulated commercial to be inserted into a scene.

New Zealand [edit]

In New Zealand, pop fine 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, 4 Square supermarkets; the inherent campness of this is often subverted to signify cultural messages.^[48] Dick Frizzell is a famous New Zealand pop artist, known for using older Kiwiana symbols in ways that parody modern civilization. For example, Frizzell enjoys imitating the work of strange artists, giving their works a unique New Zealand view or influence. This is done to testify New Zealand's historically subdued impact on the world; naive art is connected to Aotearoan pop art this way.^[49]

This tin can be besides washed in an abrasive and deadpan way, every bit with Michel Tuffrey'due south famous work Pisupo Lua Afe (Corned Beefiness 2000). Of Samoan ancestry, Tuffery constructed the work, which represents a balderdash, out of processed food cans known equally pisupo. It is a unique 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 made of, which correspond economical 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]}

I of New Zealand's earliest and famous pop artists is Billy Apple, one of the few non-British members of the Regal Society of British Artists. Featured among the likes of David Hockney, American R.B. Kitaj and Peter Blake in the January 1961 RBA exhibition Immature Contemporaries, Apple quickly became an iconic international creative person of the 1960s. This was earlier he conceived his moniker of 'Billy Apple", and his work was displayed nether his birth proper noun of Barrie Bates. He sought to distinguish himself by advent likewise as name, then bleached his hair and eyebrows with Lady Clairol Instant Creme Whip. Later, Apple was associated with the 1970s Conceptual Art motion. ^[52]

Japan [edit]

In Nihon, pop art evolved from the nation'south prominent avant-garde scene. The use of images of the modern world, copied from magazines in the photomontage-mode paintings produced by Harue Koga in the belatedly 1920s and early 1930s, foreshadowed elements of pop art.^[53] The Japanese Gutai movement led to a 1958 Gutai exhibition at Martha Jackson's New York gallery that preceded by two 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 pop art. He is well known for his advertisements and creating artwork for pop civilization icons such equally 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 take besides become symbols for pop fine art, such as Speed Racer and Astro Boy. Japanese manga and anime besides influenced later pop artists such as Takashi Murakami and his superflat motion.

Italy [edit]

In Italian republic, by 1964, popular art was known and took different 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 by Piero Manzoni, Lucio Del Pezzo, Mimmo Rotella and Valerio Adami.

Italian pop art originated in 1950s civilisation – the works of the artists Enrico Baj and Mimmo Rotella to be precise, rightly considered the forerunners of this scene. In fact, it was around 1958–1959 that Baj and Rotella abandoned their previous careers (which might be generically defined as belonging to a non-representational genre, despite being thoroughly postal service-Dadaist), to catapult themselves into a new globe of images, and the reflections on them, which was springing up all around them. Rotella'south torn posters showed an ever more figurative taste, often explicitly and deliberately referring to the corking icons of the times. Baj's compositions were steeped in gimmicky kitsch, which turned out to be a "gold 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, route signs, television, all the "new world", everything can belong to the earth of art, which itself is new. In this respect, Italian pop fine art takes the same ideological path as that of the international scene. The only matter that changes is the iconography and, in some cases, the presence of a more critical attitude toward it. Even in this instance, the prototypes can be traced back to the works of Rotella and Baj, both far from neutral in their relationship with lodge. Yet this is non an sectional element; in that location is a long line of artists, including Gianni Ruffi, Roberto Barni, Silvio Pasotti, Umberto Bignardi, and Claudio Cintoli, who take on reality as a toy, as a slap-up pool of imagery from which to draw material with disenchantment and frivolity, questioning the traditional linguistic role models with a renewed spirit of "let me have fun" à la Aldo Palazzeschi.^[58]

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 past other notable pop artists. Internationally recognized artists such every bit Marcel Broodthaers ( 'vous êtes doll? "), Evelyne Axell and Panamarenko are indebted to the popular art motility; Broodthaers's groovy influence was George Segal. Another well-known artist, Roger Raveel, mounted a birdcage with a real alive pigeon in one of his paintings. By the end of the 1960s and early 1970s, pop art references disappeared from the piece of work of some of these artists when they started to adopt a more than disquisitional mental attitude towards America because of the Vietnam War's increasingly gruesome grapheme. Panamarenko, yet, has retained the irony inherent in the pop art movement up to the present twenty-four hours. Evelyne Axell from Namur was a prolific pop-artist in the 1964–1972 period. Axell was i of the first female popular artists, had been mentored by Magritte and her all-time-known painting is Ice Cream.^[59]

Netherlands [edit]

While at that place was no formal pop art motility in the Netherlands, there were a group of artists that spent time in New York during the early years of pop art, and drew inspiration from the international pop fine art movement. Representatives of Dutch pop art include Daan van Gilded, Gustave Asselbergs, Jacques Frenken, Jan Cremer, Wim T. Schippers, and Woody van Amen. They opposed the Dutch petit bourgeois mentality by creating humorous works with a serious undertone. Examples of this nature include Sex O'Clock, by Woody van Amen, and Crucifix / Target, past Jacques Frenken.^[60]

Russia [edit]

Russia was a little late to become part of the pop art move, and some of the artwork that resembles popular art only surfaced around the early 1970s, when Russia was a communist state and bold artistic statements were closely monitored. Russia'south ain version of popular art was Soviet-themed and was referred to as Sots Art. After 1991, the Communist Party lost its ability, and with it came a freedom to express. Pop fine art in Russia took on another form, 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]

• Billy Apple (1935-2021)
• Evelyne Axell (1935–1972)
• Sir Peter Blake (built-in 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 (born 1934)
• Dorothy Grebenak (1913-1990)
• Scarlet Grooms (built-in 1937)
• Richard Hamilton (1922–2011)
• Keith Haring (1958–1990)
• Jann Haworth (born 1942)
• David Hockney (born 1937)
• Dorothy Iannone (built-in 1933)
• Robert Indiana (1928–2018)
• Jasper Johns (built-in 1930)
• Ray Johnson (1927-1995)
• Allen Jones (born 1937)
• Alex Katz (born 1927)
• Corita Kent (1918–1986)
• Konrad Klapheck (built-in 1935)
• Kiki Kogelnik (1935–1997)
• Nicholas Krushenick (1929–1999)
• Yayoi Kusama (built-in 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 (built-in 1934)
• George Segal (1924–2000)
• Colin Self (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)

See as well [edit]

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

References [edit]

1. ^ Pop Art: A Brief History, MoMA Learning
2. ^ ^{a b c d due east} Livingstone, G., Pop Art: A Continuing 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 eastward f} Piper, David. The Illustrated History of Fine art, ISBN 0-7537-0179-0, p486-487.
5. ^ Harrison, Sylvia (2001-08-27). Pop Art and the Origins of Post-Modernism. Cambridge University Press.
6. ^ ^{a b c d} Gopnik, A.; Varnedoe, K., High & Depression: Modern Art & Popular Civilisation, New York: The Museum of Modern Art, 1990
7. ^ "History, Travel, Arts, Science, People, Places | Smithsonian". Smithsonianmag.com . Retrieved 2015-12-30 .
8. ^ "Modern Love". The New Yorker. 2007-08-06. Retrieved 2015-12-30 .
9. ^ Wayne Craven, American Art: History and . p.464.
10. ^ ^{a b c d e f thou} Arnason, H., History of Modernistic Art: Painting, Sculpture, Architecture, New York: Harry N. Abrams, Inc. 1968.
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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 past ICA and MIT, ISBN 0-262-73081-2
16. ^ Lawrence Alloway, "The Arts and the Mass Media," Architectural Design & Construction, February 1958.
17. ^ ^{a b} Klaus Honnef, Pop Art, Taschen, 2004, p. 6, ISBN 3822822183
18. ^ ^{a b} Barton, Christina (2010). Billy Apple: British and American Works 1960–69. London: The Mayor Gallery. pp. 11–21. ISBN978-0-9558367-iii-two.
19. ^ ^{a b c d} Scherman, Tony. "When Pop Turned the Art World Upside Down." American Heritage 52.1 (Feb 2001), 68.
20. ^ Geldzahler, Henry in Pop Art: 1955–1970 catalogue, Art Gallery of New Southward Wales, Sydney, 1985
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25. ^ "Fine art: Pop Fine art – Cult of the Commonplace". Time. 1963-05-03. ISSN 0040-781X. Retrieved 2020-07-07 . Robert Rauschenberg, 37, remembers an art teacher who 'taught me to think, "Why not?"' Since Rauschenberg is considered to be a pioneer in popular art, this is probably where the motion went off on its particular tangent. Why non make art out of one-time newspapers, bits 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 0-06-438505-1 pp. 174–195, Rauschenberg and Johns; pp. 103–111, Rivers and the gestural realists.
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45. ^ ^{a b} Kerstin Stremmel, Realism, Taschen, 2004, p. 13. ISBN 3-8228-2942-0
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Further 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 978-1-4381-4066-7
• Francis, Marking and Foster, Hal (2010) Popular. London and New York: Phaidon.
• Haskell, Barbara (1984) BLAM! The Explosion of Popular, Minimalism and Performance 1958–1964. New York: Westward.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 by David Riff. Leiden: BRILL, 2018 (originally published in Russian by Iskusstvo, 1968).
• Lippard, Lucy R. (1966) Pop 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 Pop Art" Arts Magazine, pp. 36–45. Transcript of symposium held at the Museum of Modern Art on December 13, 1962.

External links [edit]

Wikimedia Commons has media related to Pop art.

Wikiquote has quotations related to: Popular fine art

• Pop Art: A Brief History, MoMA Learning
• Pop Art in Modern and Contemporary Art, The Met
• Brooklyn Museum Exhibitions: Seductive Subversion: Women Popular Artists, 1958–1968, October. 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

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