Art in America 1962 by Art in America Company

Art movement

Popular art is an art movement that emerged in the United Kingdom and the Us during the mid- to late-1950s.^{[1] [ii]} The motion presented a challenge to traditions of art by including imagery from pop and mass culture, such as advert, comic books and mundane mass-produced objects. One of its aims is to employ images of pop (as opposed to elitist) civilization in art, emphasizing the banal or kitschy elements of any culture, well-nigh ofttimes through the employ of irony.^[3] Information technology is too associated with the artists' utilise of mechanical means of reproduction or rendering techniques. In pop fine art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material.^{[2] [iii]}

Amongst the early on artists that shaped the pop art motility were Eduardo Paolozzi and Richard Hamilton in Britain, and Larry Rivers, Ray Johnson. Robert Rauschenberg and Jasper Johns among others in the United States. Pop art is widely interpreted every bit a reaction to the and so-dominant ideas of abstract expressionism, as well equally an expansion of those ideas.^[4] Due to its utilization of found objects and images, information technology is similar to Dada. Popular art and minimalism are considered to be fine art movements that precede postmodern fine art, or are some of the earliest examples of postmodern fine art themselves.^[5]

Pop art frequently takes imagery that is currently in utilize in advertising. Product labeling and logos figure prominently in the imagery chosen past pop artists, seen in the labels of Campbell'southward 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, as demonstrated past Warhol'southward Campbell'due south Tomato Juice Box, 1964 (pictured).

Origins [edit]

The origins of popular art in North America adult differently from U.k..^[iii] In the United States, pop art was a response by 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 Homo Ray anticipated pop art.^[7]

Past contrast, the origins of pop art in mail service-State of war U.k., while employing irony and parody, were more than academic. Uk focused on the dynamic and paradoxical imagery of American pop culture equally powerful, manipulative symbolic devices that were affecting whole patterns of life, while simultaneously improving the prosperity of a society.^[6] Early pop art in Britain was a matter of ideas fueled by American popular culture when viewed from distant.^[4] Similarly, popular art was both an extension and a repudiation of Dadaism.^[4] While pop art and Dadaism explored some of the same subjects, pop fine art replaced the subversive, 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 equally producing work leading up to pop fine art are: Pablo Picasso, Marcel Duchamp, and Kurt Schwitters.

Proto-pop [edit]

Although both British and American popular art began during the 1950s, Marcel Duchamp and others in Europe like Francis Picabia and Homo Ray predate the movement; in add-on at that place were some earlier American proto-pop origins which utilized "as establish" cultural objects.^[four] During the 1920s, American artists Patrick Henry Bruce, Gerald White potato, Charles Demuth and Stuart Davis created paintings that contained popular culture imagery (mundane objects culled from American commercial products and advertising blueprint), almost "prefiguring" the pop art move.^{[8] [9]}

U.k.: the Contained Group [edit]

The Contained Group (IG), founded in London in 1952, is regarded every bit the precursor 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 besides as traditional views of fine art. Their group discussions centered on pop civilisation implications from elements such as mass advertisement, movies, production design, comic strips, science fiction and engineering. At the first Independent Group meeting 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.^{[2] [ten]} This material of "found objects" such as advertising, comic book characters, magazine covers and diverse mass-produced graphics mostly represented American pop culture. 1 of the collages in that presentation was Paolozzi'due south I was a Rich Homo's Plaything (1947), which includes the first use of the give-and-take "pop", appearing in a cloud of smoke emerging from a revolver.^{[2] [11]} Post-obit Paolozzi'southward seminal presentation in 1952, the IG focused primarily on the imagery of American pop culture, specially mass advertising.^[6]

According to the son of John McHale, the term "popular art" was first coined by his father in 1954 in chat with Frank Cordell,^[12] although other sources credit its origin to British critic Lawrence Alloway.^{[13] [14]} (Both versions agree that the term was used in Independent Group discussions by mid-1955.)

"Pop art" as a moniker was and so used in discussions by IG members in the 2nd Session of the IG in 1955, and the specific term "pop art" kickoff appeared in published print in the article "Simply Today We Collect Ads" by IG members Alison and Peter Smithson in Ark mag in 1956.^[15] All the same, 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".^[xvi] "Furthermore, what I meant by it then is non what it means now. I used the term, and also 'Popular Civilisation' to refer to the products of the mass media, not to works of art that draw upon popular culture. In any case, sometime between the winter of 1954–55 and 1957 the phrase acquired currency in chat..."^[17] Nonetheless, Alloway was i 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 fourth dimension Pop Art had already transited from art schools and small-scale galleries to a major force in the artworld. But 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 Social club of British Artists (RBA) exhibition of young 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 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 Immature Contemporaries exhibitions.^[18] Hockney, Kitaj and Blake went on to win prizes at the John-Moores-Exhibition in Liverpool in the same yr. Apple and Hockney traveled together to New York during the Majestic Higher's 1961 summertime break, which is when Apple beginning fabricated contact with Andy Warhol – both later moved to the Us and Apple became involved with the New York pop art scene.^[xviii]

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 December 1962; the occasion was a "Symposium on Pop Art" organized by the Museum of Modernistic Fine art.^[nineteen] 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.^[half-dozen] As the British viewed American popular civilisation imagery from a somewhat removed perspective, their views were often instilled with romantic, sentimental and humorous overtones. Past dissimilarity, American artists, bombarded every day with the diversity of mass-produced imagery, produced piece of work that was generally more than bold and aggressive.^[ten]

Co-ordinate to historian, curator and critic Henry Geldzahler, "Ray Johnson's collages Elvis Presley No. 1 and James Dean stand up equally the Plymouth Stone of the Pop motion."^[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 advertisement his design services printed via outset lithography. He later became known as the father of mail art as the founder of his "New York Correspondence Schoolhouse," working minor by stuffing clippings and drawings into envelopes rather than working larger similar his contemporaries.^[22] A annotation about the comprehend image in January 1958's Art News pointed out that "[Jasper] Johns' first one-man show ... places him with such improve-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 similar Ray Johnson attended Blackness Mountain College in Northward Carolina after World War II, was influenced by the earlier piece of 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 time.^[24] His apply of discarded readymade objects (in his Combines) and popular 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. too iii-dimensional depictions of ale cans drew attention to questions of representation in art.^[27] Johns' and Rauschenberg's piece of work of the 1950s is frequently referred to every bit Neo-Dada, and is visually distinct from the prototypical American popular fine art which exploded in the early 1960s.^{[28] [29]}

Roy Lichtenstein is of equal importance to American popular art. His work, and its use of parody, probably defines the basic premise of pop art better than any other.^[ten] Selecting the one-time-fashioned comic strip every bit subject matter, Lichtenstein produces a difficult-edged, precise composition that documents while also parodying in a soft manner. Lichtenstein used oil and Magna paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics' Secret Hearts #83. (Drowning Daughter is role of the collection of the Museum of Modern Fine art.)^[30] His piece of work features thick outlines, bold colors and Ben-Day dots to correspond sure 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 fashion looks completely different, but the nature of putting down lines pretty much is the same; mine merely don't come out looking calligraphic, like Pollock's or Kline's."^[31] Pop fine art merges popular and mass culture with fine art while injecting sense of 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 image of American pop civilization, only as well treat the discipline in an impersonal manner clearly illustrating the idealization of mass production.^[10]

Andy Warhol is probably the most famous figure in pop art. In fact, art critic Arthur Danto in one case called Warhol "the nearest matter to a philosophical genius the history of art has produced".^[19] Warhol attempted to have pop beyond an artistic style to a life manner, and his work oftentimes displays a lack of human affectation that dispenses with the irony and parody of many of his peers.^{[32] [33]}

Early U.Southward. exhibitions [edit]

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

Claes Oldenburg, Jim Dine and Tom Wesselmann had their first shows in the Judson Gallery in 1959 and 1960 and after in 1960 through 1964 forth 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'south spring show, Environments, Situations, Spaces.^{[34] [35]} Andy Warhol held his kickoff solo exhibition in Los Angeles in July 1962 at Irving Blum's Ferus Gallery, where he showed 32 paintings of Campell's 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 $xv one thousand thousand.^[19]

Donald Gene, the son of Max Factor Jr., and an art collector and co-editor of avant-garde literary magazine Nomad, wrote an essay in the magazine'southward final issue, Nomad/New York. The essay was 1 of the first on what would become known as pop art, though Factor did non utilize the term. The essay, "Four 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 proper 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 first wife, Patty Mucha, who sewed many of his early soft sculptures, was a constant performer in his happenings. This brash, often humorous, approach to art was at nifty 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's Lower Due east Side to business firm The Store, a month-long installation he had start presented at the Martha Jackson Gallery in New York, stocked with sculptures roughly in the class of consumer appurtenances.^[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 Love 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. Also shown were Marisol, Mario Schifano, Enrico Baj and Öyvind Fahlström. Janis lost some of his abstract expressionist artists when Marker 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 away 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 changed".^[xix] Turning away a respected abstract artist 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 Urban center; and Wayne Thiebaud from California were included in the New Painting of Common Objects show. This first popular fine 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.^[forty] Another pivotal early exhibition was The American Supermarket organised past the Bianchini Gallery in 1964. The bear witness was presented as a typical small supermarket surround, except that everything in it—the produce, canned goods, meat, posters on the wall, etc.—was created by prominent pop artists of the time, including Apple tree, Warhol, Lichtenstein, Wesselmann, Oldenburg, and Johns. This project was recreated in 2002 as function of the Tate Gallery'southward Shopping: A Century of Art and Consumer Culture.^[41]

By 1962, popular artists started exhibiting in commercial galleries in New York and Los Angeles; for some, information technology was their first commercial one-man testify. 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 outset New York bear witness). The Leo Castelli Gallery presented Rauschenberg, Johns, and Lichtenstein. Martha Jackson showed Jim Dine and Allen Stone showed Wayne Thiebaud. Past 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 Rock connected to correspond 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'southward Who" of popular art. Considered as a summation of the classical stage of the American popular 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]

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 first collective exposition in the Apollinaire gallery in Milan. Pierre Restany wrote the original manifesto for the group, titled the "Constitutive Proclamation 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'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, then 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 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 Nice, on the French Riviera, as its home base of operations since Klein and Arman both originated at that place; new realism is thus often retrospectively considered by historians to exist an early representative of the École de Squeamish [fr] movement.^[46] In spite of the diversity of their plastic language, they perceived a common basis for their work; this existence a method of direct appropriation of reality, equivalent, in the terms used by Restany; to a "poetic recycling of urban, industrial and advertising 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 Approach could be said to fit within the pop art trend, on account of his interest in the surroundings, his critique of our media civilization which incorporates icons of both mass media communication and the history of painting, and his scorn for well-nigh all established creative styles. All the same, the Spanish creative person who could be considered most authentically part of "pop" fine art is Alfredo Alcaín, because of the use he makes of popular images and empty spaces in his compositions.

Also in the category of Spanish pop 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 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'southward "La Movida" subculture of the 1970s making low budget super 8 pop art movies, and he was subsequently called the Andy Warhol of Espana past the media at the time. In the book Almodovar on Almodovar, he is quoted every bit saying that the 1950s moving picture "Funny Face" was a central inspiration for his work. I pop trademark in Almodovar'due south films is that he always produces a fake commercial to exist inserted into a scene.

New Zealand [edit]

In New Zealand, pop art has predominately flourished since the 1990s, and is often connected to Kiwiana. Kiwiana is a popular-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 creative person, known for using older Kiwiana symbols in means that parody mod civilisation. For instance, Frizzell enjoys imitating the work of foreign 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 popular fine art this manner.^[49]

This can be also done in an abrasive and deadpan way, as 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. Information technology is a unique work of western pop art because Tuffrey includes themes of neocolonialism and racism confronting not-western cultures (signified by the food cans the work is made of, which correspond economic dependence brought on Samoans by the due west). The undeniable indigenous viewpoint makes it stand up out against more common non-ethnic works of pop art.^{[fifty] [51]}

One of New Zealand'south earliest and famous pop artists is Billy Apple, ane of the few non-British members of the Majestic Lodge 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 quickly became an iconic international artist of the 1960s. This was before he conceived his moniker of 'Billy Apple", and his work was displayed under his birth name of Barrie Bates. He sought to distinguish himself by appearance as well as proper noun, then bleached his hair and eyebrows with Lady Clairol Instant Creme Whip. Afterwards, Apple tree was associated with the 1970s Conceptual Art movement. ^[52]

Japan [edit]

In Japan, pop art evolved from the nation'due south prominent avant-garde scene. The utilize of images of the modern globe, copied from magazines in the photomontage-style paintings produced past Harue Koga in the tardily 1920s and early 1930s, foreshadowed elements of pop fine art.^[53] The Japanese Gutai movement led to a 1958 Gutai exhibition at Martha Jackson's New York gallery that preceded past 2 years her famous New Forms New Media show that put Pop Fine 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 about successful pop artists and an international symbol for Japanese pop fine art. He is well known for his advertisements and creating artwork for pop civilisation icons such equally 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 accept also get symbols for pop art, such as Speed Racer and Astro Boy. Japanese manga and anime likewise influenced subsequently pop artists such as Takashi Murakami and his superflat motion.

Italy [edit]

In Italia, by 1964, popular fine 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 civilization – 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 equally belonging to a not-representational genre, despite being thoroughly post-Dadaist), to catapult themselves into a new world of images, and the reflections on them, which was springing up all around them. Rotella's torn posters showed an ever more than figurative sense of taste, 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 "aureate 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, idiot box, all the "new world", everything can belong to the globe of art, which itself is new. In this respect, Italian pop art takes the same ideological path as that of the international scene. The only affair that changes is the iconography and, in some cases, the presence of a more than disquisitional attitude toward information technology. Fifty-fifty in this case, the prototypes tin can exist traced dorsum to the works of Rotella and Baj, both far from neutral in their human relationship with society. All the same this is non an exclusive element; there 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 great pool of imagery from which to draw material with disenchantment and frivolity, questioning the traditional linguistic role models with a renewed spirit of "permit me take fun" à la Aldo Palazzeschi.^[58]

Kingdom of belgium [edit]

In Belgium, popular art was represented to some extent by Paul Van Hoeydonck, whose sculpture Fallen Astronaut was left on the Moon during one of the Apollo missions, as well equally by other notable pop artists. Internationally recognized artists such as Marcel Broodthaers ( 'vous êtes doll? "), Evelyne Axell and Panamarenko are indebted to the pop fine art movement; Broodthaers'southward great influence was George Segal. Another well-known creative person, Roger Raveel, mounted a birdcage with a real alive dove in 1 of his paintings. Past the stop of the 1960s and early on 1970s, pop art references disappeared from the piece of work of some of these artists when they started to prefer a more critical mental attitude towards America considering of the Vietnam War'due south increasingly gruesome grapheme. Panamarenko, however, has retained the irony inherent in the pop art movement up to the present mean solar day. Evelyne Axell from Namur was a prolific pop-creative person in the 1964–1972 period. Axell was one of the commencement female popular artists, had been mentored by Magritte and her best-known painting is Ice Cream.^[59]

Netherlands [edit]

While at that place was no formal pop art move 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 art motility. Representatives of Dutch pop art include Daan van Gilt, 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, past Woody van Amen, and Crucifix / Target, by Jacques Frenken.^[60]

Russian federation [edit]

Russia was a fiddling late to become function of the pop art movement, and some of the artwork that resembles pop fine art only surfaced around the early 1970s, when Russia was a communist land and assuming artistic statements were closely monitored. Russia's own version of pop fine art was Soviet-themed and was referred to as Sots Art. Afterwards 1991, the Communist Party lost its power, and with it came a freedom to express. Pop fine art in Russian federation 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 fabricated in the 1950s to promote the wealth of the nation were in itself a class of pop fine art.^[61]

Notable artists [edit]

• Billy 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 (born 1934)
• Dorothy Grebenak (1913-1990)
• Red Grooms (born 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 (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 (built-in 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 (built-in 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 (built-in 1928)
• Tom Wesselmann (1931–2004)

See also [edit]

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

References [edit]

1. ^ Pop Art: A Brief History, MoMA Learning
2. ^ ^{a b c d e} 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'southward Art Through the Ages, New York: Harcourt Caryatid Jovanovich, Inc., 1980.
4. ^ ^{a b c d eastward f} Piper, David. The Illustrated History of Art, ISBN 0-7537-0179-0, p486-487.
5. ^ Harrison, Sylvia (2001-08-27). Popular Art and the Origins of Post-Modernism. Cambridge Academy Press.
6. ^ ^{a b c d} Gopnik, A.; Varnedoe, M., Loftier & Depression: Modernistic Art & Popular Culture, New York: The Museum of Modern Art, 1990
7. ^ "History, Travel, Arts, Scientific discipline, People, Places | Smithsonian". Smithsonianmag.com . Retrieved 2015-12-thirty .
8. ^ "Modernistic Beloved". The New Yorker. 2007-08-06. Retrieved 2015-12-thirty .
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15. ^ Alison and Peter Smithson, "Simply Today We Collect Ads", reprinted on folio 54 in Modern Dreams The Rise and Fall of Pop, published by ICA and MIT, ISBN 0-262-73081-two
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17. ^ ^{a b} Klaus Honnef, Pop Fine 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. xi–21. ISBN978-0-9558367-iii-2.
19. ^ ^{a b c d} Scherman, Tony. "When Pop Turned the Art World Upside Down." American Heritage 52.1 (February 2001), 68.
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25. ^ "Art: Pop 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 not make art out of old 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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Further reading [edit]

• Bloch, Mark. The Brooklyn Runway. "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, Marking 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: W.W. Norton & Company, Inc. in clan with the Whitney Museum of American Art.
• Lifshitz, Mikhail, The Crisis of Ugliness: From Cubism to Pop-Fine art. Translated and with an Introduction by David Riff. Leiden: BRILL, 2018 (originally published in Russian past Iskusstvo, 1968).
• Lippard, Lucy R. (1966) Pop 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 Fine art" Arts Magazine, pp. 36–45. Transcript of symposium held at the Museum of Modern Art on Dec 13, 1962.

External links [edit]

Wikimedia Commons has media related to Popular art.

Wikiquote has quotations related to: Pop art

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

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

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