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Home / What Are the Issue Pop Art Trys to Address

What Are the Issue Pop Art Trys to Address

Fine 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 movement that emerged in the United Kingdom and the United States during the mid- to late-1950s.[1] [2] The movement presented a challenge to traditions of fine art by including imagery from pop and mass culture, such as advertizement, comic books and mundane mass-produced objects. I of its aims is to employ images of pop (as opposed to elitist) culture in art, emphasizing the banal or kitschy elements of any culture, well-nigh oftentimes through the use of irony.[3] It is besides associated with the artists' use of mechanical means of reproduction or rendering techniques. In popular fine art, fabric is sometimes visually removed from its known context, isolated, or combined with unrelated material.[2] [3]

Amongst the early 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 amidst others in the U.s.. Pop art is widely interpreted as a reaction to the then-ascendant ideas of abstruse expressionism, equally well every bit an expansion of those ideas.[4] Due to its utilization of found objects and images, information technology is like to Dada. Pop art and minimalism are considered to exist art movements that precede postmodern fine art, or are some of the earliest examples of postmodern art themselves.[5]

Pop art often takes imagery that is currently in use in ad. Production labeling and logos figure prominently in the imagery called by pop artists, seen in the labels of Campbell's Soup Cans, past Andy Warhol. Even the labeling on the exterior of a shipping box containing nutrient items for retail has been used every bit subject matter in popular art, as demonstrated by Warhol'due south Campbell's Tomato Juice Box, 1964 (pictured).

Origins [edit]

The origins of pop fine art in North America adult differently from Great britain.[3] In the United States, pop fine art was a response past artists; it marked a return to difficult-edged composition and representational art. They used impersonal, mundane reality, irony, and parody to "defuse" the personal symbolism and "painterly looseness" of abstract expressionism.[4] [6] In the U.S., some artwork by Larry Rivers, Alex Katz and Man Ray anticipated pop fine art.[7]

Past contrast, the origins of pop art in post-War United kingdom, while employing irony and parody, were more bookish. 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 gild.[six] Early pop fine art in Uk was a matter of ideas fueled by American pop civilization when viewed from afar.[4] Similarly, pop art was both an extension and a repudiation of Dadaism.[iv] While pop art and Dadaism explored some of the same subjects, popular fine art replaced the destructive, satirical, and anarchic impulses of the Dada motility with a detached affirmation of the artifacts of mass culture.[four] Among those artists in Europe seen as producing work leading up to pop art are: Pablo Picasso, Marcel Duchamp, and Kurt Schwitters.

Proto-popular [edit]

Although both British and American popular fine art began during the 1950s, Marcel Duchamp and others in Europe similar Francis Picabia and Man Ray predate the movement; in addition at that place were some earlier American proto-pop origins which utilized "as found" cultural objects.[4] During the 1920s, American artists Patrick Henry Bruce, Gerald Tater, Charles Demuth and Stuart Davis created paintings that contained pop civilisation imagery (mundane objects culled from American commercial products and advertising design), most "prefiguring" the pop fine art motion.[eight] [nine]

U.k.: the Independent Group [edit]

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

The Independent Grouping (IG), founded in London in 1952, is regarded as the precursor to the pop art movement.[2] [10] They were a gathering of immature painters, sculptors, architects, writers and critics who were challenging prevailing modernist approaches to civilisation likewise as traditional views of fine art. Their grouping discussions centered on popular culture implications from elements such as mass advertising, movies, product design, comic strips, science fiction and engineering. At the offset Independent Group meeting in 1952, co-founding fellow 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.[2] [10] This material of "found objects" such as ad, comic volume 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 Homo's Plaything (1947), which includes the first apply of the word "pop", appearing in a deject of smoke 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, especially mass advertizing.[6]

Co-ordinate to the son of John McHale, the term "popular art" was first coined past 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 agree that the term was used in Independent Group discussions by mid-1955.)

"Popular art" as a moniker was then used in discussions past IG members in the Second Session of the IG in 1955, and the specific term "popular art" first appeared in published print in the article "But Today We Collect Ads" by IG members Alison and Peter Smithson in Ark magazine in 1956.[fifteen] Even so, 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 civilization".[16] "Furthermore, what I meant by it then is non what it means at present. I used the term, and likewise 'Popular Civilization' to refer to the products of the mass media, not to works of fine art that draw upon popular culture. In whatsoever case, onetime between the winter of 1954–55 and 1957 the phrase acquired currency in conversation..."[17] Nevertheless, 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 art schools and small galleries to a major force in the artworld. But 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 Order of British Artists (RBA) exhibition of young talent in 1960 commencement showed American pop influences. In January 1961, the most famous RBA-Young Contemporaries of all put David Hockney, the American R B Kitaj, New Zealander Billy Apple, 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 Imperial College's 1961 summertime suspension, which is when Apple tree first made contact with Andy Warhol – both later moved to the United states of america and Apple became involved with the New York popular art scene.[18]

United States [edit]

Although pop art began in the early on 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 Pop Art" organized past the Museum of Modern Art.[nineteen] By this time, American advertising had adopted many elements of mod 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 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 generally 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. i and James Dean stand up as the Plymouth Rock of the Pop movement."[20] Writer Lucy Lippard wrote that "The Elvis ... and Marilyn Monroe [collages] ... heralded Warholian Popular."[21] Johnson worked as a graphic designer, met Andy Warhol by 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 kickoff lithography. He later became known as the male parent of mail service art as the founder of his "New York Correspondence School," working modest by stuffing clippings and drawings into envelopes rather than working larger like his contemporaries.[22] A notation about the comprehend image in Jan 1958'due south Art News pointed out that "[Jasper] Johns' first 1-human bear witness ... places him with such better-known colleagues as Rauschenberg, Twombly, Kaprow and Ray Johnson".[23]

Indeed, two other important artists in the establishment of America's pop art vocabulary were the painters Jasper Johns and Robert Rauschenberg.[10] Rauschenberg, who like Ray Johnson attended Black Mountain College in North Carolina after World War Two, 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 dominant modernist perspective of his time.[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. besides three-dimensional depictions of ale cans drew attention to questions of representation in art.[27] Johns' and Rauschenberg'south work of the 1950s is oftentimes referred to every bit Neo-Dada, and is visually singled-out from the prototypical American pop art which exploded in the early 1960s.[28] [29]

Roy Lichtenstein is of equal importance to American popular fine art. His work, and its use of parody, probably defines the basic premise of popular fine art amend than any other.[ten] Selecting the quondam-fashioned comic strip as subject field affair, Lichtenstein produces a hard-edged, precise limerick that documents while too parodying in a soft manner. 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' Clandestine Hearts #83. (Drowning Girl is part of the collection of the Museum of Modernistic Art.)[xxx] His work features thick outlines, assuming colors and Ben-24-hour interval dots to represent sure colors, as if created past photographic reproduction. Lichtenstein said, "[abstruse expressionists] put things down on the canvas and responded to what they had done, to the color positions and sizes. My manner looks completely dissimilar, but the nature of putting down lines pretty much is the same; mine simply don't come out looking calligraphic, like Pollock'southward or Kline'south."[31] Pop art merges pop and mass civilization with 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 direct attachment to the commonplace prototype of American popular culture, but also treat the subject in an impersonal style clearly illustrating the idealization of mass production.[10]

Andy Warhol is probably the most 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 have pop beyond an artistic style to a life fashion, and his work frequently displays a lack of homo 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's Soup Cans, 1962.

Claes Oldenburg, Jim Dine and Tom Wesselmann had their showtime shows in the Judson Gallery in 1959 and 1960 and after 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'southward leap prove, Environments, Situations, Spaces.[34] [35] Andy Warhol held his first solo exhibition in Los Angeles in July 1962 at Irving Blum'due south Ferus Gallery, where he showed 32 paintings of Campell's soup cans, one for every flavour. Warhol sold the set of paintings to Blum for $one,000; in 1996, when the Museum of Modern Fine art acquired it, the ready was valued at $15 one thousand thousand.[19]

Donald Factor, 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 i of the first on what would get known as popular art, though Gene did non apply 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 fine art move, created many happenings, which were operation art-related productions of that time. The name he gave to his own 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 starting time wife, Patty Mucha, who sewed many of his early soft sculptures, was a abiding performer in his happenings. This advised, often humorous, approach to fine art was at great odds with the prevailing sensibility that, past its nature, art dealt with "profound" expressions or ideas. In December 1961, he rented a store on Manhattan's Lower Eastward 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 form 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-4 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 Dear Wall from 1961), Öyvind Fahlström, Yves Klein, Arman, Daniel Spoerri, Christo and Mimmo Rotella. The prove was seen by Europeans Martial Raysse, Niki de Saint Phalle and Jean Tinguely in New York, who were stunned by the size and look of the American artwork. As well 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, simply 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's works. Rosenquist recalled: "at that moment I thought, something in the art world has definitely inverse".[19] Turning abroad a respected abstract artist proved that, as early every bit 1962, the popular art motion had begun to dominate fine art culture in New York.

A bit earlier, on the W 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 Common Objects bear witness. This first popular art museum exhibition in America was curated past Walter Hopps at the Pasadena Art Museum.[39] Pop art was fix 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 evidence was presented as a typical minor supermarket surround, except that everything in information technology—the produce, canned goods, meat, posters on the wall, etc.—was created by prominent pop artists of the fourth dimension, including Apple, Warhol, Lichtenstein, Wesselmann, Oldenburg, and Johns. This projection was recreated in 2002 as part of the Tate Gallery's Shopping: A Century of Art and Consumer Culture.[41]

By 1962, pop artists started exhibiting in commercial galleries in New York and Los Angeles; for some, it was their first commercial 1-man prove. The Ferus Gallery presented Andy Warhol in Los Angeles (and Ed Ruscha in 1963). In New York, the Dark-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 Rock 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 connected to stand for Thiebaud, and Martha Jackson continued representing Robert Indiana.[42]

In 1968, the São Paulo 9 Exhibition – Environment U.Southward.A.: 1957–1967 featured the "Who's Who" of popular art. Considered equally 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 artistic movement founded in 1960 past the fine art critic Pierre Restany[44] and the artist 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 Annunciation of New Realism," in April 1960, proclaiming, "Nouveau Réalisme—new ways of perceiving the real."[45] This joint declaration was signed on 27 October 1960, in Yves Klein'south 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, then 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 grouping initially chose Prissy, on the French Riviera, as its dwelling base since Klein and Arman both originated there; new realism is thus often retrospectively considered by historians to be an early on representative of the École de Nice [fr] motion.[46] In spite of the diversity of their plastic language, they perceived a common footing 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 advertizing reality".[47]

Spain [edit]

In Spain, the report of pop 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 fine art trend, on account of his interest in the environment, his critique of our media culture which incorporates icons of both mass media communication and the history of painting, and his scorn for nearly all established artistic styles. Notwithstanding, the Spanish artist who could be considered most authentically part of "popular" art is Alfredo Alcaín, because of the utilize he makes of popular images and empty spaces in his compositions.

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

New Zealand [edit]

In New Zealand, pop art has predominately flourished since the 1990s, and is frequently continued to Kiwiana. Kiwiana is a pop-centered, idealised representation of classically Kiwi icons, such as meat pies, kiwifruit, tractors, jandals, Four 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 means that parody modern culture. For example, Frizzell enjoys imitating the work of foreign artists, giving their works a unique New Zealand view or influence. This is done to prove New Zealand's historically subdued affect on the world; naive fine art is continued to Aotearoan pop art this way.[49]

This can be as well done in an abrasive and deadpan way, as with Michel Tuffrey's famous work Pisupo Lua Afe (Corned Beef 2000). Of Samoan ancestry, Tuffery synthetic the work, which represents a balderdash, out of candy food cans known as pisupo. It is a unique work of western popular fine 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 due west). The undeniable indigenous viewpoint makes it stand out against more mutual non-indigenous works of pop art.[50] [51]

Ane of New Zealand's primeval and famous pop artists is Billy Apple, one of the few non-British members of the Royal Lodge of British Artists. Featured amid the likes of David Hockney, American R.B. Kitaj and Peter Blake in the January 1961 RBA exhibition Young Contemporaries, Apple quickly became an iconic international artist of the 1960s. This was before he conceived his moniker of 'Baton Apple", and his work was displayed nether his birth name of Barrie Bates. He sought to distinguish himself past advent equally well as name, then bleached his pilus and eyebrows with Lady Clairol Instant Creme Whip. After, Apple was associated with the 1970s Conceptual Fine art movement. [52]

Japan [edit]

In Nippon, pop art evolved from the nation's prominent avant-garde scene. The employ of images of the modern world, copied from magazines in the photomontage-manner paintings produced by Harue Koga in the late 1920s and early 1930s, foreshadowed elements of pop art.[53] The Japanese Gutai move led to a 1958 Gutai exhibition at Martha Jackson'south New York gallery that preceded by two years her famous New Forms New Media testify that put Popular Art on the map.[54] The work of Yayoi Kusama contributed to the development of pop art and influenced many other artists, including Andy Warhol.[55] [56] In the mid-1960s, graphic designer Tadanori Yokoo became 1 of the most successful pop artists and an international symbol for Japanese pop 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] Another leading pop artist at that time was Keiichi Tanaami. Iconic characters from Japanese manga and anime have also become symbols for pop art, such as Speed Racer and Astro Male child. Japanese manga and anime also influenced later pop artists such every bit Takashi Murakami and his superflat motility.

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 equally 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 not-representational genre, despite existence thoroughly mail service-Dadaist), to catapult themselves into a new earth of images, and the reflections on them, which was springing up all effectually them. Rotella'due south torn posters showed an always more figurative taste, often explicitly and deliberately referring to the not bad icons of the times. Baj's compositions were steeped in contemporary kitsch, which turned out to exist a "golden mine" of images and the stimulus for an unabridged generation of artists.

The novelty came from the new visual panorama, both inside "domestic walls" and out-of-doors. Cars, route signs, television receiver, all the "new world", everything can belong to the world of fine art, which itself is new. In this respect, Italian pop art takes the same ideological path as that of the international scene. The just thing that changes is the iconography and, in some cases, the presence of a more than critical mental attitude toward information technology. Even in this case, the prototypes tin be traced back to the works of Rotella and Baj, both far from neutral in their relationship with society. Even so this is not an exclusive element; there is a long line of artists, including Gianni Ruffi, Roberto Barni, Silvio Pasotti, Umberto Bignardi, and Claudio Cintoli, who have on reality equally a toy, as a peachy puddle of imagery from which to depict material with disenchantment and frivolity, questioning the traditional linguistic role models with a renewed spirit of "let me accept fun" à la Aldo Palazzeschi.[58]

Belgium [edit]

In Belgium, popular art was represented to some extent past Paul Van Hoeydonck, whose sculpture Fallen Astronaut was left on the Moon during 1 of the Apollo missions, besides every bit past other notable pop artists. Internationally recognized artists such equally 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 creative person, Roger Raveel, mounted a birdcage with a real live pigeon in one of his paintings. By the end of the 1960s and early 1970s, pop art references disappeared from the work of some of these artists when they started to adopt a more critical attitude towards America because of the Vietnam War's increasingly gruesome grapheme. Panamarenko, however, has retained the irony inherent in the pop art movement up to the nowadays day. Evelyne Axell from Namur was a prolific pop-creative person in the 1964–1972 period. Axell was one of the get-go female popular artists, had been mentored by Magritte and her all-time-known painting is Ice Cream.[59]

Netherlands [edit]

While there was no formal pop art movement in the Netherlands, there were a grouping 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 fine art include Daan van Golden, 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]

Russian federation was a niggling tardily to become part of the pop fine art motility, and some of the artwork that resembles pop art only surfaced around the early 1970s, when Russia was a communist land and bold creative statements were closely monitored. Russia'southward own version of pop fine 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 art in Russia took on another course, epitomised by Dmitri Vrubel with his painting titled My God, Aid Me to Survive This Deadly Dearest 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 course of pop art.[61]

Notable artists [edit]

  • Billy Apple tree (1935-2021)
  • Evelyne Axell (1935–1972)
  • Sir Peter Blake (born 1932)
  • Derek Boshier (built-in 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 (built-in 1932)
  • Marisol Escobar (1930–2016)
  • James Gill (born 1934)
  • Dorothy Grebenak (1913-1990)
  • Red Grooms (born 1937)
  • Richard Hamilton (1922–2011)
  • Keith Haring (1958–1990)
  • Jann Haworth (born 1942)
  • David Hockney (built-in 1937)
  • Dorothy Iannone (born 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 (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 (built-in 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 Self (born 1941)
  • Marjorie Strider (1931–2014)
  • Elaine Sturtevant (1924-2014)
  • Wayne Thiebaud (built-in 1920)
  • Joe Tilson (born 1928)
  • Andy Warhol (1928–1987)
  • Idelle Weber (1932–2020)
  • John Wesley (born 1928)
  • Tom Wesselmann (1931–2004)

See likewise [edit]

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

References [edit]

  1. ^ Popular Art: A Brief History, MoMA Learning
  2. ^ a b c d due east Livingstone, M., 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 east f Piper, David. The Illustrated History of Art, ISBN 0-7537-0179-0, p486-487.
  5. ^ Harrison, Sylvia (2001-08-27). Pop Art and the Origins of Post-Modernism. Cambridge Academy Press.
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Further reading [edit]

  • Bloch, Mark. The Brooklyn Rail. "Gutai: 1953 –1959", June 2018.
  • Diggory, Terence (2013) Encyclopedia of the New York Schoolhouse Poets (Facts on File Library of American Literature). ISBN 978-1-4381-4066-7
  • Francis, Marker and Foster, Hal (2010) Pop. London and New York: Phaidon.
  • Haskell, Barbara (1984) BLAM! The Explosion of Pop, Minimalism and Performance 1958–1964. New York: Westward.W. Norton & Company, Inc. in association with the Whitney Museum of American 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 past Iskusstvo, 1968).
  • Lippard, Lucy R. (1966) Popular Art, with contributions past 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 Dec 13, 1962.

External links [edit]

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

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